April 6th, 2016
Or: We are all of us in the shadow of the dicktree – by Kelly Kanayama/Maid of Nails
“Imagine out of all the gigs in town, right? You’re thinking — how hard can it be to stare up at the stars every night for a living?”
Those are the opening lines of Nameless, the most unsettling comic I’ve ever read (including a bit of Crossed, which didn’t unsettle so much as rub garbage all over your soul).
With the introduction of an astronomer who murders his family and scrawls mysterious words on the wall in their blood, we soon find out exactly how hard it can be to stare up at the stars every night. The stars, where J’onn J’onzz made his home, where the guardians of Oa hold court, from which Superman crashed into our world to help us believe a man can fly. Staring up at the stars is an act of hope, and in Nameless, for the most part, there is none.
You think, for instance, that people are dismembering each other with their bare hands, faces smeared with blood and human filth.
The doctors explain it was only a dream; it was all in your head.
What happened outside your head — when you were outside your head — is much worse.
July 2nd, 2015
The five people who are eagerly awaiting my book on Grant Morrison and Chris Weston’s pestilent fantasy The Filth will note that the book has still not been released yet.
That I have failed to finish this project in time for the release of the hardcover edition of The Filth will surprise no one who has retained interest in the project for this long. The fact that said hardcover contains just the bare minimum of fresh material – a script for issue #6, some sketches that make the book even more difficult to read on the bus, the reheated contents of the charmingly crap Crack Comicks website – will also fail surprise anyone with a basic understanding of both comics and capitalism.
Good little enemy of the entertainment complex that I am, I paid to consume The Filth for the third time anyway. The hardback edition simulates the glossy colouring of the single issues rather than the battered bog roll of the trade paperback. It offers the reader a sense of solidity, of lasting luxury, that the previous editions lacked.
The Filth is a disgusting, slippery mess of a book. As Terrance Moreua said in the comments to one of my preview posts:
The visual grammar of The Filth is all over the place. The discontinuity being part of the point, of course. There are times when it seems to be Morrison’s script callouts (the tv cameras) and times when it seems to be Weston (background texture effects, etc) and times where it’s really fucking hard to tell (the goddamn photoshop transform tool effect to signify getting squeezed into the crack, or getting your personality fucked with in psychedelisex)…
Essentially, I find The Filth to be textually rich, garishly colored, expressively acted, disgustingly rendered and more. But comparatively poorly composed. I think there are too many components fighting for interplay. And while that’s part of the larger point, I think a little less noise and little more signal would have heightened the contrast between the two much better.
January 9th, 2015
And we’re back… after a poorly coordinated Christmas break that was brought to you by the combined powers of sickness and having other stuff to do!
Our previous excerpt dealt with the methods of production of pornography and ended up questioning The Filth‘s efficiency as a way of dealing with the muck of modern techno-capitalism or some such shite. This excerpt picks up right where that one left off, almost like this is what I’ve been building to all along – the question of whether the only way to discuss the muck we live in is to live with it
Were there alternatives? When challenged by Greg/Ned on the horrors of the world and his role in it, Palm supervisors Man Green/Man Yellow seem to suggest that as products of this world we do not have an option about how much of it is in us:
Man Green: The crack runs through everything. And everyone.
Man Yellow: Without it, we would be perfect, like angels, and as dull.
Convincing as this rhetoric might sound within the story, there were alternatives – different Filths were possible, and which might even turn out to still be possible if Hollywood ever gets desperate enough to commission a big budget adaptation. Unless a work of art is created at gunpoint or under duress we should be ready to heap scorn on those who claim that they had to write the rape scene. Nevertheless, the question remains: would The Filth be as effective as it is if it didn’t contain what it tries to critique? The medicinal metaphor is invoked throughout the packaging of the collected edition (“The experts agree — nothing is more effective for shrinking painful existential eruptions”), but while this is yet another stimulating comparison, one should be careful not to mistake it for reality – a story is not an inoculation against other (similar/worse) stories, no matter how much we might wish it were so.
Two parallel cases present themselves within The Filth, and though they occur in the world of the story rather than in our world and thus operate by the boundaries set by its creators, they nevertheless illustrate two extremes The Filth avoids and in doing so make a limited case for its methods.