Amoeblog

Ghost Blogging: Ghost World Roundtable

Posted by Charles Reece, December 27, 2009 08:48am | Post a Comment
ghost world hard back

I guess I should've posted a link to the entertaining Ghost World roundtable that I participated in over at Noah Berlatsky's Hooded Utilitarian. A fun time was had by most, if not all. It begins here.

This American Strife: Animation from Chris Ware

Posted by Charles Reece, June 7, 2009 09:56am | Post a Comment
I finally caught up with the cartoons Chris Ware has been doing. I was avoiding them because of their association with This American Life, a show I hate. The narcoleptic punctuation of host Ira Glass makes me want to slap him on the back of the head. With the show's tempo, it's like being trapped for an hour with a bunch of Dave Eggers' readers in an elevator designed by Errol Morris. And the cutesy stories of irrelevance make a good argument for Maoism. Ugh. Anyway, here's some good artwork (sound is advisedly optional):







Watchmen (2009): Some Arguments about Design

Posted by Charles Reece, March 14, 2009 11:32pm | Post a Comment

The Impotent God Snake

I love discussing issues of time in comics and film, so Zack Snyder's Watchmen makes for a good opportunity to reflect on its relation to both media. I'll be returning to this sometime in the future. For now, I'm going to stick to a few problems with Alan Moore's conception of Doc Manhattan that the movie doesn't do much to improve on. There is one improvement, though, namely the Mjölner-sized hammer he has hanging between his legs, befitting a puny scientist resurrected as a god. Dave Gibbons merely gave him the statistical average. The Doc can create anything from anything else -- perhaps ex nihilo, if you believe in miracles -- and exists in all points in time simultaneously. One can't get more virile than absolute mastery of matter. However, even though he can still sexually please his woman, he's ontologically impotent-- everything already existing as it was/is/will be, independent of his will. His control of matter is constrained by the deterministic course of the world. Thus, the fact that we never get to see the hammer of the gods raised on camera is a telling sign of his lot in existence (as well as the failure of our last, best chance to see expensive CGI-porn). While Doc's attending the Comedian's funeral, he's shown to exist in Vietnam, where the latter murders a girl who's pregnant with this child. The girl, like the Comedian, is already dead to Doc, so he stands by flaccidly and "lets" the murder occur. When Doc voices concern, he gets a moral lecture from the most nihilistic of the bunch:

Continue reading...

OVERBITES, BELLIES & BIG BUTTS

Posted by Charles Reece, December 13, 2008 10:05pm | Post a Comment
One of my favorite comics artists, Dave Cooper, provides the artwork for a new music video, which looks great -- but I warn you, mute the sound:


Danko Jones - King Of Magazines from Bad Taste Records on Vimeo.

Which came first, the love of comics or the big butt fetish? Anyway, comics work doesn't pay for shit, so Cooper now does illustration work and stuff like the above.

Here are his comics in the 'el' series, all of them as good as pop culture ever gets. They're perverse in the best sense of the word [click to enlarge]:



Note that body conscious David Cronenberg wrote an intro to Ripple, so that should tell you something about Cooper's brand of humor. Some of his oil paintings [click to enlarge]:



Here's his new website, which doesn't have much on it, yet, so here's his old site. And here's an interview with the man by Patrick McKeown, another great comics artist who rarely does comics.

Joker's Wild, or Batman Degree Zero: The Dark Knight (2008)

Posted by Charles Reece, August 10, 2008 10:36pm | Post a Comment
The Joker


There is an old story about a worker suspected of stealing: every evening, as he leaves the factory, the wheel-barrow he rolls in front of him is carefully inspected. The guards can find nothing. It is always empty. Finally, the penny drops: what the worker is stealing are the wheelbarrows themselves ... -- Slavoj Zizek, p. 1, Violence

I just happened to start reading Slavoj Zizek's new book, Violence, shortly after I saw Christopher Nolan's The Dark Knight and found both to serendipitously complement each other. Zizek begins his book with the little tale of theft quoted above, which he uses as a grounding metaphor in analyzing our approach to violence. Too often we're concerned with its subjective effects (who was hurt and by what, i.e., what's in the wheelbarrow), rather than its objective status (the symbolic order that gives form and definition to the violent act, i.e., the wheelbarrow itself). For example, an anti-semitic remark doesn't constitute hate speech -- isn't violent -- for a Nazi who exists in a context where "the Jew" is defined outside of humanity, and thus moral concern. It is the functioning symbolic order that allows everyday people to exist in a system perpetuating violence on others without seeing how their own normality is defined by what it violently excludes. This is what the Joker is getting at when he says to Harvey Dent:
 
Nobody panics when they expect people to get killed. Nobody panics when things go according to plan, even if the plans are horrifying. If I tell the press that tomorrow a gangbanger will get shot, or a truckload of soldiers will get blown up, nobody panics. But when I say one little old mayor will die, everyone loses their minds! Introduce a little anarchy, you upset the established order, and everything becomes chaos. I am an agent of chaos. And you know the thing about chaos, Harvey? It’s fair.
 
Sure, we (represented here as Gotham City residents) might see the gangbanger's death as violent, but always as subjective violence, an act by an individual on another individual, not as a sign that the cultural system itself is violent. The difference between the violence against a gangbanger and against the mayor is that only the latter is perceived to be a threat to the normal order of things, whereas the former is already written into the cultural bill as the price of doing business as usual. The Joker is an agent of chaos, because he's the embodiment of pure objective violence. That's why he assures Harvey that killing his girlfriend, Rachel (Bruce Wayne's love interest, as well), and leaving him horribly disfigured as Two-Face was "nothing personal." As such, the Joker's actions can only be read as chaotic, senseless, or just plain nuts. He doesn't put Gotham's citizens (including its criminals) through a series of terroristic spins on the prisoner's dilemma for personal gain, revenge or as the result of some childhood trauma -- he's an ascetic without a real history. Rather, his only goal and source of pleasure is in making his victims face up to the abstracted violent substructure around which their culture is configured. Sounding like Jack Nance and looking like he's spent time in A Clockwork Orange and Ichi the Killer with fashion tips from Malcolm McLaren, the Joker provides a scarred face to the invisible logic of capitalism, with cracking make-up and a forced smile. He's pure desire without an object, paradoxically making the impersonal personal and invisible visible. Regarding this invisible and "fundamental systemic violence of capitalism," Zizek writes:
 
[M]uch more uncanny than any direct pre-capitalist socio-ideological violence: this violence is no longer attributable to concrete individuals and their "evil" intentions, but is purely "objective," systemic, anonymous. [Some stuff about Lacan's Real versus reality that I will spare you.]  We can experience this gap [between the reality of people and what's being defined as reality by the logic of capitalism] in a palpable way when one visits a country where life is obviously in shambles. We see a lot of ecological decay and human misery. However, the economist's report that one reads afterwards informs us that the country's economic situation is "financially sound" -- reality doesn't matter, what matters is the situation of capital ... -- p. 12-3, ibid.

Stocks wouldn't keep rising for a corporation that exploits third-world misery if that repressed misery took on a subjective quality for the investors. For capital to keep growing, said misery has to remain purely objective, an abstract cost that's been symbolically excluded out of our day-to-day concerns. The Joker is the same unbounded desire that drives capitalism. Without any object or goal to satisfy him, he exists outside of our rational system and can only be stopped with violence. He can't be beat, however, only beaten, because the solution to the problem he presents is the problem itself: repression of systemic violence. (Batman once tried to reason with him -- understand him -- in Alan Moore's The Killing Joke with miserable results.) At best, Gotham City can return to the status quo by forgetting him -- define him out existence as insane and lock him away in its local Id repository, Arkham Asylum. Or they could kill him, but Gotham's local hero of repression has only one rule: he doesn't kill.
 
The Batman

<<  1  2  >>  NEXT