Chris Ware’s The Acme Novelty Library Final Report to Shareholders and Rainy Day Saturday Afternoon Fun Book: Collage Review

Wears/ stories/ are notable for/ their exceptional formal experimentation/ and the way in which/ they/ systematically revises each of these tropes and more./ There aren’t/ many/ morally upright characters for spectators to admire and applaud,/ and he/ resists aligning audiences with one clearly defined protagonist. However/ his/ characters are far more psychologically complex than the archetypal protagonist of Classical Hollywood cinema./

The absence of a romance and a happy ending and the way in which their narratives/ infuse / maximum entertainment and complexity./ endeavor to revitalize classic but formulaic stories with more complex characters and narratives/ with its use of space, depth, focus, and lighting./ It / got progressively more depressing as it went along./ Puisque la société ne prend pas au sérieux la comédie, le genre est capable d’analyser les sujets qui sont généralement trop controversés pour l’analyse directe./ Eli Roth classified it as “kosher porn.”

The story / does not contain one individual protagonist with whom the audience can empathize and follow a defined goal, but rather a network of well-developed characters that evoke convoluted emotions/ is an intense, dark depiction/ of comedy. We’re supposed to feel sympathy/ for the characters/ and he truly captures the enthusiastic buffoonery of the character;/ Wears/ story utilizes/ comedy and modernized it a bit, adding his own unique touches to it.  It was/ at times/ wild, intense, and dirty./ and/ hilarious in an oddball type way, reminiscent of early romantic comedy films. / The excessive context of a zombie apocalypse is used in order to of divert the attention away from the weak human survivors who are the real antagonists of the continuation of humanity./  It was/ Also/ laden with topics considered controversial during his time period such as transgenderism, feminism, and homoeroticism./ In using the pretense of a comedy,/ he makes/ a powerful statement on discrimination when the play/ with the/ façade of a comedy./ Les comédies transgressives et subversives s’efforcer d’ignorer les standards politiquement corrects pour explorer des tabous de la société.  Ils ont souvent des personnages stéréotypes et des situations exagérées pour le rire./

The genre has come to dominate popular culture in the last two decades/ and it/ presents the frivolous elements present in entertainment today/ such as/ the confident fool who makes up for what he lacks in intelligence with his entertainment value./  The narrative/ with/ Battlestar Galactica*/ perfectly encapsulates/ humor/ intensity and brilliance. /While we frequently see the intense scenes where an angry William Adama passionately fights for his ship and his crew, the scenes that resonate with the viewer are those where you see the sensitive side of Adama.  More than anything, he loves his ship, his son, and his crew, and he will do anything for them. / their ambitious attempts to add heroic and hopeful narratives/ integrate themes of survival and hope into the legacy./

It is/ about/ demonstrating a disconnected group of people of disparate race, class, and sex and the consequences of this dissension/ and shows/ human frailty, destruction, division in the face of zombie enemies./  There are/ themes of racial tension, female incompetence, the degeneration of family values, and consumerism, all of which will remain pertinent in the 1978 sequel Dawn of the Dead/

This deterioration of family culminates at the finale/ with the/ rebellious/ daughter./ She chooses to be a causality in her battle against society instead of a blindly obedient daughter to the society that deprives her of freedom./ She must deceive others in order satisfy her natural sexual desires./ The shopping mall setting underscores the frivolity of consumerism and the way in which both “the living and the dead are united by desire and memory” (Williams, 91)./ There is an / enormous disparity/ between/ the daughter/ and the generation above him./ The/God/ character/ demonstrates/ the moral progression that accompanies his transformation from a humble orphan boy to a gentleman./ Wear/ decides to present a moral reality representative of this era of American history rather than a moral fantasy in which all things/ have a / happy ending./ It was/ no/ Batman.


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Taken from: The Division between Kay and Michael in Both Form and Content, Juliet’s Fate in Romeo and Juliet, Deviation from Classical Hollywood Cinema, From Moral Fantasy to Moral Reality in Sixties and Seventies American Cinema The Unidentified Assassins of George A. Romero’s Horror Trilogy, Margery Pinchwife: The Fusion of Rural Innocence and Urban Experience in The Country Wife, Stages of Imprisonment in Great Expectations, Re-Presenting the Holocaust on Film: Schindler’s List (1993) and Inglourious Basterds (2009), Film Review: Michael Hoffman’s Midsummer Night’s Dream, Film Review: Muriel’s Wedding, Film Review: Much Ado About Nothing, Film Review: The Merchant of Venice, Adapting Shakespeare to Film: Much Ado About Nothing, Les Comédies transgressives