Domen Finžgar,
Stripburger 53 The Slovene Comic delay But the comics
language
isn't the only thing that is changing, the way we read comics has
changed, too.
For a full comics-reading experience, one needs an extensive prior
knowledge,
not just common knowledge, but knowledge about comics themselves. A
familiarity
with basic, classic comics is expected when reading certain comics
authors. At
this point we can discard the obvious references or, more
appropriately, homage comics, like the ones
referencing
Peanuts for example. The Peanuts characters and motifs appear in short
comics
by Art Spiegelman (Abstract Thought is a
Warm Puppy), Seth (Good Grief!) and
Chris Ware (Charlie Brown, Snoopy, Linus, Lucy, ...). In same
manner, we
can skip over the fleeting references about comics' scene in diary
comics by Julie Doucet (My As
far as comics'
language goes, 2009 was the year it took new courses. This development
was maybe
most obvious in Driven by Lemons (J.W.
Cotter, Adhouse Books) and Asterios Polyp (David Mazzuchelli, Pantheon) The former was recognized as
a
madman's diary by critics and was praised as one of the best comics of
the year
and best innovation since Chris Ware.
The comic book is indeed designed as a Moleskine
diary, to which a patient could scribble his thoughts. So the comic has
a bit
of everything - from heavy, condensed read that doesn't tell much,
similar to
thoughts that can be quite empty sometimes, to light, quick sequences
that can
be processed in few seconds. Along with the reading dynamic, the
graphic style
changes too. It jumps from meticulous pencil sketches to stacks of
black
sequences, obviously drawn very quickly. The storytelling side of the
comic
leaves us somehow unsatisfied in our expectations, as there's no
classical
drama triangle, just a series of seemingly unconnected events. But Cotter does not just serve the story on
a silver platter; it has to be woven by readers themselves. Driven
by Lemons transforms into a story
of a man on the verge of suicide (or did he already attempt one?) who
in the
end somehow manages to achieve his life goal. But at the same time,
author
suggests we're still talking about a lunatic whose ray of hope can
easily
become his most morbid thought. The feeling of anxiousness experienced
by
reader in the beginning of the story does not disappear when the
reading is
done, but perhaps is even more accentuated. Can this comic book be
described as
one of the best comics of last year? In
my opinion, the author
offers us an excellent starting point for comics' language that could
use some
completion in many areas. It can be said that we are dealing with a
prototype
of some sort, a work that shows us an idea of endless possibilities
comics
have. To be quite honest, a number of similar attempts have been
recorded. One
of my personal favorites among comics experimentalists is Dutch Stefan van Dinther, who in his comic The other comic
book of the
past year worth mentioning is Asterios
Polyp. The book was a bestseller even before it was published,
largely
because of its author David Mazzucchelli, (Asterios
Polyp is his first
album since City of The cases of Asterios Polyp and Driven by Lemons open
the question, what is the ideal ratio between
the story and graphical image. The answer is simple, in fact. If the
tendency
for equality of comics and literature exists (and is necessary), as
I've stated
in the beginning, then this equality should be consistent. It should be
realized that as much as there is diversity between different literary
expressions, the expression in comics is just as diverse. Stories that
were
once strictly classical now allow deviations from expected patterns.
And this
is just what the Abstract Comics collection
(Drawn and Quarterly, 2009) is all
about. These lyrical, experimental comics, mostly one pagers,
correspond more
to painting than they do to literature. On the other hand, Alan's
War (La Guerre d'Alan by Emmanuel
Guibert, L'Association, 2000-2008) somewhat puts the (otherwise
excellent)
drawings on the side. The story of a veteran of WW2 is executed as
masterfully
as any serious novel. As the author put it in the preface, the abridged
drawing
(the only drawn things are human figures and objects of importance,
made in
very interesting water drawing technique; sometimes the backgrounds
remain
simply white and empty) was intended for readers to fill the missing
parts with
their own mental images. The artist also states that the story was
drawn long
after the war was over, so certain memories remain hazy; only the most
important ones remain. These two radical cases do not only show that
some works
cannot be compared directly, but also that comics aren't being created
strictly
by comic artists, but also by painters and writers. Comics are becoming
an
object of communication in which writers back up an indescribable
emotion with
a picture, and graphical designer add words to similarly back up their
pictures. The latter thought leads us to the manner of thinking
advocated by Wostok. In his Mala
antologija turbo folk stripov (Turbo pekmez, marmelada:
pontonski mostovi, Forum, 2006) he states that everybody should be a
comic
creator; that comics should not become domain of elites of theorists
and
artists, but it should remain open for new creative approaches. Nothing
wrong
with that thought; however, in my opinion, only comic creators can
exploit the
medium in its entirety. Creators who can get the most out of literature
and graphic design. Such masters of the
medium remain Art Spiegelman, David B.,
Daniel Clowes, etc. Perhaps not people who are pioneers of the new
comics'
language, but people who are simply masters of this language. There it is. The
article
that is ending is supposed to be encouraging readers to read more
comics, now
that the selection has grown immensely. At the same time, I'd like to
stress
out that writers of articles related to comics should be aware of the
growing
production. They should not allow the delay in following the comics'
scene,
which exists for decades now, to go on. There are comics for dreamers,
hard
workers, lumberjacks, students of Faculty of Social sciences, moms,
politicians, celebrities and students. There are comics for everybody.
Best
bookstores and libraries are quite well stocked and online shopping is
easier
than ever. There really is no reason to reminisce on times when comics
were
cheap and available on every corner. The times are changing. Why
shouldn't
comics? (Finžgar) * Speech bubbles
are not a
product of comics. They appeared in much earlier cartoons. * Maus
contains several scenes where Art talks to his
father Vladek. Sequences from these conversations can also be found in Emmaüs. |