Material #1-4: Breaking Free
October 28th, 2015
A few thoughts on Material, a prematurely cancelled comic by Will Tempest, Tom Muller, Ales Kot and Clayton Cowles that feels like it’s worth not just reading but talking about – and maybe even continuing?
!) IT’S ABOUT TIME
Like so much contemporary mass media, Material seemed aware of its readers’ ability to act as biocapitalist broadcasting stations, trusting that they would work harder and smarter than Image comics’ marketing department – that its readers would talk about it on podcasts, write essays, send enthusiastic tweets, anything to try and share the experience of it. Its methods of going about this was somewhat obvious but effective: the comic lectured you, provided prompts for further reading, tried to link scenes in the comic to other texts, be they topical text pieces in the back of the comic or the names and references scattered in the margins.
Even while it was still being published, then, Material seemed to revel in its status as an incomplete text. The art echoed this approach, with with Will Tempest’s none-more-loose linework held together almost entirely by the carefully coded block colouring. It looked and felt like work-in-progress, and with the action currently suspended, its characters’ lives have that feeling too.
Everything in this book is material for the reader; the question is, how much work do you want to put in? How much do you want to let Material work with you?
As I’ve already said, by publicly engaging with the comic we become part of the marketing scheme, “self-facilitating media nodes” or some such Barley-bollocks. Is that all there is to it though? Value is fundamental to the idea of currency of course, and when you’re offering up cash on the promise of receiving a worthwhile experience it’s doubly hard to disentangle financial motives from your response, but that doesn’t mean that we should give in to the tautological worldview that says since everything can be sold it is best judged by its commercial worth.
Material‘s current status gives us pause to consider this question, temporarily free from questions of cash money and how to spend it. It brings the other questions of trust – is this going anywhere? is it just wearing the raw tragedy of the moment like a shiny new suit? – into the foreground.
Beyond The 4th World, with Jack Kirby: The Demon
March 23rd, 2009
Jack Kirby’s much lauded return to DC comics is best remembered now for his monumental 4th World proto-epic. Its fate and subsequent rescue as a lost classic are now extremely well documented, and Grant Morrison’s recent Final Crisis was pretty much a love letter to Kirby’s grandiose and complex vision. But Kirby’s other later works often get lost in the mix, viewed by many as lacklustre work for hire; contract-fulfilment by a man crushed by the general apathy that greeted his masterwork. Simply not true. Whilst they may have not stemmed from the same visionary core that Darkseid and Co sprung from, it was virtually impossible for Kirby not to infuse even his most meagre creations with a manic, creative energy that still read like nothing else.