March 11th, 2014
Talking Comics is a highly irregular feature where I try to review a few new(ish) books with the help of my phone’s voice recognition software. It’s just like a regular comics review post except that it takes more mouth than fists to get it done on time, and is therefore far sexier than your average bloggy night on the town.
It’s also sort of like a bit of tech writing, except it’s even less useful to my future career as a failed magazine writer grumbling about social media in the corner of a pub on a cold Thursday morning.
Anyway, that’s enough warm-up for now. Onwards, to the reviews!
The Deleted, by Internet Villain Brendan McCarthy and Darrin Grimwood
Sex Criminals, by Chip Zdarsky and Matt “Matt” Fraction
LOEG: Nemo: The Roses of Berlin, by Kevin O’Neill and Alan Moore
Battling Boy, by Paul Pope and Hilary Sycamore
Multiple Warheads – Down Fall, by Brandon Graham
Dungeon Fun, by Colin Bell and Neil Slorance
That’s all we’ve got time for this week folks – don’t know if there’ll be any SILENCE! this week or not yet, but keep your eyes peeled because you never know what that amiable auld space god is capable of!
March 7th, 2014
- Trying out those samples is a bit like consenting to get poked in the eye repeatedly by a robot with a fistful of multi-coloured sticks, but I found it bearable on the short term and despite the fact that I’m a quick reader the upper speed there was definitely quicker than mine.
- Its effectiveness for prolonged use seems highly dubious for a variety of reasons that our good friend Andrew Hickey has already outlined behind closed doors at Mindless HQ – it’s not necessarily faster than some people’s extant reading speed, the stream of flashing red letters seems like a sure route to a headache, and their method of delivery ignores the fact that writing is composed and consumed in units separate from the individual word. Plus there’s also the fact that whole project seems not to take into the account the existence of blinking – I did a genuine lol when Andrew pointed this out to me.
- HOWEVER! I’m actually pretty fascinated by the thing for what it seems to me to be: a way to take in writing that is fundamentally different from the process of “reading” as we currently understand it.
- Without wishing to downplay the many differences between ebooks and their traditional counterparts, Spritz seems to me to be an order apart from both books and their digital equivalents in terms of the experience it suggests.
- The fact that Spritz takes the progression of time out of your hands/rendered it non-collaborative is not just a quirk but a ground-up realignment of the reading process. To state it plainly: Spritz obliterates the idea of the page or paragraph as constructed units, elides the difference between description and dialogue, and renders obsolete any other techniques the author may have used to arrange their chosen words.
- This process echoes and amplifies the experience of reading comics on a smartphone by dictating the amount of time you spend on any given linguistic unit while also limiting the context in which this encounter takes place. In both instances the compositional unity of the page is obscured, but this new(ish) method of reading comics preserves the reader’s input as to the flow and narrative density of time.
- Mister Attack described the experience as being like downloading a file instead of reading and he’s not wrong. There’s a slightly dated Matrix-porn aspect to what we can see of this app, a fetishisation of the idea that you too can learn kung-fu in twenty minutes without ever getting off the couch!
- What Spritz represents is a reduction of writing to communication – the writerly aspects of composition are only effective here inasmuch as they were already striving for the effect of information overload.
- There’s a potential for further reduction implicit in this first one, namely the reduction of language to mere commodity, to be valued purely in terms of the volume in which it is consumed – for extra marks, compare and contrast this with the different values words accrue by virtue of their usefulness to search engines.
- Spritz therefore seems most suited to the brute rush of “necessary” information to my eyes; certainly, anything that requires thought, reflection and inflection would prompt a bracing disengagement from the system. This encompasses both works of fiction and non-fiction, of course – neither having a monopoly on allusion or complexity or forward rushing exposition.
- All of this calls to mind the passages of Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction where he claims that new forms develop to achieve effects that old forms have been straining in vain towards - photography achieved things that realist painting was striving towards just by existing, film made easy effects that Dadaist art and poetry had been thrashing out at in defiance of the traditional values, etc.
- Bearing that idea in mind, is there a possible application of Spritz‘ effects in fiction? Can we imagine it as an extension or fulfilment of any existing forms? I can see an endpoint to/heightening of hysterical realism that would be possible using this form that exceeds the possibilities for reading, but many other styles of writing - from Emily Dickinson to Toni Morrison by way of Alan Garner - would be rendered aggravating or just plain useless here.
- I still don’t actually think this will work, but if it did work what would it do? The immediate possibilities seem depressing – bullshit “e-learning” initiatives, a constant stream of data flickering into your eye at work, “DO YOU SUBMIT TO THIS PROGRAMME?”, etc. Still, eternal optimist that I am I keep coming back to Benjamin and his attempt to imagine a radical potential in cinema. Given his efforts to imagine the automated flow of film being broadcast to a distracted public as a potential engine for communal agitation, the question occurs – is there any such potential in the Spritz app? Given that it has been developed for wankers’ glasses and e-readers and is therefore primarily an enclosed, solitary form of distraction, the most likely answer is “probably not” but I would greatly enjoy being proved wrong on that point, because the idea of there being yet another channel for commercial noise to filter through into my life without it adding much of anything is too fucking tedious to bear.
With thanks to Brother Bobsy, Mister Attack, Andrew “Andre Whickey” Hickey, Ad Mindless, Amypoodle, Cormac, Taters, and Kip Manley, all of whom helped me focus my thoughts on this topic via twitter and email.
April 1st, 2012
Don’t worry, despite the title, this isn’t an attempt to take on the SILENCE! boys at their own game – if I was trying to do that I would have sabotaged Gary Lactus’ spaceship while he was up visiting me in Scorchland, then suggested myself as a replacement for the podcast while “comforting” The Beast Must Die. What’s the point in playing if you’re not playing to win, right?
Talking Comics is an attempt to reanimate that stinkiest of walking corpses, the comics review post. Now I could have called in Mister Attack aka The Eurythmic King of Nowhere aka The Boy Fae the Heed aka Flippant She-Creature like I have the last couple of times in the hopes of making these grizzly bones dance, but I decided to place my faith in technology.
So: rather than writing reviews of last week’s comics the old fashioned way, with fists, I decided to speak my brains into twitter via my smart phone and see what happened. Unfortunately, since I’m a Scottish, and since the Scottish are natural enemies of voice recognition technology, the results are a little scrambled:
Daredevil #10, by Mark Waid, Paolo Rivera, Joe Rivera, Javier Rodriguez and Joe Carmagna.
See, told ya!