Blacksad is a unique and outstanding piece of comic literature. I found it be an excellent noir comic, though fast paced and not nearly as mysterious as it could have been. I am certainly not a person to have a problem with anthropomorphic critters running around doing the things that people do, and in the case of Blacksad, I think the adaptation of typecasting animalistic characters actually added to the enjoyability of the story. I feel that Blacksad would fall as a beautiful if routine noir comic if the characters were all human.
The style was beautifully done, especially compared to the art that normally makes up the furry world. The toned down watercolor provides an excellent feeling to the world that these furries live in. The approach to the comic allows for an excellent use of color, especially in the characters and, in a similar style to Sin City, the blood. The blood plays an important part in emphasizing the commonality of the races in the world, and fortunately, everyone in the story bleeds (at some point in time or another).
The sexuality and violence, things I'd consider quintessential to a noir novel were elegantly approached and executed. Further, the suggestion that a true human was the villain was truly ingenious. The suggestion via hands and body that the villain in this episode was a human being was a somewhat delightful slap in the face as humanity is suggested as the bane of the world. The reveal that it was an amphibian and that he was self proclaimed to be a “cold-blooded” bastard made it more delightful, for there are plenty of “humans” out there that could fit the bill.
Sunday, May 2, 2010
Webcomics
Reading through Perry Bible Fellowship, Least I Could Do, and Hark, A Vagrant, I have to say that webcomics are a delightful form of the comic, allowing for immediate access to the entireties of the work, which allows for readily accessible back references and also allows for close to free publishing and publicity.
Perry Bible Fellowship has no continuity of story, but relies on sharp wit. The juxtaposition of elements (astronauts and snowflakes, for example) makes the mundane humorously horrible. The art is subjective to the subject of the comic, but is always clear and straightforward.
Least I Could Do is equally entertaining, which is a completely continuous story. Though there is no plot, the comics lead from one to another, embracing the sometimes raunchy mind of the main character Rayne and the way he views the world. The art is very repetitive and looks often like it was cut copied from other weeks, but allows for daily publishing, and emphasizes the text.
Hark, A Vagrant is similar to Perry Bible Fellowship in its wit and lack of continuity. Being a double major of art and history, the creator of Hark A Vagrant often references stories from the past, including literary texts such as Hamlet, Macbeth, and the Great Gatsby.
The webcomic embraces the one second humor of the newer generations, relying our apathy for continuity to enhance the comic. Without a worry for the beginning and end, many webcomic focus on the wit of the one liner, which I'd have to say that I enjoy, if only so I could be that witty too.
Perry Bible Fellowship has no continuity of story, but relies on sharp wit. The juxtaposition of elements (astronauts and snowflakes, for example) makes the mundane humorously horrible. The art is subjective to the subject of the comic, but is always clear and straightforward.
Least I Could Do is equally entertaining, which is a completely continuous story. Though there is no plot, the comics lead from one to another, embracing the sometimes raunchy mind of the main character Rayne and the way he views the world. The art is very repetitive and looks often like it was cut copied from other weeks, but allows for daily publishing, and emphasizes the text.
Hark, A Vagrant is similar to Perry Bible Fellowship in its wit and lack of continuity. Being a double major of art and history, the creator of Hark A Vagrant often references stories from the past, including literary texts such as Hamlet, Macbeth, and the Great Gatsby.
The webcomic embraces the one second humor of the newer generations, relying our apathy for continuity to enhance the comic. Without a worry for the beginning and end, many webcomic focus on the wit of the one liner, which I'd have to say that I enjoy, if only so I could be that witty too.
Hellboy, Kingdom Come, Powers, and Invincible
Having already read Watchmen, I decided to pursue other comics dealing with the modern superhero. Overall, I feel that we are bored with the old superheroes for their near faultlessness and unwavering personalities. Batman gave up everything in his life for the pursuit of his vigilante justice, Superman never met a challenge he couldn't overcome, and so on. However, Hellboy is a demon who fights for love and justice... and often he fails. He picks the personal choice over the “better” choice, which is how we like to see our heroes now. Flawed. In Powers, the comic is about the portion of the police force that has to deal with superpowers. In that world, their “Superman” equivalent is literally insane with power. How does the mortal, superpowerless world cope with such a character? In Invincible, the main character is a teenager, whose dad is a superhero. He joins the world as a superhero of his own, only to watch his dad betray the planet, kill the “Justice League” equivalent and flee the planet.
Our obsession with the superheroes I think stems from our inability to effect change on our own. One person can make a difference, but it's rare that they do make a difference. The idea that a single person could be empowered to affect change is a wonderful concept. However, the old views on them were these kind of infallible, perfect beings (Wonder Woman, Superman, Batman, even the old Charles Xavier). These characters were great for a time, because it talked of the better portions of us. However, now, we like to recognize the flaws in those characters, because it makes them MORE human, and thus, more like us.
Even our movies, such as Hancock and Iron Man really rely on the flaws of the main characters to portray the story, and how their flaws actually make their jobs more difficult. The idea that everything is easy when you are superpowered is flawed, and we now like to emphasize how flawed it can be.
Our obsession with the superheroes I think stems from our inability to effect change on our own. One person can make a difference, but it's rare that they do make a difference. The idea that a single person could be empowered to affect change is a wonderful concept. However, the old views on them were these kind of infallible, perfect beings (Wonder Woman, Superman, Batman, even the old Charles Xavier). These characters were great for a time, because it talked of the better portions of us. However, now, we like to recognize the flaws in those characters, because it makes them MORE human, and thus, more like us.
Even our movies, such as Hancock and Iron Man really rely on the flaws of the main characters to portray the story, and how their flaws actually make their jobs more difficult. The idea that everything is easy when you are superpowered is flawed, and we now like to emphasize how flawed it can be.
Sunday, April 11, 2010
Diary of a Dominatrix
Hah, the Diary of a Dominatrix. As a guy who is decidedly not into masochism or sadism (or women for that matter), this was an interesting delve into the world of a dominatrix. The sexuality of the comic was entertaining though some portions did manage to make me quite squeamish. The style of the artist allows for both a humanistic feel and a very sensual feel. The main character is shown in her transformation from the human to the beautiful. Almost all the characters she is paid to torture/abuse/love/molest are horribly homely men, very humanistic and probably somewhat accurate to live.
The delving into the toys and accouterments that make up her work seemed as descriptive as the scenes of her involved in her work. The comic effectively leaves things to the imagination, which is a keen pursuit for any story teller. The abuse to men's genitalia in the comic, though self admittedly designed to make its male viewers squirm, did just that. I suppose I never really bothered to ponder the workings of a dominatrix and this comic hasn't inspired any more interest in them either.
On a feminine side, I can see this comic as both being empowering, but also, equalizing. For all her power, the comic focuses a great deal on the male genitalia, and only a portion of it is altogether negative. While the character functions in a position of power, she, in the end, enjoys her male partners advances as much as the people who pay her for abuse enjoy her advances.
The delving into the toys and accouterments that make up her work seemed as descriptive as the scenes of her involved in her work. The comic effectively leaves things to the imagination, which is a keen pursuit for any story teller. The abuse to men's genitalia in the comic, though self admittedly designed to make its male viewers squirm, did just that. I suppose I never really bothered to ponder the workings of a dominatrix and this comic hasn't inspired any more interest in them either.
On a feminine side, I can see this comic as both being empowering, but also, equalizing. For all her power, the comic focuses a great deal on the male genitalia, and only a portion of it is altogether negative. While the character functions in a position of power, she, in the end, enjoys her male partners advances as much as the people who pay her for abuse enjoy her advances.
Monday, April 5, 2010
Asterious Polyp
This was an excellent read. The style, style changes, and story merged together to be an exciting journey through the crisis of one man's life. The narrator was there with us the entire time. Not an active participant in the story, though he definitely makes his appearance.
I felt this really was a superb example of contemporary culture. It shows the apathy and inexperience that has overtaken the American mindset. A man, who is smart... even a genius perhaps, who can't figure out what to do with his life and more importantly, doesn't know how to save the love of his life. His house catches on fire and he's forced to flee... so he just wanders. The characters he meets in his travels manage to break him free of his loneliness and remind him of the important things. We see his life before, after, and during the break and it speaks deeply of how many people approach life and love, and the consequences of it.
The normal style for the book allows for supremely expressive and identifiable body types and faces, well, more than a realistic style would. The characters are defined by their line style, with Asterious Polyp being hard lines and sharp, for the most part (he softens towards the end) while Hana, his love, is all sensuous soft lines. The art of each character tells you a great deal about them.
Then the style changes, becoming very abstract and through text and image, defining of emotions. Hana feels overpowered by Asterious' ego and indifference, the imagery shows her as this soft, breaking figure in a world of harsh geometry. The idea of karma out of balance or unjust fate was prevalent through the book, as this egotist defines the world around himself in his own terms, only to find a woman that changes all that, and due to his ego, he loses her. Then his entire life goes to pot, losing or giving away his possessions and eventually losing an eye, before he finally gains enough humility to find his love once more.
The ending, though quite punctual and witty, was very unexpected. While it alluded to an earlier portion of the comic, it seemed out of place and distinctly slapstick (albeit, slapstick on a planetary scale).
I felt this really was a superb example of contemporary culture. It shows the apathy and inexperience that has overtaken the American mindset. A man, who is smart... even a genius perhaps, who can't figure out what to do with his life and more importantly, doesn't know how to save the love of his life. His house catches on fire and he's forced to flee... so he just wanders. The characters he meets in his travels manage to break him free of his loneliness and remind him of the important things. We see his life before, after, and during the break and it speaks deeply of how many people approach life and love, and the consequences of it.
The normal style for the book allows for supremely expressive and identifiable body types and faces, well, more than a realistic style would. The characters are defined by their line style, with Asterious Polyp being hard lines and sharp, for the most part (he softens towards the end) while Hana, his love, is all sensuous soft lines. The art of each character tells you a great deal about them.
Then the style changes, becoming very abstract and through text and image, defining of emotions. Hana feels overpowered by Asterious' ego and indifference, the imagery shows her as this soft, breaking figure in a world of harsh geometry. The idea of karma out of balance or unjust fate was prevalent through the book, as this egotist defines the world around himself in his own terms, only to find a woman that changes all that, and due to his ego, he loses her. Then his entire life goes to pot, losing or giving away his possessions and eventually losing an eye, before he finally gains enough humility to find his love once more.
The ending, though quite punctual and witty, was very unexpected. While it alluded to an earlier portion of the comic, it seemed out of place and distinctly slapstick (albeit, slapstick on a planetary scale).
Saturday, March 27, 2010
Blacksad
Interesting that I miss the class on Eurocomics for a furry convention. I read Blacksad for this week's class, which I had heard about before. I found it be an excellent noir comic, though fast paced and not nearly as mysterious as it could have been.
I am certainly not a person to have a problem with anthropomorphic critters running around doing the things that people do, and in the case of Blacksad, I think the adaptation of typecasting animalistic characters actually added to the enjoyability of the story. I feel that Blacksad would fall as a beautiful if routine noir comic if the characters were all human.
I'm unsure what to post about in this case. The style was beautifully done, especially compared to the art that normally makes up the furry world. Currently, in the fanbase, I'd say there are only about a dozen artists that actually compare or could compete with the quality of the Blacksad. The toned down watercolor provides an excellent feeling to the world that these furries live in. The sexuality and violence, stuff I'd consider quintessential to a noir novel were elegantly approached and executed. Further, the suggestion that a true human was the villian was truly ingenious. The suggestion via hands and body (before we see the reptilian face) that the person in this episode was a delightful slap in the face as humanity is suggested as the bane of the world. The reveal that it was an amphibian and that he was self proclaimed to be a “cold-blooded” bastard made it more delightful, for there are plenty of people out there that could fit the bill.
I am certainly not a person to have a problem with anthropomorphic critters running around doing the things that people do, and in the case of Blacksad, I think the adaptation of typecasting animalistic characters actually added to the enjoyability of the story. I feel that Blacksad would fall as a beautiful if routine noir comic if the characters were all human.
I'm unsure what to post about in this case. The style was beautifully done, especially compared to the art that normally makes up the furry world. Currently, in the fanbase, I'd say there are only about a dozen artists that actually compare or could compete with the quality of the Blacksad. The toned down watercolor provides an excellent feeling to the world that these furries live in. The sexuality and violence, stuff I'd consider quintessential to a noir novel were elegantly approached and executed. Further, the suggestion that a true human was the villian was truly ingenious. The suggestion via hands and body (before we see the reptilian face) that the person in this episode was a delightful slap in the face as humanity is suggested as the bane of the world. The reveal that it was an amphibian and that he was self proclaimed to be a “cold-blooded” bastard made it more delightful, for there are plenty of people out there that could fit the bill.
Saturday, March 20, 2010
Buddha And Battle Angel Alita
I'll start off by saying that I am a manga fan. Whether it's the trust that the artist has for their fanbase to follow complex story, or the illustrative elements that give an excellent sense of motion, or simple the design, I've always enjoyed reading manga. I feel that the Japanese culture is more rewarding to intense fans than they are to casual readers. I enjoy this because if I'm going to invest any amount of time into something, I tend to learn it very well and become an avid fan.
Unsurprisingly, given the nature of how I obtain manga, I hadn't read some of this older work, such as Buddha or Battle Angel Alita. I have to say that I greatly enjoyed it. Buddha was an excellent examination of how a story could be retold or reinvented. The style was definitely Tesuka, which normally I'd say was too childish for the seriousness of the story, but I felt that it allowed the story to function better in this case. This story would seem much too serious otherwise. It lightened the mood. All the normal graphic elements of manga were there, as was the rapid change from humor to seriousness and back. I attribute this to manga more than American comics in so much that often the humor in manga tends to be less about dialogue and more about slapstick and situational humor. American comics script in one liners and witty dialogue.
Battle Angel Alita, on the other hand, was extremely violent and didn't at all try to distance you from it. Given the nature of the story, I take it this is the sequel, so some parts of the story were suggested by previous experiences that I didn't have, but I actually appreciate that fact that Battle Angel didn't stop or slow down to reconnoiter. I enjoy that it trusted its fans to know what they were talking about and who they were talking about. Further, I enjoyed the fact that this new world they bring us to truly doesn't make sense. It is a world where everyone has gone insane, in some form or another, and the main character is dropped into this world along with the reader.
Unsurprisingly, given the nature of how I obtain manga, I hadn't read some of this older work, such as Buddha or Battle Angel Alita. I have to say that I greatly enjoyed it. Buddha was an excellent examination of how a story could be retold or reinvented. The style was definitely Tesuka, which normally I'd say was too childish for the seriousness of the story, but I felt that it allowed the story to function better in this case. This story would seem much too serious otherwise. It lightened the mood. All the normal graphic elements of manga were there, as was the rapid change from humor to seriousness and back. I attribute this to manga more than American comics in so much that often the humor in manga tends to be less about dialogue and more about slapstick and situational humor. American comics script in one liners and witty dialogue.
Battle Angel Alita, on the other hand, was extremely violent and didn't at all try to distance you from it. Given the nature of the story, I take it this is the sequel, so some parts of the story were suggested by previous experiences that I didn't have, but I actually appreciate that fact that Battle Angel didn't stop or slow down to reconnoiter. I enjoy that it trusted its fans to know what they were talking about and who they were talking about. Further, I enjoyed the fact that this new world they bring us to truly doesn't make sense. It is a world where everyone has gone insane, in some form or another, and the main character is dropped into this world along with the reader.
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