5 For Friday – Post Thought Bubble Special!
November 20th, 2015
I might have come away from the Thought Bubble comics convention with a terrible hangover and an overwhelming desire to have a proper rummage through the back issue bins, but I can’t say that I came back short of good zines, great comics and better memories.
Here are five of the most exciting books I picked up last weekend…
1. Jonathan Chandler – Another Blue World (Breakdown Press, 2015)
At last Saturday’s SILENCE! x Breakdown Press interview panel, Jonathan Chandler was discussed as an artist who had staked out territory similar to that which Brian Chippendale had occupied but who had got there before it became a trendy holiday destination for art house cartoonists.
I’m not familiar enough with the man’s work to debate these claims, but reading Another Blue World what struck me was how important Chandler’s elusive sense of space is to communicating this particular set of hostile environments:
It’s not so much that Chandler is limiting what the reader can see to a few tufts of grass or a short stretch of water around his characters that makes his work stand out, more that he seemingly feels no pressure to fill up blank space on the page.
In a Brian Chippendale comic we might find ourselves feeling overwhelmed by the amount of detail, struggling to distinguish signal from noise whether we’re faced with the tiny cramped panels of Maggots or the wider canvases of If’n Oof or Ninja. In Prison Pit we are confronted blocky horror after blocky horror, but we know that this grim escalation will follow proceed through the sort of absurd escalations that are Johnny Ryan’s speciality.
Reading Chandler’s work, meanwhile, we are confronted with an eerie silence. All around us, we find unreadable white space, all of it primed with danger. Forms approach, assaults are perpetrated, sex is weaponised, but we can never be sure whether things are going to get worse or just sort of hang there:
I might crave for something beyond this harsh replication of animalistic imperatives, but there’s no denying that Another Blue World makes them painfully vivid.
5 for Friday: Travel Is Dangerous
November 6th, 2015
It might seem counterintuitive to name a post about transport, technology, and the different ways we imagine ourselves hurtling into the future after a Mogwai song, but remember: I’m a life-long pedestrian, so like Mogwai I plod along at the side of your automated adventures, only occasionally encountering the violence of twisted metal or getting caught up in the wakes of your passing.
Ahem. Anyway, where was I going with all of this…?
1. Mad Max Fury Road
Oh yes. Here. Always here. If you were lucky, perhaps you woke up one morning this summer after your second or third showing of Fury Road to find Brother Bobsy perched on the edge of your bed whispering his Mad Max monologues straight into your dreams:
The Fury Storm sequence is key to the film’s intent, mapping a space unexplored by the previous Mad Max trilogy. Although climate change, nuclear summer, associated water/petrol resource crunches, and militarised neo-feudalism were all too predictable (or depressingly inescapable) from the perspective of the late 1970s, the history of cyberculture and networked existence went unforeseen. The Fury Storm rushes in to fill this chasm in Mad Max‘s rebooted version of tomorrow.
Imperator Furiosa nevertheless deliberately turns into the storm: eager not just for the camouflage, but the active tactical benefits it affords over her ill-protected pursuers: naked War Boys mistaking annihilation for apotheosis. It doesn’t matter how much they enjoy their lovely day, how they shout and confuse the heat of digital immolation for the light of false afterlife – the War Boys are getting torn into bits in there, while Furiosa and the Five Brides (plus Max himself) are only truly empowered to taste water and freedom after traveling through the storm’s event-horizon and its violent, chaotic multiplicities.
There are several contradictions built into the sort of immersive enjoyment of Fury Road that I’ve experienced – loving a movie that frames women as exquisite things while explicitly rejecting this worldview is complicated – but perhaps none are more fundamental than the sense of hope captured in the above paragraphs, this rapture of collaboration between bodies in a scenario where flesh and blood are just yet more commodities to be scavenged.
If you want to understand how director George Miller, Tom Hardy and Charlize Theron communicate such intense relationships through image and sound, Chris Ready’s your man.
If you need a more critical look at the film’s terminus point and treatment of the female passengers, the Kraken boys might make more suitable tour guides.
2. New roots for public transport
If you’re interested in identifying Fury Storms in our present moment in the hope of mitigating or better preparing for the bigger storms yet to come, you could do worse than read this Novara media piece outlining six meaningful ways we can work together to fight climate change now.
For the sake of this travel themed 5 For Friday, it’s the fourth option that’s most attention worthy here, seeking as it does to re-imagine the urban environment as a zone connected by free transportation (“There’s little need to burn fossil fuels to get around cities – if the right transport and energy infrastructure is in place”) and suggesting new sites of mutual struggle, such as those between environmental activists and public transport employees:
Opening up mass struggles for public transport also offers opportunities for alliances with transport workers – such as fare strikes/free rides, as pulled off by a collaboration between Occupy Wall Street and rank-and-file transit workers in NYC in 2012.
Developing and sustaining these relationships will no doubt make the spectacular coordination of Fury Road look like child’s play, but while you’d be foolish not to take the difficulty of a journey into account before embarking on it, that doesn’t mean that you should treat all difficult journeys as though they are impossible.
3. Autobanô
But maybe all of this talk of choosing your journey is just terribly outdated, what with automatically driven cars assembling in a secluded car parknear you right now. While the possibility of robots taking the jobs of professional drivers provided a new front for the debate about the relationship between automation and the world of work, it was this article on the ethics of programming cars to kill is the one that’s taken me captive.
The key line, for me:
People are in favor of cars that sacrifice the occupant to save other lives—as long they don’t have to drive one themselves.
In contrast to the toxic, dust-filled landscapes and radiation scoured pageantry of Fury Road, this suggests a very clean, carefully managed sort of dystopia. Think Cosmopolis as invigorated by J.G. Ballard – a future in which an elite class is driven around from one anodyne, too-easily diagrammed space to another, protected from the lower classes who populate the space in between by the clever programming and sturdy construction.
Action sequences in which driverless cars are programmed or hijacked have been part of our fiction for a while now, but for all my apocalyptic pulp rhetoric it’s the solidification of common human reactions that’s most unsettling here. We can perhaps understand people who make split-second decisions to put themselves first, but to specifically program a car to plow into a crowd of strangers in order to protect one passenger, to reproduce these survival instinct as code, to make them marketable… all of this is far harder to feel at ease with, for this pedestrian at least!
4. Rumble Strip
That diagram of different crash scenarios burned itself onto my eyes the first time I saw it, overlaying its emotionless reductions of life and death scenarios onto my everyday experience. It took until my vision had cleared for me to realise that I’d been here before:
As Bobsy (yeah him again!) said back at the time of Rumble Strip’s release:
…the visual language of roads, the set of consensual signifiers that give punctuation and meaning to the otherwise meaningless grey expanses, the easy-to-read fluency of the roadsigns and road-markings, the minimalist and directly unambiguous design principles they adhere to – are an almost too-perfect subject for interrogation via the comicbook medium.
The three previous entries in this post have dealt with where we might be going, charting alternate destinations for our journeys. Woodrow Phoenix’s Rumble Strip is something else entirely – a lucid expression of the journey as we experience it now.
5. No DeLorean
As Marnie Stern fan #1, I’m duty bound to say that she gets a pass on Back to the Future nostalgia for life, but everyone else could do worse than read this post on fake geek guys, hoverboards and how the obsession with technological commodities in the Back to the Future drowns out any consideration for how its fetishised future would have been built and by whom.
This might seem to be beside the point – the people who made those movies knew their way around a product, after all – but since we’re not exactly lacking in signs pointing us towards that sort of future, we should stay mindful of other possibilities.
After all, they may just end up taking us beyond our current limitations, to somewhere we’ve yet to imagine.
5 for Friday: It Is Happening Again
October 30th, 2015
1) Smoker of the future
Public service broadcasts have a long and brutal tradition of scaring the piss out of unsuspecting viewers. Often these informative warnings serve as micro-horror films of the highest order, utilising cutting edge film techniques and imaginative methods to get their hard truths across. Many a child was scarred by early exposure to these nightmarish visions of EC Comics like karmic justice, dealt by an uncaring universe.
The one that I could never, ever shake though was this one – ‘The Smoker of the Future’, a truly mindshredding antismoking advert that is like Hieronymous Bosch by way of Ridley Scott. It features one of the most terrifying monsters ever depicted on the small screen – that of an addict, mutated by their habit into something guaranteed to never, ever leave your memory. Brilliantly shot, bafflingly intense and truly horrific:
2) Moomin Groke
Tove Jansonn’s Moomin mythos is full of weird and wonderful creatures, that all hover right on the cute/scary borderline. Lovely, whimsical stories cut with an Scandinavian idiosyncrasy that gives them a unique and wonderful flavour. The Polish TV puppet adaptation from the early 1980s captured this flavour perfectly. But then. Then. The Groke. Oh god, the Groke. Those blank eyes, that shuffling, amorphous form. Moving ever closer, bringing frozen death with her every breath. Hide. Hide from the Groke.
3) Enigma of the Amigara Fault
Check it out here
4) Tuck Me In
This brilliant one minute horror film did the rounds a while back but it sure packs a punch. Masterfully economic, it manages to be scarier than most mainstream full length horror films whilst also playing on parental fears expertly. Best not to say too much really. Just watch it.
5) The Grandmother
Seeing as Lynch is making a high-profile return to our screens soon (although not soon enough dammnit!) it only seems fair to dedicate some time to the master this Halloween. Thr Grandmother, his 1970 short film is a gruelling textural experience of alienating horror. Or is it a lovely story about a neglected boy and the special love that a grandparent can offer? It’s both, of course! Bringing his incredible sound design and visual imagination into play, before embarking on the opus of Eraserhead, this half hour film is pure, unadulterated nightmare fuel. Imagine stumbling across this on TV late one night, and then imagine never sleeping properly gain. No-one can make you feel as queasy or unsettled as Lynch. Pretenders have tried, but watch this and realise what watery gruel they offer when up against the original.
Happy watching Mindless Ones.
