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.
Saturday, March 13, 2010
The Golem's Mighty Swing
The rhythm of this comic was strange to me, but the message was clear. I can't say that I was ever oppressed in my life. A nerd and an artist made me the target of obnoxious people, but never was it a matter of life and death. The Golem's Mighty Swing was an interesting and quick delve into the life and times of those who are regularly oppressed. From the very git-go, the comic shows in varying degrees of subtlety how nasty and narrow minded people can be.
Seeing as towards the end, most of the characters go on to do other things, my question (from the vantage point of one who doesn't play or watch baseball) is 'why are they playing?' It was established early on that he's all about being American, but the amount of anger and violence displayed in the so called civilians of the story is, well, disgusting. And I don't doubt that it wasn't like that or is like that. It just saddens me to know that such is the case. The style of black and white with heavy lines to solid shadow adeptly makes it both about a story that is aged and also ageless. Though the style of clothing, behavior, and vehicles defines the comic as a story that has gone past, it's also a story the questions the behavior of people.
I felt the ending of the comic to be rushed and very seperate from the rest of the comic. This isn't good in this case, as it made it feel like the beginning of the comic didn't matter. The concept that the Golem mascot evolved into a destroyer is interesting, as it was predicted. The crazy man in the middle of the comic was also interesting, for his inability to know what was a farce and what was real, and still he was able to stir up trouble. I can't say I enjoyed the book, much like an alcoholic wouldn't claim to enjoy liquor but the comic was interesting and painful truthful.
Seeing as towards the end, most of the characters go on to do other things, my question (from the vantage point of one who doesn't play or watch baseball) is 'why are they playing?' It was established early on that he's all about being American, but the amount of anger and violence displayed in the so called civilians of the story is, well, disgusting. And I don't doubt that it wasn't like that or is like that. It just saddens me to know that such is the case. The style of black and white with heavy lines to solid shadow adeptly makes it both about a story that is aged and also ageless. Though the style of clothing, behavior, and vehicles defines the comic as a story that has gone past, it's also a story the questions the behavior of people.
I felt the ending of the comic to be rushed and very seperate from the rest of the comic. This isn't good in this case, as it made it feel like the beginning of the comic didn't matter. The concept that the Golem mascot evolved into a destroyer is interesting, as it was predicted. The crazy man in the middle of the comic was also interesting, for his inability to know what was a farce and what was real, and still he was able to stir up trouble. I can't say I enjoyed the book, much like an alcoholic wouldn't claim to enjoy liquor but the comic was interesting and painful truthful.
Sunday, February 28, 2010
Maus
Maus was intense. The battle between this man, his guilt, his father, and history is an epic and gut-wrenching tale. The Holocaust rarely seems so real and poignant as when you get to experience it, albeit it from another man's eyes. The betrayal and vileness of the people in the books is sickening, and though there was kindness, it sad and painful to think about how the human race is so quick to hate. Vladek himself is a strange character. Being so saddened about the history he survived and yet still so caught up in it. A racist, a penny-pincher, but also, so ready to do what he needed for his family.
The writer in the book is just as much a bi-polar character as his father. He forces his father to relive these tales of the war, yet is harsh, belittling, and even aggressive towards his father. He may have become like this from years of interacting with the man, but it still was strange to see. Mala was perhaps the most conflicted character of the modern day. She seemed like such a nice person whenever Artie was speaking with her, but at some point, it really did become all about the money, and then she had a heart and moved back in with Vladek.
Of all the main characters of the story, Anja was perhaps the most flat character, which was strange, given her importance to the writer and to the father. She was a beacon of hope but really, had little to describe herself. The change from memory to modern day and the second person narration gives a buffer for the horrors of Vladek's memories, and makes them perceivable from a more objective view, allowing you to understand and view the horrors, without having to immerse yourself in them.
I think I'd have to say that I both loved and hated to read Maus. It was a powerful experience, reveling in the grit of humanities history, and the effect it has had, but also dealing with the healing power of love and forgiveness.
The writer in the book is just as much a bi-polar character as his father. He forces his father to relive these tales of the war, yet is harsh, belittling, and even aggressive towards his father. He may have become like this from years of interacting with the man, but it still was strange to see. Mala was perhaps the most conflicted character of the modern day. She seemed like such a nice person whenever Artie was speaking with her, but at some point, it really did become all about the money, and then she had a heart and moved back in with Vladek.
Of all the main characters of the story, Anja was perhaps the most flat character, which was strange, given her importance to the writer and to the father. She was a beacon of hope but really, had little to describe herself. The change from memory to modern day and the second person narration gives a buffer for the horrors of Vladek's memories, and makes them perceivable from a more objective view, allowing you to understand and view the horrors, without having to immerse yourself in them.
I think I'd have to say that I both loved and hated to read Maus. It was a powerful experience, reveling in the grit of humanities history, and the effect it has had, but also dealing with the healing power of love and forgiveness.
Sunday, February 21, 2010
Underground Comics
This week I read over Mr. Natural, Tits and Clits, Zap, and Gay Comix
I have to say that they were quite a collection of odd, sometimes grotesque displays, and very often offensive and then, significantly more rare there were some that were touching, education, and heartwarming... or at least, comforting in some manner. Those touching ones was limited to Gay, and Tits.
Mr. Natural was perhaps the strangest. Overall, I feel as though there was little point to Mr. Natural, or rather, perhaps, that it wasn't intended for me as audience. I wouldn't say I was an all traditional southern gentleman (being gay, furry, and any number of things that break me with tradition), but I'm not very anti-government, anti-police, or any number of punk themes found in Mr. Natural. That being said, some of it was entertaining. More often than not, it was just horribly offensive.
The Tits and Clits comics were entertaining, seemed to relate a lot to the Gay Comix, though from a purely feminine view. Though definitely not my type of interest, I figured I'd be fair and give it a try. I found them entertaining, and had some heartfelt stories in it. I enjoyed the humor to be found, especially in the sex addict story.
Zap at least announced itself as a comic based simple around irreverence. Which made it's comics entertaining and quickly forgotten for the most part. I didn't find them particularly memorable other than the strange premise (Meatballs, Desert Dwellers, The Checkered Demon). I still have to say that the underground comics are rather hit or miss with me. Again, perhaps I'm just not the right audience.
The Gay Comix were more my speed, though it seemed there was little to be learned from the comics. As the community is prone to creating, most of it was sex centric (which is to be expected given the title of the comic). That's not really a bad thing, but the question of intent comes up. I ponder the reasons it was made. Granted, in the furry community, the art is still very sex centric. Was it a community sharing stories kind of thing, or just smut? I enjoyed the story about the girl worrying about coming out to her mother, who was also a lesbian. It hit home, as I'm often pulled away from my boyfriend by my family, who doesn't know I'm gay or with someone.
I have to say that they were quite a collection of odd, sometimes grotesque displays, and very often offensive and then, significantly more rare there were some that were touching, education, and heartwarming... or at least, comforting in some manner. Those touching ones was limited to Gay, and Tits.
Mr. Natural was perhaps the strangest. Overall, I feel as though there was little point to Mr. Natural, or rather, perhaps, that it wasn't intended for me as audience. I wouldn't say I was an all traditional southern gentleman (being gay, furry, and any number of things that break me with tradition), but I'm not very anti-government, anti-police, or any number of punk themes found in Mr. Natural. That being said, some of it was entertaining. More often than not, it was just horribly offensive.
The Tits and Clits comics were entertaining, seemed to relate a lot to the Gay Comix, though from a purely feminine view. Though definitely not my type of interest, I figured I'd be fair and give it a try. I found them entertaining, and had some heartfelt stories in it. I enjoyed the humor to be found, especially in the sex addict story.
Zap at least announced itself as a comic based simple around irreverence. Which made it's comics entertaining and quickly forgotten for the most part. I didn't find them particularly memorable other than the strange premise (Meatballs, Desert Dwellers, The Checkered Demon). I still have to say that the underground comics are rather hit or miss with me. Again, perhaps I'm just not the right audience.
The Gay Comix were more my speed, though it seemed there was little to be learned from the comics. As the community is prone to creating, most of it was sex centric (which is to be expected given the title of the comic). That's not really a bad thing, but the question of intent comes up. I ponder the reasons it was made. Granted, in the furry community, the art is still very sex centric. Was it a community sharing stories kind of thing, or just smut? I enjoyed the story about the girl worrying about coming out to her mother, who was also a lesbian. It hit home, as I'm often pulled away from my boyfriend by my family, who doesn't know I'm gay or with someone.
Sunday, February 14, 2010
Carl Banks and Donald Duck
The comics dealing with Donald Duck seemed much like the shorts I've seen. Donald, letting arrogance get the best of him continually makes an ass of himself while his nephews manage to succeed where he failed, and then, are nice enough to get him out of trouble. It seems an old hat story formula, but understandably, the comics are old.
I wonder if there are any of these shorts that actually got animated. For the most part, every comic seems to end neatly, needing no more resolution. This allowed each to flow seamlessly from one to another, which was good for me, since I wasn't reading them in order. It also meant that there was no overarching plot. The characters don't evolve much at all, meaning the things that Donald does remain borderline idiotic and he never learns his lesson, but this also allows the comic to continue. Some of the adventures are a bit crazy, such as the adventure to South Africa, but it's all in the name of good fun. I find it odd, perhaps, that the source of so many movies with morals as the main point would produce so much that has little to do with morals, or even a point.
I had never read these comics or any Disney comics before and they were definitely entertaining. It's also entertaining to see the Disney logotype become bigger over time, as it gets further into the future and as Disney becomes bigger.
I wonder if there are any of these shorts that actually got animated. For the most part, every comic seems to end neatly, needing no more resolution. This allowed each to flow seamlessly from one to another, which was good for me, since I wasn't reading them in order. It also meant that there was no overarching plot. The characters don't evolve much at all, meaning the things that Donald does remain borderline idiotic and he never learns his lesson, but this also allows the comic to continue. Some of the adventures are a bit crazy, such as the adventure to South Africa, but it's all in the name of good fun. I find it odd, perhaps, that the source of so many movies with morals as the main point would produce so much that has little to do with morals, or even a point.
I had never read these comics or any Disney comics before and they were definitely entertaining. It's also entertaining to see the Disney logotype become bigger over time, as it gets further into the future and as Disney becomes bigger.
Sunday, February 7, 2010
Blankets
Blankets was an excellent piece of art. It moved me with the main character, feeling his triumphs, guilt, pain, pleasure, and regret. The flow of the comic gave you a wonderful view into his life.
I have to say that so many of the scenes where Craig was plagued by the doubts, worries, and spirits of his imagination, his guilt, his sin, it reminded me of myself... The religious tones of the story reflect that of my own life, finding that religion gave form to my life at one point in time, and then, quickly, began to eat away at the self I discovered. His exploration of the world as a religious child makes the world seem cruel, envious, and decaying, when in the end, it was the religious message that missed its mark. The "real-life" message, not the one in the comic.
The exploration of adolescent lust, love, and temptation, and dissolution was so eloquently done, its a maze of empathic expression. Though our own stories differ, often, we find the elements ring true regardless of the little details that make them unique. It's a comfort to see the ways things could have been, were, or could be. Meanwhile, it's a greater comfort to know that there are others, that you are never alone. Your experience is unique, but the feeling is universal. I'd say almost, but the universal in this sense is hopeful for all of humanity.
The only downfall of Blankets is that the medium in which it is conveyed often guarantees the sympathy of its readers. Not to say that people who read comics or graphic novels are all romantics, or nerds, or outcasts, but it seems that the love of the written word, and of art, fall to those who are more interested in the world beyond their experience. If the jocks, and bullies, and rednecks, the people who made Craig's life miserable (and my life miserable for some period of time) were to read this novel, I don't see how they couldn't be irrevocably changed... but my knowledge of the human mind and psyche tells me that no change would occur, that they would avoid the novel or that its multitude of messages would fall on deaf ears. It saddens me to no end the despair caused by man to their fellow man.
But, as the story goes, it's about faith, not the way in which it comes about, or the trials the ensue. Without some sort of faith, faith in yourself, God, or others, life leads so often to despair or cruelty. I warmed my heart to see that despite all that Craig did, and endured, and the pain (even unknown) he inflicted on others, he kept the blanket. It meant everything to her as a connection to him, and though he burned her picture and all the stuff of hers that he had, he kept that symbol, that comfort. Which, I feel, we all need. Not a blanket, but rather our Blanket. The thing, person, idea, or ideal that comforts us. Makes life bearable, livable, even... happy.
I have to say that so many of the scenes where Craig was plagued by the doubts, worries, and spirits of his imagination, his guilt, his sin, it reminded me of myself... The religious tones of the story reflect that of my own life, finding that religion gave form to my life at one point in time, and then, quickly, began to eat away at the self I discovered. His exploration of the world as a religious child makes the world seem cruel, envious, and decaying, when in the end, it was the religious message that missed its mark. The "real-life" message, not the one in the comic.
The exploration of adolescent lust, love, and temptation, and dissolution was so eloquently done, its a maze of empathic expression. Though our own stories differ, often, we find the elements ring true regardless of the little details that make them unique. It's a comfort to see the ways things could have been, were, or could be. Meanwhile, it's a greater comfort to know that there are others, that you are never alone. Your experience is unique, but the feeling is universal. I'd say almost, but the universal in this sense is hopeful for all of humanity.
The only downfall of Blankets is that the medium in which it is conveyed often guarantees the sympathy of its readers. Not to say that people who read comics or graphic novels are all romantics, or nerds, or outcasts, but it seems that the love of the written word, and of art, fall to those who are more interested in the world beyond their experience. If the jocks, and bullies, and rednecks, the people who made Craig's life miserable (and my life miserable for some period of time) were to read this novel, I don't see how they couldn't be irrevocably changed... but my knowledge of the human mind and psyche tells me that no change would occur, that they would avoid the novel or that its multitude of messages would fall on deaf ears. It saddens me to no end the despair caused by man to their fellow man.
But, as the story goes, it's about faith, not the way in which it comes about, or the trials the ensue. Without some sort of faith, faith in yourself, God, or others, life leads so often to despair or cruelty. I warmed my heart to see that despite all that Craig did, and endured, and the pain (even unknown) he inflicted on others, he kept the blanket. It meant everything to her as a connection to him, and though he burned her picture and all the stuff of hers that he had, he kept that symbol, that comfort. Which, I feel, we all need. Not a blanket, but rather our Blanket. The thing, person, idea, or ideal that comforts us. Makes life bearable, livable, even... happy.
Sunday, January 31, 2010
Little Nemo and Peanuts
Little Nemo was a strange read. I mean, it really could be seen as the origins of American comics, and for that, it stands out as a true achievement. A fair number of standards and portions of uniqueness make this comic great in some ways. However, being used to modern day comics, Little Nemo was a slow read. The repetitive nature of the first 30 comics, ending in the same manner before he finally gets to meet the Princess was... arduous. Granted, after he meets her, his troubles hardly end there. There is plot, but little progression.
I found it entertaining, and kept reading, but the long it went on the less interesting it became. I barely made it through the first year, much less the next 7. McCay was brilliant and there are few that would argue against that... well, brilliant in the way of art. I'm not sure what else to mention about Little Nemo...
Peanuts I have to say is one of my favorite comics. Schultz was also a brilliant man. His characters all seem to remind of somehow of someone we know. His characters have such live, and vibrancy. Here's a comic with plenty of life, and no plot. The comic is all about what is going on and how things progress, but it purposely doesn't have a destination in mind. This gives it a further true to life feeling... all the while, Snoopy brings us out of it. He gives the much needed third person perspective on it that gives it its whimsical feeling.
Reading the interview with Schultz was both entertaining and confusing. He seems like a very intense man, very passionate about his work, and yet... he didn't think much of his work. He could have cared less. He chided the interviewer for making caricatures of his classmates, and always seemed to downplay the role of art in his comics. It makes me wonder if that was because the view of comics as a lesser art in those days. It seems that perhaps the view of the world on the thing he did for a living made him think less of it himself.
I found it entertaining, and kept reading, but the long it went on the less interesting it became. I barely made it through the first year, much less the next 7. McCay was brilliant and there are few that would argue against that... well, brilliant in the way of art. I'm not sure what else to mention about Little Nemo...
Peanuts I have to say is one of my favorite comics. Schultz was also a brilliant man. His characters all seem to remind of somehow of someone we know. His characters have such live, and vibrancy. Here's a comic with plenty of life, and no plot. The comic is all about what is going on and how things progress, but it purposely doesn't have a destination in mind. This gives it a further true to life feeling... all the while, Snoopy brings us out of it. He gives the much needed third person perspective on it that gives it its whimsical feeling.
Reading the interview with Schultz was both entertaining and confusing. He seems like a very intense man, very passionate about his work, and yet... he didn't think much of his work. He could have cared less. He chided the interviewer for making caricatures of his classmates, and always seemed to downplay the role of art in his comics. It makes me wonder if that was because the view of comics as a lesser art in those days. It seems that perhaps the view of the world on the thing he did for a living made him think less of it himself.
Sunday, January 24, 2010
Understanding Comics
Despite owning Understanding Comics, I had never actually gotten the chance to read the book all the way through. Scott McCloud is a wonderful writer and comic artist, and it was good experience to read through his comic. I really enjoyed all the talks of time, closure, and emotion. I've realized those elements were there, but have never had a formal talk about the gutter, the closure and imagination that it required. It speaks a great deal about the formal elements of imagination in a comic or book that is lacking in a movie, which is an argument I tend to get involved in. The idea that the gutter represented the time between the frames, both in so much that we fill in the gaps during the gutter, but that the size of the gutter gives us an idea of the pause between the frames.
I feel that the approach that comic isn't accepted as art has slowly faded over the past decade. Though my point of view may be skewed from the aspect of being an art student, I feel as though the world has begun to realize that all the elements of comics make it an art form as much as any other recognized form. That in fact, it draws on more disciplines than most art forms. I look forward to getting and reading Making Comics. Though as a Graphic Design, I never planned on pursuing comics, I have found that in my personal work, I've been commissioned for comics and feel that some education on the elements of building and making a comic would be both worthwhile and entertaining. Granted, my storyboarding education during Computer Animation has established a fair number of the elements mentioned in Understanding Comics.
I like his talks on the elements of time both within a panel and between them. The way our eyesight travels along the page and the time it takes to read represents the motion of time. It was interesting to hear him talk (or not talk, since he's not making sound...) about the fact that composition is a dangerous field in comics due to the nature of the eye and time. I had never really thought about it that way, but it's true that the orientation and direction of the composition has the ability to break the flow and clarity of the panels.
I feel that the approach that comic isn't accepted as art has slowly faded over the past decade. Though my point of view may be skewed from the aspect of being an art student, I feel as though the world has begun to realize that all the elements of comics make it an art form as much as any other recognized form. That in fact, it draws on more disciplines than most art forms. I look forward to getting and reading Making Comics. Though as a Graphic Design, I never planned on pursuing comics, I have found that in my personal work, I've been commissioned for comics and feel that some education on the elements of building and making a comic would be both worthwhile and entertaining. Granted, my storyboarding education during Computer Animation has established a fair number of the elements mentioned in Understanding Comics.
I like his talks on the elements of time both within a panel and between them. The way our eyesight travels along the page and the time it takes to read represents the motion of time. It was interesting to hear him talk (or not talk, since he's not making sound...) about the fact that composition is a dangerous field in comics due to the nature of the eye and time. I had never really thought about it that way, but it's true that the orientation and direction of the composition has the ability to break the flow and clarity of the panels.
The Arrival
The Arrival was an exciting and delightful experience to partake in. A wordless comic, it had a clarity and attention to detail that allowed you to easily enter the world Shaun Tan painted. The Arrival was also exciting as it was a story about exploring a new world. We, like the man who came to a new country and life, are unfamiliar with the world he now inhabits and it makes it easy to follow his attempts to get on his feet in this new land. The whimsy of the language, design, architecture, and creatures of the world in The Arrival is a wonderful commentary on the perceptions of foreigners in a completely alien environment.
The wordless elements allow the comic to become universal, which in itself is exciting, as it rings true with the entire idea behind the story. The different stories of the other immigrants were just as intriguing as the story of the main character. It was further intriguing on the nature of those stories was the mysterious nature of the life elsewhere. These small glimpses into these other worlds was as insightful and heartfelt as the departure and reunion of the character with his family.
The man telling of his escape from the giant vacuum men (least, that's what I got out of it) made me wonder, as he spoke of his wife and himself, and we only see him and his son, I began to question. Did his wife make it? How much does his son remember? It was a happy moment to see that his wife was alive, and how welcoming these people were to an immigrant. My questions wandered father, to who made this country, and what were its ideals? Were they protected from the travesties that affected other countries or was it simply a matter of time until these people's pasts catch up with them, or if a different disaster would find them?
The wordless elements allow the comic to become universal, which in itself is exciting, as it rings true with the entire idea behind the story. The different stories of the other immigrants were just as intriguing as the story of the main character. It was further intriguing on the nature of those stories was the mysterious nature of the life elsewhere. These small glimpses into these other worlds was as insightful and heartfelt as the departure and reunion of the character with his family.
The man telling of his escape from the giant vacuum men (least, that's what I got out of it) made me wonder, as he spoke of his wife and himself, and we only see him and his son, I began to question. Did his wife make it? How much does his son remember? It was a happy moment to see that his wife was alive, and how welcoming these people were to an immigrant. My questions wandered father, to who made this country, and what were its ideals? Were they protected from the travesties that affected other countries or was it simply a matter of time until these people's pasts catch up with them, or if a different disaster would find them?
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