![]() ![]() In addition to using the technique to give Hippolyta’s god-touched moment a true unearthliness, Ha also employs it to communicate story events. ![]() “Is the horse returning to its godly mistress, or simply chewing on some berries? Has Hippolyta been struck down by madness or raised by the divine? Yes.”Īnd it’s not just Artemis. “It works okay in moving pictures,” Ha wrote, “but I knew it would work far better in non-moving pictures.” He doesn’t use it as a one moment trick, either, but a constant shifting of ambiguous reality. ![]() Ha turned to the subcategory of optical illusions known as “ambiguous images.” You almost certainly know some of the more famous examples: Is it a vase, or two faces? A duck, or a rabbit? An old woman, or a young one? It’s a trick of our brains’ ability to make sense of patterns that’s been used in fine art, cartooning and Highlights magazine, but Ha’s point of inspiration was Ari Aster’s Midsommar, which uses the shapes of trees and leaves to create unsettling subliminal faces. “Both a small figure, and greater than human, both fully true at the same time.” ![]() “I wanted Artemis to clearly be there, and to clearly not be there,” Ha wrote in the issue’s back matter. In the issue, the mortal woman Hippolyta comes face to face with the goddess of the hunt as she herself hunts for the Amazons. ![]()
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