Eunoia Review

 

My peers were perplexed by the pervertedness. The strengths and strengthlessnesses est  entrenched deep. The beefy legend beseeched feeling.  The themes emerged – demented sex, lewdness.  Encrypted were endless belle tweets, velvet cheeky verses.  The messenger went sleepless, cheerless weekends, wrestling werds.  He blended berserk energy. The end delved deep – dysentery emerged.  He encysts the term – “belles pensées” est le sens.

 

(French)

 

SPX 2012 Review

While looking for an experimental artist to interview, Jeff and I passed Sarah P’s “Gay Porn Space Opera!” table to which Jeff said, “Well, that certainly seems experimental.”  We began to talk to Sarah P about her work and eventually asked her how she perceived her relationship with avant-garde and experimental work.  She characterized her relationship as “fake” and explained that she did not really desire to have a relationship with the avant-garde.  She believed her Gay Porn Space Opera was relatively conventional aside from its novel premise.  Sarah P was fun to talk to – she told us that the inspiration beyond her comic was simple.  She made something that she wanted to read herself that didn’t yet exist.  Indeed there is a dearth of Gay Porn Space Operas on the market.  Sarah P then directed us to the artist beside her, R.M. Rhodes, who she believed to be a truly experimental artist.  I think he also collaborated with her on the Gay Space Porn Opera, too!

R.M. Rhodes was the gent with thick sideburns wearing a purple-three piece suit with purple business cards. Rhodes explained first that he doesn’t/can’t draw, so he uses many other methods to present his work.  He took some sort of scrap-booking class at Michael’s and made a scrapbook narrative and has also created a long form metafiction combining photo generated graphics and photographs against a green screen background.  Sometimes he photographed other people to insert into his comics but often used his own image because he explained, he is himself always around to take more pictures if he desired to make any changes to the work.

Rhodes also gave us some information on the business side of being an independent comic artist.  He has a day job and has dedicated the last five years or so to building a career as an artist.  His wife is in marketing, so she gives him advice on how to present himself as an artist(purple suits and purple business cards were apparently her suggestion).  He told us that he has sold more lately than ever before, so he’ll be very happy if, in five years, he makes as much progress as he’s made in the last five.

By far the most fascinating part of our Rhodes interview was when he explained what got him started as an artist.  He got this “Bueno” patch in New York for under a dollar and realized he could place it on any picture to start a story or communicate some sentiment.  Below is the Bueno patch on one of his creations “Emo Galactus.”  His suit doesn’t look very purple in that picture, but oh it was.  Check out R.M. Rhodes website here http://oletheros.com/.  I think he at first thought Jeff and I were more important than we actually were since we interviewed him and wrote down his every word. He even abandoned his table to ask us who we were and what the questions were for.  So definitely give his online blog some hits and check out his review of SPX.

 

 

Our comic expert at lunch explained that when you walk into the room, it’s like hundreds of artists look at you hopefully with the intention of making a sale.  This was entirely true.  It was at times awkward to browse through work and not make a purchase; however my best interactions were with some artists that made no effort to sell anything.  Sarah P and R.M. Rhodes were just incredibly fun to talk to/interview.  One artist seemed to be waiting for someone in the crowd to make eye contact with him.  When I came over, he explained in detail how he made his comic and then just asked what I thought about it.  There was another artist around A4 who seemed to ask every passerby if they were awesome, and when they inevitably responded yes, he gave them a free button and a free sample of his upcoming work.  I tried to find him using the SPX Exhibitor site but instead found this really cool artist http://www.artichokepresents.com/ from approximately the same area.

I loved listening to Chris Ware speak – he was so humble and fun to listen to.  His childhood story about his graffitied lunchbox just summed up so much of what I felt as I read The Acme Novelty Library.  It was surprising, funny, and devastating all at once. I definitely look forward to reading Building Stories next month.

Lastly, I also enjoyed the independent Marriott buffet exhibit nextdoor, particularly the bacon and the maple scones.

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.

 

*Page 90

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