photo & text by nacrowe
EXIT WOUNDS (DRAWN & QUARTERLY, 2007) by ISRAELI cartoonist RUTU MODAN is a narrative concerned with the crippling PSYCHIC CONSEQUENCES that come with being SEPARATED from family. much of the narrative follows a cab driver named KOBY who learns that his estranged father may have been killed in a terrorist attack. given his distance from his father, the story unfolds as a series of echos and readjustments of this strained relationship as he meets more and more people that have varying degrees of remembering him, including a young wealthy girlfriend named NUMI. as the two seek out KOBY's father, the two find themselves likewise testing out their own feels of connection for one another.
its a very interesting dynamic that MODAN is adroitly manipulating throughout the graphic novel; that idea of CONNECTION and DISTANCE in a volatile geopolitical space. more than a decade ago i was able to visit ISRAEL and witnessed firsthand the extent to which public safety and calculated risk play a daily part of one's existence in major cities like TEL AVIV, JERUSALEM and HAIFA where i was visiting friends. there is a very real sense that anything can happen at anytime and that one's personal relationships are of paramount importance because there is the palpable concept of each day being your last. and that isnt hyperbole. within EXIT WOUNDS, you have characters that feel varying gradations of CONNECTION to one another, irrespective of this background noise of DANGER and wonton public VIOLENCE. i think its an interesting choice that (SPOILER ALERT) KOBY never explicitly verifies his father's existence but is calmed and soothed that his new wife is such a pleasant person. it is almost as if the reverberations of his father's past actions and the BITTERNESS and PAIN they extolled are being replaced, effectively in abstentia, by a new set of reassuring echos of GRACE and UNDESTANDING. seeing this wonderful, selfless person who is nourished by her new relationship with his father is enough for him to move on as well and initiate a new sense of aspirational connection with NUMI. its an interesting dynamic and very much reminded me of people ive met in places like VENEZUELA, MYANMAR and ALBANIA who make the most of life in volatile surroundings. life being experienced as ever more PRECIOUS. its something that i dont feel on AMERICAN soil, especially in recent years with the pandemic and political strife effectively bifurcating my country. maybe as some point we will all come to the same realization. definitely not.
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BOOK REVIEW | "TRINITY: A GRAPHIC HISTORY OF THE FIRST ATOMIC BOMB" BY JONATHAN FETTER-VORM8/29/2022 photo & text by nacrowe
in TRINITY: A GRAPHIC HISTORY OF THE FIRST ATOMIC BOMB (HILL AND WANG, 2012) author JONATHAN FETTER-VORM gets at the MORAL QUANDARY that was the MANHATTAN PROJECT and the creation of the ATOMIC BOMB during WORLD WAR II. initially viewed as a purely SPECULATIVE and PREVENTATIVE MEASURE that would help end the war with GERMANY, its creation instead sparked a new age of global PARANOIA and the threat of global MUTUALLY ASSURED DESTRUCTION.
at the center of the narrative is theoretical physicist and BERKELEY professor J. ROBERT OPPENHEIMER who, along with GENERAL LESLIE GROVES (who previously oversaw the construction of THE PENTAGON) gathers a team and spearheads this national project. part of what FETTER-VORM does exceedingly well in this graphic novel is literally illustrate the SCIENTIFIC THEORY and TECHNICAL WIZARDRY that came with solving COMPLEX PROBLEMS with regard to controlling this incredible NUCLEAR ENERGY. it really cannot be understated how much INNOVATION and INGENUITY was involved in the conception and construction of the ATOMIC BOMB. whats hard to stomach is how little it seemed that these scientists considered the MORAL IMPLICATIONS of their work, so caught up in the PATRIOTIC FERVOR and EXISTENTIAL state of affairs that WORLD WAR II presented. even after its completion on a panel meant to analyze the POLITICAL RAMIFICATIONS of their work, these scientists obfuscated and essentially passed the buck to their enablers in the political sphere. i understand that science, much like the nature of reality, is inherently neutral and that all DISCOVERIES, INNOVATIONS and APPLICATIONS of APPLIED TECHNICAL KNOWLEDGE are susceptible to the whims of people. people who are innately FALLIBLE and prone to OUTSIDE PRESSURES and INTERNAL NEUROTICISM. but when you are messing with NUCLEAR FISSION and the ELEMENTAL DESTRUCTIVE FORCES OF THE UNIVERSE, how could they be so NAIVE? its an interesting dilemma that is expertly outlined by FETTER-VORM. and is beyond timely given the COMPLICATED GLOBAL POLITICS at play currently between THE WEST, RUSSIA and CHINA. that said, TRINITY: A GRAPHIC HISTORY OF THE FIRST ATOMIC BOMB is an incredible MEDITATION on the line between TECHNOLOGY, SECURITY and RESPONSIBILITY and is most definitely worth checking out. photo & text by nacrowe
ever since i first saw the BACK TO THE FUTURE trilogy (AMBLIN, 1985-1990) back in my early childhood there was always that PHILOSOPHICAL THOUGHT EXPERIMENT about what, if anything, you would want to revisit in the past if given the opportunity. would i spend more time talking with grandmother before she passed or maybe rewatch significant childhood moments from my past from a distance with the perspective of an adult? despite the EMOTIONAL CHARGE and immense temptation of the idea, i always come back to "no." the space-time continuum moves in one direction (i assume) and we are not PSYCHOLOGICALLY or EMOTIONALLY equipped to hand that sort of STRESS. moving forward in time is difficult enough.
but cartoonist DANIEL CLOWES' in his vividly colored and insularly CEREBRAL graphic novel PATIENCE (FANTAGRAPHICS, 2016) provides a character so utterly consumed by GRIEF by the death of his pregnant girlfriend that he is willing to risk all to alter that moment she was murdered. part CRIME MYSTERY, part SCIENCE FICTION, at its core PATIENCE is all about the transcendent power of LOVE and how such a powerful connective force transforms our very sense of MEMORY and IDENTITY. for JACK, the protagonist, this LOVE and its attendant emotions from is so strong that he is set off on an all-consuming course of SELF-VIOLENCE and SELF-DESTRUCTION to the point of SELF-ANNIHILATION that it very much makes you question the MORALITY of such a choice, even if the ends are somewhat redeemable. i know i just described the tired motivation of virtually every STEVEN SEGAL or JEAN-CLAUDE DAMME plot ever devised, but in the capable hands of CLOWES this narrative is more of a MORALITY PLAY than a revenge thriller. the focus is on the INTERIORITY of that MOTIVATION, rather than the SCI-FI or "whodunnit" aspects of the plot. my thought is that there is more than a bit of an unhealthy sense of HUBRIS, EGO and even ENTITLEMENT in attempting to change the past. out of all the possible past wrongs that could be rewritten, obviously it is to JACK's benefit for this wrong to be corrected so that he can enjoy the family that was taken from him. i understand that, but for SOCIETY as a whole there are plenty of other actions that could be taken to provide a far greater UTILITY for mankind related to preventable WARFARE, DISEASE, POVERTY and the like. possibilities are virtually endless, but the thing that gets me is that even these choices would have REVERBERATIONS and resulting OUTCOMES whose wake would inevitably result in more unintended CONSEQUENCES and unavoidable avenues and opportunities for HUMAN SUFFERING. i just dont see the cycle ever ending. as much as we find connection with one another, we equally bring pain and SUFFERING to world. it is unavoidable and i dont see any "fixing" of the past solving such a DILEMMA. i really enjoyed PATIENCE for thoughtfully thinking its way through such a proposition. definitely a compelling read worthy of investigation for anyone interested in compelling thought experiments. definitely recommended. photo & text by nacrowe
it is difficult to read BOB FINGERMAN's graphic novel BEG THE QUESTION (FANTAGRAPHICS, 2002), itself a collection of his entire MINIMUM WAGE series, and not feel just the tiniest bit nostalgic for the less complicated, pre-internet existence of the 1990s. if only. FINGERMAN's narrative follows a BROOKLYN couple in their 20s as they navigate their way through ADULTHOOD PROBLEMS like moving in together, CAREER, SEX, DEATH, BODY IMAGE, FERTILITY, MONEY, FAMILY, CHILDHOOD TRAUMAS and ultimately MARRIAGE. to my understand the piece is basically an extended meditation on relationships and the evolving motivations for maintaining such as individuals inevitably shift through different phases. is it lust? is it emotional security?
BEG THE QUESTION employs an extended network of FAMILY and FRIENDS of the couple who offer various examples of the NEEDS, DESIRES and OBLIGATIONS that bind us to one another. for some it is all about ETHNIC and RELIGIOUS TIES, while for others maintaining a CONNECTIONS is done out of a sense of duty. again for others there is common PERSPECTIVE and TEMPERMENT that gravitates some to each while for others sheer SEXUAL ATTRACTION does so (which is pretty creepy given that such AFFECTION is intra-familial during parts of this graphic novel). for all of its questioning FINGERMAN does not give us a clear answer. the ties that bind are ultimately a MYSTERY and a core facet of the collective HUMAN EXPERIENCE. speaking for myself, i find that i often cannot get out of my own head on these sorts of matters. i have always questioned what my MOTIVATIONS are for the people i maintain an emotional connection with. is not even possible to not be SELFISH and be around people that make you feel good about yourself? is that a bad thing? being around people that offer you a different PERSPECTIVE and look on life? do i have an ULTERIOR MOTIVE? and what about the people that are EMOTIONAL VULTURES and provide nothing but take. no NOURISHMENT or PERSPECTIVE, just baggage. are they not worthy? and what if they are family? how does that play into it, do i have an OBLIGATION to them because we are kin? i dont know the answer to that. which is why i thoroughly enjoyed reading BEG THE QUESTION and wish to further seek other publications by FINGERMAN moving forward. i found this graphic novel to be quite THOUGHTFUL, despite its at times RAUNCHY and TRANSGRESSIVE subject matter, and highly recommend it for anyone interested in piercingly HONEST meditations on modern life. and one last thing: in a post-ROE world it is hard to not think about how much AGENCY has been shifted away from women to make the types of decisions regarding FAMILY PLANNING and BODILY AUTONOMY examined in BEG THE QUESTION. its hard to stomach the fact that we have regressed that much as a society in terms of HUMAN RIGHTS and basic EMPATHY and COMPASSION. makes this graphic novel feel like a political and cultural ANACHRONISM id like to get back to. photo & text by nacrowe
its difficult reading about IRAQI, AFGHANI, SYRIAN and KURDISH refugees stranded in a HAPHAZARD, MAKESHIFT sites near CALAIS in 2016 as documented by KATE EVANS in her deeply affecting THREADS: FROM THE REFUGEE CRISIS (VERSO, 2017) graphic novel. its not just the INHUMANITY of EUROPEAN nations bickering amongst themselves regarding RESPONSIBILITY for this wave of immigrants (especially when they themselves are directly CULPABLE for the immense TURMOIL of these foreign conflicts) or the POLITICAL POSTURING and REGRESSIVE POPULAR RHETORIC that spew HATE and RACISM; what is most damaging is the manner in which people dont see the humanity in each other. reading this in 2022, its almost impossible to not see the current UKRAINIAN WAR and the ease with which EUROPEAN nations have taken such in refugees (albeit the UNITED KINGDOM being the exception again) as HYPOCRITICAL and baldly BIGOTED.
what i appreciate about THREADS is that it takes the perspective of EVANS and her experience volunteering at refugee camps in CALAIS, where she met with people, helped sort and distribute supplies, and drew portraits for inhabitants. this act of using art is such a powerful vehicle for giving evidence to the refugee's individual humanity. that they do exist and are accounted for and appreciated. EVANS also uses images of her phone to showcase anonymous messages (from what are presumed to be CONSERVATIVE BRITISH detractors back home) from those that see these refugees as an invading force with subhuman values bent on leeching from the welfare state. its appalling to read such but its that ingrained sense of PRIVILEGE and NARCISSISM that showcase the real values of the BRITISH commonwealth. the book ends with a note that the BRITISH are building bigger walls near the CHUNNEL outside CALAIS (i.e. the entrance to the UNITED KINGDOM). i was in VENEZUELA for two years starting in 2013 when the economy collapsed in the aftermath of HUGO CHAVEZ' passing and the unrelated fall of oil prices not long thereafter. the whole country was collapsing in on itself and people were desperate to leave. some friends that i knew made it out to PANAMA, COLOMBIA and ARGENTINA, but most were attempting to go to FLORIDA to meet up with family. all left with the intention and hope of one day returning to their homeland. and that is the huge fallacy that people who dont appreciate the situation of refugees are caught up in; these people didnt want to leave their homeland. EUROPEANS and AMERICANS act like being in their countries is a reward, whereas for these people what they are looking for is SALVATION from dangerous and unlivable conditions for them and their families. fleeing was an act of EMPATHY and DESPERATION on behalf of their children. to shit on them is such a SULLYING, DESPICABLE act. and the FRENCH and BRITISH authorities do so out of assumed MORAL SUPERIORITY and petty domestic politics. unless their UKRAINIAN and look like them. its all so DEPRESSING. just happy people like EVANS exist to bear witness and take these PATHETIC leaders to account through ART. photo & text by nacrowe
at its heart the graphic novel ASTERIOS POLYP (PANTHEON, 2009) by cartoonist DAVID MAZZUCCHELLI is a visually stunning examination of the METAPHYSICAL nature of IDENTITY, MEMORY and LOVE. the plot deals with a celebrated architecture professor named ASTERIOS POLYP who is renowned internationally for his REVOLUTIONARY designs which are highly CONCEPTUAL and THEORETICAL, as they have never been built. and it is that DUALITY regarding the space between the IMAGINED and PHYSICAL REALITY that underpins this graphic novel.
visually this concept of competing REALITIES is visually represented by self-constructed identities whereby characters are seen drawn in different manners. POLYP is often seen depicted as a DECONSTRUCTED line drawing (which relays his austere, cold, intellectual character) and his wife HANA is seen in full chiaroscuro shading (which exudes her WARM, COMPASSIONATE nature). when the two fall in love their visual depictions are blended. it is quite the VISUAL METAPHOR and wholly effective in translating how opposites compliment one another. or dont. in fact the whole narrative is full of characters that express variations on this theme of DUALITY. and my understanding is that our sense of IDENTITY is tied to our own sense of individual and collective HISTORY. in a sense we are all solipsists walking through our own SOMNAMBULISTIC reality that only we inhabit, unable to truly pierce those of others. POLYP through his INTELLECT, HUBRIS and occupational standing allow him to interact with the world solely on his terms. HANA on the other hand is NURTURING, EMPATHETIC and COLLABORATIVE by nature, who ironically sees a more complex world based on MULTIPLE PERSPECTIVES. she is in touch with the complexity of life through listening and not attempting to control situations, make them bend to her will as POLYP does. this is fascinating graphic novel that has a coordinated visual aesthetic that thematically matches orbiting themes surrounding DUALITY in a very effective manner. it is the kind of book i will revisit and find new strands and interpretations, i am sure, upon successive readings. i could not celebrate or more enthusiastically recommend this book. a real achievement. photo & text by nacrowe
the graphic novel EPILEPTIC (PANTHEON, 2005) is a harrowing account of the psychological horror that comes with growing up and watching your family IMPOTENTLY confront the routine seizures of one of its own. celebrated FRENCH cartoonist DAVID B through this recollected memoir of his early development provides incredible insight into the DEBILITATING EMOTIONAL ABYSS of watching his older brother effectively lose his own sense of AGENCY and ability to live a normal life.
the effects of such a trauma on DAVID B are devastating, cartoons and invented realities become a shield of sorts from the harsh reality of the outside world. similar can be said about the efforts of his mother, who seeks out a revolving carousel of ESOTERIC and NONTRADITIONAL medical practices from various global traditions (SHAMANS, ALCHEMISTS, DIETICIANS, MAGNETIZERS, ACUPUNCTURISTS, MASSAGERS, etc.) out of love but all are ultimately in VAIN. nothing works. and what makes EPILEPTIC such a compelling read in my opinion is how effectively it showcases that projection and transference of stunted emotional development onto the family, who as a unit despite all possible efforts, finds themselves imprisoned by this unrelenting foe. back when i took an introductory psychology course in college, i remember their being much discussion about the profound effects of one person's chronic condition (i.e. DEPRESSION, PTSD, EATING DISORDER, PERSONALITY DISORDER, etc.) on their family. that sense of helplessness that comes with being unable to ease a loved one's trauma, which over time wears one down. a version of this narrative can be seen in the doomed efforts of the late imperial ROMANOV family (TSAR NICHOLAS II and ALEXANDRA) when attempting to seek assistance for their son's HEMOPHILIA. this desperation led them to seek out nontraditional practitioners, and mercenaries, like GREGORIO RASPUTIN. i point you to ROBERT K MASSIE's NICHOLAS AND ALEXANDRA (review linked HERE) for further information. for me, this book is less about the often competing and complex emotions DAVID B felt towards his older brother, as well as the intense GUILT involved in that process, and more about the toll of said condition on the family. a family whose efforts were done out of UNCONDITIONAL LOVE. the other work this graphic novel with all of its PHANTASMAGORICAL, MYTHOLOGICAL and stark FANTASY-inspired imagery recalled for me was SPIKE JONZE's film adaptation of the children's book WHERE THE WILD THINGS ARE (review linked HERE). the chaotic, seemingly unraveling imagery that DAVID B produces gives us a sense of a child's perspective who is unable to verbalize and process feelings of deep TRAUMA. much like how the temper tantrums of MAX in the film are his way of expressing that which is OVERWHELMING and inherently INEXPRESSIBLE, DAVID B has similarly provided a visual analogue to that same phenomena. the visuals in this manner do not clarify or elucidate meaning, more they are there as emotional markers of ANGER, CONFUSION, DESPAIR and REMORSE projected at a cruel adult world with no innate sense of fairness or moral center. EPILEPTIC is a deeply fascinating graphic novel that asks more than it answers and leaves one contemplating their own TENUOUS relationship with REALITY and how we as individuals construct an internal MYTHOLOGY to deal with our own STRUGGLES and SHORTCOMINGS. highly recommended. photo & text by nacrowe
thing that struck me about HOUSE OF WOMEN (FANTAGRAPHICS, 2017) by SOPHIE GOLDSTEIN was how beautifully illustrated it was. if i had to pinpoint a style, it would be informed by the likes of AUBREY BEARDSLEY, traditional JAPANESE UKIYO-E woodblock prints, GERMAN EXPRESSIONISM and a hint of HINDU ICONOGRAPHY and MUGHAL ARCHITECTURE thrown in the mix. i found myself looking repeatedly at the panels and just basking in the potency of the visuals which were just stunning throughout.
the narrative itself follows four women that on a fact-finding mission from an intergalactic empire that seeks to learn about the far limits of its reach and the inhabitants therein. the more involved these four women become with the local inhabitants and the CULTURE therein, the more they become drawn into a PSYCHODRAMA that they have little control over. plot-wise it reminds me of a short story (whose author i forget) i read in college about a man that starts dating a woman out of pity, only to get sucked into the relationship and ultimately become discarded in the process. the short story and this graphic novel both play with notions of POWER, CONTROL and ROMANTIC DOMINANCE. its always interesting when those who feel they are in control of a situation learn that it is them that are being manipulated. i feel like the pure artistry of the panels themselves leaves the reader in a similar position whereby we are being sucked into a narrative that we have little control over as well, but very much enjoy the seduction nonetheless. i highly recommend HOUSE OF WOMEN to anyone interested in theory surrounding ORIENTALISM, POST-COLONIALISM or FEMINIST theory. it is a graphic novel most definitely worth seeking out and exploring and coming to your own conclusions about. photo & text by nacrowe
relationships are complicated. ive always felt that there is something intrinsically narcissistic about ROMANTIC LOVE in general given that you pursue someone because of how they make you feel. when i started reading about BUDDHISM years ago before i moved to JAPAN this point was brought up again and again in different texts and it has long stayed with me.
the graphic novel SHORTCOMINGS (DRAWN & QUARTERLY, 2007) by ADRIAN TOMINE is an extended meditation on the nature of a crumbling relationship and the undergirding reasons / desires / projections / obsessions that make breaking up so difficult. in essence there is that shared IDENTITY and sublimated EGO in that of another that is shattered and discarded. to some extent reading about the protagonist BEN TANAKA and his self-obsession felt like the dialogue in a WOODY ALLEN or INGMAR BERGMAN film where you know this clinging nature is only pushing the object of his desire away. he is so self-concerned and incapable of addressing the needs of his partner MIKO that he is basically manufacturing a self-fulfilling prophecy for his own alienation. i think one particularly interesting aspect of SHORTCOMINGS is how it examines inter-racial relationships from a CONSERVATIVE ASIAN perspective. specifically the ingrained CHAUVINIST notion that how somehow dating an ASIAN woman is seen as less exciting or revered than that of a CAUCASIAN woman for an ASIAN man. this idea of a "white prize." that somehow if a CAUCASIAN male dates an ASIAN female that something is amiss but not the other way around. the graphic novel definitely dives deep into notions of TOKENISM, ORIENTALISM and POST-COLONIALIST thought in a very organic manner. TOMINE is a deft writer who has a profound ability to subtly expose uncomfortable truths in an organic, unforced manner. i am looking forward to become more acquainted with his writings moving forward and highly suggest SHORTCOMINGS to anyone interested in thought-provoking writing, irrespective of an interest in comics or graphic novels. it is that good. photo & text by nacrowe
oh my god, I WANT YOU (DRAWN & QUARTERLY, 2020) by LISA HANAWALT is absolutely insane.
this graphic novel is very much in touch with a level of DADA-esque absurdity that i was not prepared for. it ranges from lovingly-detailed drawings (that would make ALBRECHT DURER proud) of HIPSTER ANTHROPOMORPHIC animals hanging out at clubs, parties and the like, to crudely drawn sexual and FECAL-OBSESSED observations. and then there are random drawings of animals with ever more outlandish hats. what i take from it all is that I WANT YOU is essentially a 20-something taking in her lived experiences and manifesting them through an absolutely feverish sense of unbounded creativity to the point of ABSTRACTION and SURREALISM. utilizing ANIMAL HEADS with HUMAN BODIES (complete with fashionable HIPSTER attire) seems as apt a vehicle as any for describing the SURREAL experience of experiencing real AUTONOMY for the first time as a young adult. those SOCIAL NEGOTIATIONS of learning what your boundaries are and how odd and difficult it is when you make mistakes regarding such. it is at that stage when you learn what your limits are and what your actual preferences are with regards to friends and romantic partners. so why not have a HUMANOID CAT date a HUMANOID DEER and witness the chaos ensue. doesnt feel that much difference than my experience in my early 20s. if you are a fan of TRANSGRESSIVE art and a DADA-esque comedic sensibility than definitely check out I WANT YOU and the work of HANAWALT in general. but then you probably already knew that given her day job as the production designer and producer of BOJACK HORESMAN on NETFLIX. this graphic novel is definitely something i will revisit in the future and attempt to grasp in better detail, because i am so lost i dont know where to begin. or maybe that was the point all along. photo & text by nacrowe
it feels like during the pandemic a fair amount of us garnered a new hard-earned appreciation for the daily rituals of public life. those mundane daily events like going to a grocery store or talking with your neighbors or even going to a movie or concert. the loss of that sense of INTERACTION with society since the pandemic began has been on my mind throughout, leading me to realize how ISOLATED i felt.
reading SEEK YOU: A JOURNEY THROUGH LONELINESS (PANTHEON, 2021) BY KRISTEN RADTKE was quite an affecting experience. the graphic novel is an extended meditation on the PHYSIOLOGICAL, SOCIOLOGICAL, TECHNOLOGICAL and CULTURAL phenomena that make AMERICAN life such a uniquely isolating experience. it really is a deep dive into how LONELINESS works and the myriad ways it affects our MENTAL HEALTH and PHYSICAL WELL-BEING. i could go down the list of all the studies cited and heart-wrenching anecdotes shared throughout the book, but instead i will just make a general statement: everything comes down to EMPATHY. the idea of sharing and having reciprocated our values, aspirations, disappointments, obstacles and successes in the eyes of others is essentially to our sense of identity with a communal context. corrosive POLITICAL DEBATES, SOCIAL MEDIA ALGORITHMS, MORTGAGE PAYMENTS, FAMILIAL RESPONSIBILITIES, NORMATIVE GENDER PRESCRIPTIONS, etc. all rope is into an intense INTERIORITY that is difficult to break free from. in essence our personal SUFFERING gets in the way of our ability to see through the bullshit and EMPATHIZE with one another. i have had the pleasure of working abroad in the developing world and i have long been struck by the strong communal ties therein. specifically in NIGERIA and MYANMAR there was a sense of being a valued member of a community (usually tribal) that went beyond one's INTELLECT, WEALTH or POLITICAL POWER. i often wonder being back stateside how much one's ECONOMIC STANDING plays into our sense of identity and ability to EMPATHIZE with one another. my instinct is that such is paramount. reading SEEK YOU: A JOURNEY THROUGH LONELINESS i was interested in hearing about that aspect but it never came up. i feel this graphic novel is a transformative achievement and something i will be revisiting and referencing from here on out. this review most definitely did not do justice to the length and breadth of the ideas presented therein, but it showcases where my head is at relative to it at this moment in time. i cannot advocate for this book strongly enough. it is PROVOCATIVE and deeply AFFECTING as it touches a subject nobody wants to acknowledge in AMERICAN society: the fact that we celebrate our ALIENATION and ISOLATION from each other and pay the price on the other end with devastating consequences. in my opinion SEEK YOU: A JOURNEY THROUGH LONELINESS is required reading. definitely wort checking out. photo & text by nacrowe
the graphic novel HERE (PANTHEON, 2014) by RICHARD MCGUIRE presents the narrative of a living room. it sis a unique narrative in that it is told visually from a fixed viewpoint over TIME. overlapping panels from varying points in TIME, from the prehistoric and precambrian through the future rising tides brought on by CLIMATE CHANGE to a future technologically advanced society.
what is created is an experiential PALIMPSEST. a PALIMPSEST is a painting in which an artist creates on top of an existing object or previous incarnation of the painting itself. what results are layers of meaning and interesting juxtapositions that require the viewer to make sense of these new connections. in HERE, MCGUIRE is essentially playing with concepts of IDENTITY and MEMORY as told through TIME. dinosaurs, sharks, native americans, modern families and the like have all LIVED, FOUGHT, LOVED, DIED and experienced full lives in this PHYSICAL SPACE. what shines through in this graphic novel is the concept of IMPERMANENCE and how our MORTALITY repeatedly inculcates in us a sense of stewardship over our surroundings. or at least it should. in BUDDHISM there is a mindset that everything and anything is in a constant state of TRANSFORMATION, of BECOMING. as humans we are only temporarily utilizing the molecules and atoms that make up our physical being and long after we pass on, much like the stars that created this matter, there will be further physical objects and manifestations utilizing said atoms ad infinitum. its a humbling concept and put the blip that is your lifespan and lived experience in proper PERSPECTIVE, against what your mind and body tell you otherwise. it also makes you consider the true implications of your individual CHOICES and how such will impact future generations. HERE is a deeply affecting graphic novel that has a MINIMALIST AESTHETIC with a deep impact. it effectively translates how our collective experiences over TIME unite us all and bind us. i found this book to be a deep meditation on the physical world and our place within it. HERE is definitely worth seeking out. photo & text by nacrowe
its interesting, the life narrative of legendary COMIC BOOK artist JACK KIRBY is not all that dissimilar from early BLUES and ROCK N ROLL musicians: that being the story of EXPLOITATION. in KIRBY you have an artists who basically created the vocabulary of modern COMICS and was shafted every step of the way by those (i.e. DC and especially MARVEL) who profited mightily from his talent and labor. it is almost tragic in a sense that he wasn't worthy of respect by his employers, before you stop to consider that he is probably the most beloved figure in the history of COMICS. more so than even his former collaborator STAN LEE.
the documentary JACK KIRBY: STORY TELLER (SPARKHILL, 2007) really gets at the man behind the pencil, as lovingly recounted by his family, assistants, close friends and admirers. what emerges is a touching portrait of a scrappy son of ORTHODOX JEWISH immigrants from AUSTRIA who used his untrained talent to claw himself out of both the GREAT DEPRESSION and a life barely above subsistence in LOWER EAST SIDE tenement housing that he was hellishly raised in. the man had drive and a work ethic bar none. during his peak in the 1960s he would often work 14 hours a day. every day. weekends. holidays. the man did not quit and was determined not to have his growing family have to suffer the difficulties he did in his youth. it was also the ethic that made him susceptible to taking on bad contracts and being paid below his worth. and just so we are clear, his worth was immeasurable not only to MARVEL but to COMICS as an industry. its not a happy story outside of the fact that he was able to meek out a living and had a close, loving family. and the respect of not only writer and artists who came after him, but interestingly as the film points out, those also who came before. the film recounts how he was generous to a fault, giving away quick drawings to fans and admirers alike. MARVEL was not the same way. KIRBY worked until his passing in 1994 and was never allowed access to his original drawings from MARVEL, who have gone on to franchise his creations into movies as well as license such in countless merchandising efforts. but that is CAPITALISM i suppose. all's fair in LOVE, WAR and COMICS. the dude deserved better and at least there is some hope in the fact that in the 1990s through IMAGE COMICS the industry was permanently shifted. much like those players that played before collective bargaining was established in BASEBALL, KIRBY was not able to benefit from such progress, but at least he lived to witness such change. photo & text by nacrowe
THE MINDSCAPE OF ALAN MOORE (SHADOWSNAKE, 2005) is an unconventional documentary in that it is essentially an extended monologue by which the legendary BRITISH COMIC BOOK writer (of V FOR VENDETTA, THE WATCHMEN and FROM HELL fame) recounts his beliefs and philosophies regarding the sacred and transformative power of the written word.
raised in the dreary MIDLANDS factory town of NORTHAMPTON, MOORE presents a bleak picture of a dreary landscape where his childhood ambitions and imagination went decidedly internal and eventually provided the key to his physical, external escape from an arduous life of hard labor like those of his parents and neighbors. in his worldview, external structures and organizations like schools, governments and religions are tools of mental and emotional indoctrination with their own aims and agendas, often ECONOMIC, leading the way. interestingly, MOORE brings up this notion that SPIRITUALITY through western PAGANISM promotes an outlook that takes into account the complexity of the NATURAL WORLD and our interconnected and interdependent position within it. this is in direct confrontation with that of stewardship model often promoted through CHRISTIANITY, which entails a sense of hierarchy and ultimately disconnect from our surroundings and our effects upon it. its an interesting take and very reminiscent of traditional HINDU belief systems ive come across over the years. i think this documentary serves as a decent primer into the world of his writings, which often feature dystopian landscapes and oppressive, autocratic political systems that serve to squash human CREATIVITY and VITALITY. you get the sense from listening to MOORE that the written word is something sacred and eternal that cannot be dismantled unless we consent to it. for language and communication is an internal process and it is only when we consent to altering our self-image through manipulations in language that we give away our personal and collective sense of IDENTITY and INDIVIDUALITY. it makes even more sense when you consider the current stateside political climate and the lengths to which the right will attempt to attack SYMBOLS, WORDS and CULTURAL MARKERS. they arent dumb. they well know that these vehicles each communicate ideas and ideas are dangerous to an authoritarian. would be so interested in listening to him talk about TRUMP and the modern radio/podcast/television echo chambers and their assault on language and how such corrupts our very sense of self-perception. photo manipulation by nacrowe
i was most definitely not raised on COMICS. as a young child i read CALVIN & HOBBES but that was about it. in fact, its only been in the past few years since returning stateside that ive really dived in headfirst into the weirder world of the genre and all roads seemed to point at SCOTTISH writer GRANT MORRISON. specifically his more personal work in THE INVISIBLES, ANIMAL MAN and DOOM PATROL series.
GRANT MORRISON: TALKING WITH GODS (RESPECT FILMS, 2010) is essentially a documentary made up of several sit-down interviews with the writer discussing his upbringing and influences. essentially he was raised as a child of the cold war with palpable fears of nuclear annihilation that COMICS helped him escape from, specifically those with super powers that had the capacity to neutralize such massive threats. his father was an political agitator who was very much against SCOTLAND's role in NUCLEAR PROLIFERATION and its harboring of the TRIDENT MISSILE DEFENSE SYSTEM. so that sense of existential dread and loss of agency was part of his nascent sense of identity. fast forward to attending a GLASWEGIAN all-boys school for his teen years and his sense of isolation only furthered his relationship with reading and creating his own narratives in regular school published COMIC STRIPS. what interested me about his life's narrative is after he became established with the BATMAN vehicle ARKHAN ASYLUM, which allowed him the economic freedom to eventually pursue his THE INVISIBLES series. in essence, once he was financially independent he decided to travel and experience as much as possible. those excursions abroad allowed him to experience various modes of existence in terms of chemical, spiritual and gender manipulations that were beyond what his SCOTTISH identity would allow back home. it is that exploration that he threw into his work. as someone who spent the better part of a decade living abroad on five continents, i understand completely the sense of not being able to escape yourself and the sense of being connected to many, but essentially alone. i get understand that intimately and that sentiment very much resonated with me. i find it interesting that upon meeting his partner he now resides and works comfortably back in SCOTLAND. that sense of leaving only to return but with a new appreciation. what i found less interesting was all the talk of magical thinking from MORRISON himself as well as those of his numerous peers that are interviewed in the film. MORRISON is not the first or the last person to sprinkle in autobiographical nuggets into his elaborate fictional worlds. maybe the everything ALEISTER CROWLEY and MAGIK related is a BRITISH obsession that doesnt translate to an AMERICAN audience. it just came off like tedious nonsense, like running into "ghost hunters" from STATEN ISLAND. you just nod and keep walking, preferably fast. i thoroughly recommend this documentary to anyone interested in TRANSGRESSIVE and thought-provoking art or literature. MORRISON is most definitely worth the effort of further investigation, especially THE INVISIBLES which is a personal favorite of mine. no wonder THE MATRIX ripped it off. photo manipulation by nacrowe
the story of writer CHRIS CLAREMONT and his relationship with the X-MEN franchise is very much synonymous with the struggle between ART and COMMERCE. the documentary CHRIS CLAREMONT'S X-MEN (RESPECT, 2018) is effectively his accounting of that struggle.
originally a college intern to STAN LEE, CLAREMONT early in his career as a writer at MARVEL was handed over carte blanche control of a newly created but struggling franchise. interestingly, X-MEN was originally devised a means of exploiting an emerging global fanbase of comics enthusiasts with international mutant characters. under the guidance of CLAREMONT, as well as his enthusiastic and supportive editors and collaborators in LOUISE SIMONSON and ANN NOCENTI, came up with an expanding cast of characters that were both relatable and inclusive relative to what was available at the time via DC and even the rest of MARVEL. this included numerous female characters that were not token "girl" team members and, get this, storylines that dealt with issues like RACISM and XENOPHOBIA. these plots often centered around psychological motivations and the sense that these characters were players in an ambiguous moral universe like, say, real-life! who knew such was even possible in COMICS? eventually 17 years into his run (which ended in 1991) the immense success of the franchise meant that CLAREMONT had to cease control involuntarily to new upstarts in JIM LEE and ROB LIEFIELD who made more palatable material that served the marketing agenda of MARVEL. this seems like an inevitability of sorts due to the nature of commerce. he literally created an economic engine that superseded his ability to control it. one thing i love about COMIC BOOK culture is the active engagement of its readership. believe me, they know when a franchise has jumped the shark or has been successfully transitioned into a new era by a knowledgeable, creative new WRITERS, ARTISTS and EDITORS. the tenure of CLAREMONT with X-MEN, which is such an anomaly given that such as so singularly identifiable with a single writer over such an extensive period of time, will likely always been seen as its heyday, before the corporate hacks and vultures took their stab at the corpse. i give the readership that credit. they know that X-MEN was the project of an auteur in CLAREMONT. someone who traded in narrative, character and emotional depth, not mere spectacle. ART versus COMMERCE. was there any doubt that COMMERCE would prevail? don't need some deep understanding of COMICS to figure that one out. photo & text by nacrowe
SEXUAL POLITICS is probably the most brutal aspect of being human. the ability or inability to attract a mate or companion and navigate the EMOTIONS, EXPECTATIONS and CULTURAL BAGGAGE that comes with the territory. as awkward as the subject matter can be, cartoonist JOE MATT practically revels in it with unflinching gusto in his autobiographical graphic novel THE POOR BASTARD (DRAWN & QUARTERLY, 1997), a repackaging of parts of his highly idiosyncratic PEEPSHOW series.
in essence this graphic novel proves the point that sometimes there really is such a thing as too much information. MATT presents himself as a shallow, sex-crazed egotist who is constantly seeking his embodiment of "perfect" woman that is obviously a figment of imagination. for all of his SELF-OBSESSION, STUNTED ADOLESCENCE and rampant IMMATURITY, there is a real pathos to all the insecurity he projects on womankind. this expectation of his of their physical perfection doesnt mirror in his own appearance or SELF-IMAGE, even in a comic that he controls. it is as if he wants us to know how pathetic his life is. reading his comics is highly uncomfortable yet instructive in that it makes the reader question his/her own motivations in the relationships her/he pursues. is MATT really that bad or are well all like him, seeking in others what is not in ourselves. is ROMANTIC LOVE inherently selfish? maybe. i cant say id recommend THE POOR BASTARD but if anything it is highly interesting. makes me want to red the comic from the perspective of his attempted conquests. itd be interesting to see these women see him. itd be interesting to see what EMOTIONS, EXPECTATIONS and CULTURAL BAGGAGE they project onto other potential love interests and what that says about them. maybe we are all similar? or maybe MATT is a true degenerate. photo manipulation by nacrowe
i am sad to admit that my introduction, like many AMERICANS, to the world of legendary underground BRITISH comic imprint 2000 AD, was that dreadful SYLVESTER STALLONE JUDGE DREDD (HOLLYWOOD, 1995) film. needless to say i didnt pursue the comic at the time. i dont think i was alone in that.
a few years ago when i rediscovered comics, and by that i mean mostly ALTERNATIVE COMICS, i finally came around to learning about the long-running BRITISH magazine which led me to the excellent recent documentary FUTURE SHOCK! THE STORY OF 2000AD (DEVIANT, 2014). this film definitely felt like a labor of love, with notable participating interviewees including past artists like CARLOS EZQUERRA, BRIAN BOLLAND, DAVE GIBBONS, GARY ERSKINE, HENRY FLINT, LEE GARBETT and STEVE YOEWELL, writers such as JOHN WAGNER, ALAN GRANT, NEIL GAIMAN, IAN EDGINTON and GRANT MORRISON, EMMA BEEBY and editors including PAT MILLS, DAVID BISHOP and ANDY DIGGLE. and that is the truncated list of interviewees. it really is quite overwhelming. what i found most interesting were the roots of the magazine, which grew out of a milieu of genre specific cartoon magazines written for young boys. founding editor PAT MILLS found his original ACTION comic censored for its violence so he ingeniously reimagined and rebranded such as a SCIENCE FICTION magazine, and importantly kept the violence, and thus 2000 AD was born. its pretty funny that such worked, given that it was somehow palatable and morally passable for the censors to see MUTANTS and ROBOTS being mangled, trampled, dismembered, tortured, drowned, and blown to bits. so long as it wasnt humans. i also found it interesting the convergence between the magazine and the BRITISH PUNK ROCK movement of the late 1970s, with the JUDGE DREDD character both a reaction and a commentary on such at the time. in essence he was the ultimate authoritarian figure crushing the perceived opposition, of which the PUNKS were an implicit target. it was ultra-violent and tone perfect for an era and generation questioning authority figures and the relationship between the governed and the government. and in essence that sense of questioning boundary lines in society and culture is what makes the magazine still relevant, and arguably very BRITISH. that subtext is also what differentiates it from its AMERICAN brethren and readership, who often expect clearly righteous figures and dont appreciate moral ambiguity. an interesting point made is how the 2000 AD model has over time found its way into AMERICAN popular culture with former fans writing, directing and acting in films more aligned with the later's outlook rather than the former. even musicians such as GEOFF BARROW of PORTISHEAD and SCOTT IAN of ANTHRAX are interviewed about how this active questioning of the status quo was what he got out of their fandom as kids. thats pretty cool that their readership included a legion of active, and not passive, creatives. so yeah, this was definitely a worthwhile film and will serve as the basis for my further investigation into the world of comics, even those i'd hitherto not considered, like JUDGE DREDD. pretty cool. most definitely worth investigating if you are interested in the intersection of ART, WRITING and even MUSIC in modern BRITISH culture. photo manipulation by nacrowe
legendary FRENCH illustrator JEAN GIRAUD, a.k.a MOEBIUS, is universally renowned for his singular mind-bending, often metaphysical visual work that has resulted in iconic work in BLUEBERRY, HEAVY METAL, ARZACH and THE INCAL as well as set/production design for HOLLYWOOD films such as ALIEN (BRANDYWINE, 1979), TRON (DISNEY, 1982) and THE FIFTH ELEMENT (GAUMONT, 1997). MOEBIUS REDUX: A LIFE IN PICTURES (ARTE, 2007) was filmed a few years before his passing and includes interviews with notable past collaborators such as ALEJANDRO JODOROWSKY, DAN O'BANNON, STAN LEE, H.R. GIGER and PHILIPPE DRUILLET as well as acolytes such as MIKE MIGNOLA and JIM LEE.
i feel a bit under-equipped using only words in an absolutely vain attempt to describe the sublime work of MOEBIUS, which often depicts figures dominated by their landscape, whether impossibly dense or oppressively empty. his visuals have a metaphysical element that seamlessly invites the viewer to imagine themselves as being an active participant in the narrative. the scale and scope as well as the attention-to-detail is unlike anything ive witnessed reading GRAPHIC NOVELS in the past. its a singular experience. i think what made this documentary interesting was how it presented this industry giant as a soft-spoken recluse, even amidst the recollections of his celebrated, and arguably more famous, past collaborators. this is said to be rooted in his youth, where he drew feverishly alone as his mother was often away working as a single parent. this solitary work he pursued was a behavior that MOEBIUS fully admits resulted in the hurt feelings among friends and family over a lifetime. it makes you think of the time spent away by past WRITERS, ARTISTS and POETS alike. obviously this documentary is well worth investigating if you have any interest in GRAPHIC NOVELS or TRANSGRESSIVE ART in general. i think it is also worth your time if you are interested in the nature of genius and the art of collaboration. it is an interesting dynamic that MOEBIUS' most celebrated work are those projects for which he collaborated so effectively at, given his solitary nature. should also mention that the evocative score for this film was composed by KARL BARTOS of KRAFTWERK. photo & text by nacrowe
i remember years ago watching an early season of THE WIRE with my father, who was born and raised in BROOKLYN, when in frustration he emphatically stated "why am i even watching this? i KNOW these people!" with the exception of the first part of that sentiment, such was also my experience reading MEGAHEX (FANTAGRAPHICS, 2014) by TASMANIAN cartoonist SIMON HANSELMANN.
dealing with characters MEGG and MOGG, a stoner witch and her feline companion, and their many anthropomorphized animal companions; this series has more to do with SUBURBAN MALAISE and the entertainment gained from individual degradation than anything else. its nearest analogue i could think of were REALITY TV shows like KENNY VS SPENNY, JACKASS or maybe even the scripted TV comedy IT'S ALWAYS SUNNY IN PHILADELPHIA. i couldnt help but come to the conclusion that these characters were the type of parasitic people i avoided in high school and beyond. they are all vampires that seek to suck out your life force and cannibalize each other emotionally. thats not to say MEGAHEX isnt astoundingly inventive and entertaining. and shocking, with all the PSYCHOLOGICAL DAMAGE that comes with the constant PHYSICAL, EMOTIONAL and SUBSTANCE ABUSE found in these panels. HANSELMANN has a colorful, almost cartoon-like style that when coupled with sparse dialogue really makes the MALICE and sheer DEPRAVITY of his character's ugly actions shine through that much more profoundly. its an interesting juxtaposition that doesn't led up throughout this collection of the series first three seasons. if you are a fan of all things transgressive, then this is the comic for you. it is not for the faint of heart and im very much looking forward to reading further collections by HANSELMANN. |
NICHOLAS ARCHIVES
May 2024
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