Images convey scenes, underscore
text, and even work against the text. A single graphic usually indicates
a single anchor destination, but sometimes multiple graphics will form
one graphic, as in brandchannel .
Both efferent sites and aesthetic works used graphics as anchors.
Graphic introductions to a work which primarily
uses text links can bring the few graphics into greater importance:
Graphic anchors, like icons, can
provide the main mode of navigation through a piece, as 25
Ways to Close a Photograph introduces character speculations
by face. Graphic navigation can provide:
~water ~water~ use a series of graphics to evoke a sensation
of floating on water or of being immersed in water.
to Perplexia and _][ad][Dressed in a Skin C.ode use background images which sometimes are-- and
sometimes are not--anchors to bring portions of the background to the
foreground in significance, but also to provide an underlying commentary
on the functions of visual language.
Subtle connections: Marble
Springs  and The
Ballad of Sand and Harry Soot use graphics as nearly
silent entrances to nodes
that are connected below the surface. As Odin remarks of The Ballad
of Sand and Harry Soot: "there is a continuous interpenetration
of the foreground and the background and the text and the image. Strickland's
use of graphic anchors plays a major role in that interpenetration.
" Marble Springs uses graphics to explore
subconscious connections that the characters will not