For a Man Without Eyes He Sure Sees a Lot

In the comic, the narrating character attempts to explain two topics:

1) The seemingly unlimited potential for computer technology to expand until humanity (or computers) cease to exist and
2) The future of comics, and graphic design as a whole, as this technology is developed.

He begins discussing the first of these topics by introducing the reader to the 'Whirlwind', a giant vacuum tube computer developed in the 1950's. The character explains the design of the computer, and then contrasts it with a computer in the 1970's as a point of reference to show how computing has developed. From there he moves to Moore's Law, the theory that the circuit density of semiconducters would double every one and a half years. While an incredible assumption, the narrator follows up with an even more incredible statement: In the current era it would be foolish to bet against the law proving true.

Soon after, he discusses the six assumptions about computing that he believes are well founded:

1) That as they become more powerful, computers will become cheaper.
2) Hardware will decrease in size.
3) Computer-media communications will get quicker.
4) Display technology such as monitors will be improved.
5) Web commerce will thrive.
6) As computing develops, more and more computing appliances will appear.

The reader is provided with examples that justify these assumptions.

In regards to the second topic, the narrator begins by mentioning the greater amount of functions on a computer that could aid and even improve an artists work. Many of these tools are classical; pieces that can be produced in the physical world, but others are specific to computers. Yet this is not good news for all artists. Artists well founded, the narrator explains, sometimes find it hard to make the transition from physical art to computerised art, and are soon replaced by young artists who are well versed in the use of software. This is a recurring cycle, however. In time to come present artists will age and be replaces by new artists with new software. We are shown a few examples of theoretical future art as the computer is further developed, and finally the narrator explains a semi-current emergence, that of pre-set images in software. Where once an artist would have to 'map' an image and then create the skin, the maps have been built into the software, allowing the user to focus only on creating the external design of the object.

The comic works well to develop its author's findings. By using visual keys it does not have to go into the detail like that found in essays, yet it still provides the reader with intelligent, factual evidence. In some cases - such as that found on page 130 - the artist uses cinematic angles to provide meaning as well. When discussing the difference between the narrator's old and new computer the 'camera' is positioned on a high angle to represent the enormous contrast between the machines that the character is announcing. These sort of visual aids invest the comic with more meaning. When the author focuses on very deep information, as he does on pages 134-135, he uses symbols to explain his findings. This allows readers of all intelligence levels to understand what is being said. In the same vein he uses humour (see the 'interface on page 139) to keep his subject light, and also he uses examples of work on page 140 to allow the reader to see the types of art that is being made on computers so that they do not have to visualise them. Page 147 helps the reader comprehend the comic's theories. Since he is discussing the art of the future it would be near impossible to understand what the author is imagining without seeing it for ones self.