July 17, 2014

"Death rides on the wind!"

PRETTY DEADLY, VOL.1: THE SHRIKE
Kelly Sue DeConnick, Emma Ríos, Jordie Bellaire & Clayton Cowles
Image Comics, 2014
120 pages, cmyk, digital

Can love triumph over death? Apparently not, according to Kelly Sue DeConnick, Emma Ríos and Jordie Bellaire's Pretty Deadly. 

Pretty Deadly is an unorthodox story about love and loss, a mix between fairytale and western.

The book begins with "Bunny" and "Butterfly", two animals (Bunny is an animated skeleton) that are our narrators. They are about to tell us a story.

So, Ginny is the daughter of Death and a woman whose beauty - more precisely, the stupidity and covetousness of men - was her downfall. We learn about her through Sissy, a young girl with different colored eyes that is being hunted down by unknown forces for unknown reasons. She is the companion of Fox, a blind man who protects her from said forces.

Eventually, things unravel, each character plays its part and the story ends. I may be oversimplifying it but, essentially that is it.

Simple things can be multilayered and nuanced, DeConnick is a good writer and has a great grasp on dialogue. Character development could be better but we have an idea of each of their motivations and roles, more archetypal than one-dimensional.
Alegory is very strong in the book, "Bunny" and "Butterfly" are the better example of it, their real identity is unveiled at the end of the book but still leaving some mistery to it.

Plotwise I feel that the story could have been stretched out a bit more, building up more tension, making the ending feel a bit less rushed and more satisfying.
Emma Ríos' is the only penciler for this book, her long, thin but strong lines bring the right feeling to the action and characters. The only negative aspect that I can point out has to do with the smaller panels in the fighting scenes, that are there to give more detail but end up cluttering the image, making it harder to follow.
Jordie Bellaire's colors are what they always are: an essential part of the reading experience. As I have said before, colorists are on the rise and it's amazing to see that they can change their style depending on the theme and feeling of a book.
When this book was first published as a "floppy", there was some controversy, supposedly because of the almost entirely female creative team but mainly because of the stupidity and covetousness of men.
If you like hard hitting tales with strong female characters, this is your book.

15 de Julho de 2014

July 14, 2014

"You might be a dimensionaut after all."

BLACK SCIENCE, VOL. 1: HOW TO FALL FOREVER
Rick Remender, Matteo Scalera & Dean White
Image Comics, 2014
152 pages, cmyk, digital

If we could explore every possible outcome of our choices, would we be content?
One of the things that makes us humans is our infinite capacity for remorse and how we make a wrong option a focal point of our lifes. On the other hand, living without regret, taking a chance and making it work are our most rewarding moments. Carpe diem and all that.
Black Science is the path to our most ideal objectives: the cure for disease, war and even death. But Black Science (a pun on black magic), is achieving our goals ignoring its very bleak consequences.
That is one of the themes of Rick Remender, Matteo Scalera and Dean White's "Black Science", a fast-paced sci-fi action adventure about a group of individuals that inadvertently end up jumping from layer to layer of "The Onion", "the Eververse" or as we, humble comic nerds know it, the multiverse.
The Onion is actually a cool concept: the first choice created different realities and each subsequent ramification originated infinite variations of the same world. The rest is, basically, pseudo-scientific babble.
This comic is actually, in a way, trying to mimic that multilayered disposition. Apart from its main theme, about the consequences of technology, personal and otherwise, it is about a man's options. That man is genius, rebel and long time adulterer, Grant Mackay. Mackay ends up dragging his children, friends, colleagues and rivals to an apparent one-way trip round the Onion.
Remender is fast on track to becoming one of my favorite comic book writers. Although not a new idea (what comes to my mind is the tv show Sliders, which had basically the same main concept), Remender hits the ground running and doesn't stop for (the reader's) breath. You're quickly introduced to the main cast and their role on the overarching narrative - that doesn't mean that role won't change later - and there is a clear and empathetic goal: returning home.
Matteo Scalera's art is great. He can easily navigate through the different worlds and creatures and give them the solidity and coherence needed for this kind of story. Everything is possible and nothing is gaping contrast.
What I am particularly enjoying in comics nowadays is the part the colorist is gradually but firmly conquering. Dean White's colors are amazing and are an extra, ahem, layer to the artwork. And his name is on the cover!
If you like action-packed, sci-fi blockbusters, this is your book.

July 13, 2014

"So were to now?"

HELLBOY IN HELL, Vol. 1: THE DESCENT
Mike Mignola & Dave Stewart
Dark Horse Comics, 2014
152 pages, cmyk, digital

Hellboy returns home and if you've been reading this comic for the past 20 years, you have a pretty good idea of where that is.

But in case you haven't been reading this comic, here's the skinny: Hellboy is an aptly named demon that happens to be a paranormal investigator and the one who will be responsible for bringing about the End of Times. He doesn't much care about it and abandons his destiny in favour of a normal life, well, as much as it can be when you're a red-skinned dude with a disproportionate right hand made of rock that happens to be the Key to the Apocalypse.

After falling in battle in one of his most recent adventures - spoilers, he dies - Hellboy finds himself in Hell and not everything is as expected.

In 1999, I bought my first Hellboy comic: "Despierta al Demonio", the collected spanish version of "Wake the Devil". What immediately caught my attention was the art. Mike Mignola, the creator of Hellboy, is an amazing penciler and inker and his striking blacks and monster design (I dare say, only second to the "King", Jack Kirby) were the main reasons why I picked up the comic.

What kept me coming back was the stories. Mignola's love for all kinds of myths and folklore, his ability to inject them into the character's adventures and to weave a fairly consistent and interesting narrative is the other major selling point of Hellboy.

Concerning "Hellboy in Hell", Mignola mantains his high standard as an artist and storyteller, helping him out is the understatedly efective coloring of Dave Stewart. Storywise, we have the usual romp, a few not so subtle references to classic works like "The Christmas Carol" and "Paradise Lost" and the parallels between those and the present narrative. The story moves in a slow pace, accentuating its preliminar nature (it is, after all, the first volume of a longer story). Mignola likes his moments of silent comtemplation and embarking on  his "side quests".
One of the flaws of this comic is precisely the backlog of 20 years of Hellboy. It is, at times, very self-referencial and, although gratifying for loyal readers, even with flashbacks trying to contextualize characters from previous encounters, my concern is that new readers can feel a bit lost. That is the problem of having an universe to explore and a growing handicap of present day comics.
If you enjoy long narratives with a Lovecraftian feel and incredible art, this is your book.

12 de Julho de 2014

July 12, 2014

"NetGalley is a service to promote titles to professional readers of influence. If you are a reviewer, blogger, journalist, librarian, bookseller, educator, or in the media, you can use NetGalley for FREE to request, read and provide feedback about forthcoming titles. Your feedback and recommendations are essential to publishers and readers alike."

So, here are a few short reviews of books supplied by NetGalley. This week I'll be posting the rest of my "influent" reviews (Hellboy in Hell Vol.1: The Descent; Black Science Vol.1; Pretty Deadly Vol.1; Glory: The Complete Saga; Black Canary and Zatanna: Blodspell and Hinterkind Vol. 1: The Waking World).

LOCKE & KEY, VOL. 6: ALPHA & OMEGA

Joe Hill & Gabriel Rodriguez

IDW Publishing, 2014

192 pages, cmyk, digital

This final chapter of Locke and Key brings closure. Usually when a story ends, the reader can be left with a sense of sadness and disappointment. This final volume is the culmination of Joe Hill's overarching story about the Locke family and their particular relationship with a set of keys that endow their owners with special abilities. There's a catch, they don't work for adults and when you reach adulthood you forget everything you knew about those gifts. Quite the nifty metaphor about innocence. 

Put aside the usual struggle between good and evil and this would still be a good story. Why? Because of its characters and their capacity for growth. Because the reader has learned to understand them and what motivates them. Good or evil, each character has their unique voice.

Gabriel Rodriguez's art was an acquired taste but most of the things you love are actually like that. Solid and competent, Rodriguez's gift for storytelling and character design shines through each of these books. 

If you want to read a book about people who just happen to have their lives thrown into desarray by circumstances bigger than themselves, this is the book for you. Plus, there are monsters and crazy action, all the small things I personally enjoy.

P.s.:Shame on you, Hollywood, for not making the tv series! It was everyone's loss.

PROPHET, VOL. 3: EMPIRE
Brandon Graham et al.
Image Comics, 2014
128 pages, cmyk, digital

The third volume of Prophet collects numbers 32 and 34 to 38 of the regular comic book series. 

In this version of Prophet there is a clear distancing from the aesthetics of the original series created by Rob Liefeld in the 90s. There is, furthermore, a complete break with the recurring themes of superheroism. This incarnation is now a science fiction comic, reminiscent of classics like Dune and its european counterparts (the works of Jodorowsky and Moebius come to mind) in terms of plot and structure. 

Prophet blossoms with each issue, and in this volume we have a better notion of where the narrative might be going to. Clear factions are established, we learn more about the characters and there is the odd homage to the older version of the series.
The strongest point of the book is its ambience. The third person narration, the small details that are offered to the reader about the various creatures and mechanics of this universe are never done in a boring, straightforward way. A different penciler for different sections of the narrative while avoiding a mangled, mashed up whole. Everything is very organic and fluid. This is a very special book, with a "personality" rarely seen in american comics. I'm buying the next one and you should too.

28 de Junho de 2014

A Água Castello celebra este ano os seus 115 anos de existência e para comemorar a efeméride contratou a agência publicitária Strat para a campanha "Não é água. É Castello.". 

Segundo o director criativo da Strat, José Campos, "a marca Castello é uma marca com história. Faltava-lhe uma narrativa." e, como tal, a agência inspirou-se na bd (meio narrativo supremo!) para desenvolver esta campanha que deve aproximar a Água Castello de um "território urbano, cosmopolita e trendy".

Ora, a inspiração roça muito intimamente o plágio já que, para aqueles que conhecem o trabalho de Charles Burns (responsável pela graphic novel Black Hole e inúmeras colaborações com a revista Believer), há semelhanças difíceis de justificar com base na coincidência. É caso para dizer "Não é Strat. É Burns.".

Agradecimentos a Carol Tilley, que me chamou à atenção para isto no Twitter.

June 15, 2014

"It's just a job. It's not who I am."

POPE HATS #3
Ethan Rilly
AdHouse Books, 2012
40 pages, B&W, floppy

We sometimes forget that reading a comic book is more than just a visual experience.
The first thing you notice about Pope Hats #3 is its paper stock, the cover is sturdy and has a weight that feels different than other comics (at least those that aren´t published by AdHouse). It's a sort of heftiness that will translate into the reading of the book.
Frances Scarland is a law clerk in a major law firm that is, slowly but surely, rising in its hierarchy. People like Frances, she's a workaholic and that's starting to take its toll. Her best friend and flat mate, Vickie is an actress that apparently has finally made it and is leaving Frances for a successful career in California.
There is something terribly soap opera-y about this comic, but in a good way. Forget about Ethan Rilly's clean cut art - informed by Hergé's ligne claire -, his ridiculously good storytelling and design sense, one of the strenghts of this book is its abbility to engage and imerse the reader in an unusual environment: the inner workings  of a law firm. Rilly's universe is coherently solid and what is left unsaid speaks more about each character than any dialogue.
Trust me, this is a strangely magnetic book that sucks you in and leaves you wanting more. If you don't believe me, why not go to Pope Hat's letters page (I love that it has a letter page!) and read what the anonimous reader (like Jeffrey Brown, Adrian Tomine, Seth and Tonči Zonjić) has to say.
By the way, a pope's hat is a mitre.

9 de Junho de 2014

"This was about the time that mom started to pull away."

CELEBRATED SUMMER
Charles Forsman
Fantagraphics, 2014
68 págs., P&B, capa mole

O ano passado, a Fantagraphics publicou The End of the Fucking World de Charles Forsman. Eu fiquei de escrever algo sobre o livro mas fiquei-me pelo teaser. Era uma história sobre uma adolescência difícil, diferente das outras, se calhar um oposto diametral, era sobre não sentir e como isso nos aproxima e afasta da nossa humanidade.
Forsman foi aluno do Center for Cartoon Studies e, após se formar, rapidamente se aventurou na publicação independente de banda desenhada. Fundou a editora Oily Comics, baseando-se numa política muito específica: formatos simples e preços acessíveis.
Celebrated Summer é a sua primeira longa história - na verdade, TEOTFW foi primeiro serializado e só depois colectado pela Fantagraphics - e continua a abordar o tema da adolescência.
Desta feita, o protagonista é um adolescente obeso chamado Wolf. Com o seu amigo Mike, Wolf faz uma pequena viagem de auto-descoberta após terminar o liceu. Wolf é um ser solitário (talvez seja daí que derive o seu apelido) que faz da introversão uma forma de viver. São os momentos de monologo interno que mais revelam sobre si e que nos dão vislumbres das áreas da sua vida que não são exploradas na narrativa - nomeadamente, porque vive só com a sua avó.
No desenho de Forsman nota-se a clara influência de Charles Schultz (Peanuts), um traço familiar e seguro que descomplica. Apropriado e familiar, ao contrário do que pensa a populaça, é sempre adulto e concilia-se bem com a temática e o ambiente desta bd.
Portanto, Celebrated Summer não é uma história per se, não segue um enredo nem se chega a uma conclusão concreta. É uma história sobre uma pessoa, a sua solidão e o que se pode, ou não, deduzir das entrelinhas. Um pouco como a vida real.

June 8, 2014

"This was about the time that mom started to pull away."

CELEBRATED SUMMER
Charles Forsman
Fantagraphics, 2014
68 pages, B&W, softcover

Last year, Fantagraphics Books published The End of the Fucking World by Charles Forsman.
I was going to write something about the book but all I ended up doing was just tease about it.

TEOTFW was a book about a different kind of adolescence, one that is maybe in a diametrical opposite of the traditional view of teens: it was about not feeling and how it made us closer and farther away from our humanity.

Forsman was a student at the Center for Cartoon Studies and soon after graduation decided to adventure into independent publishing. He founded Oily Comics based on a specific policy: simple, affordable comics.

Celebrated Summer is, technically, his first long form book - TEOTFW was actually first serialized as floppies and only later collected into book form by Fantagraphics - and continues to approach the thematics of adolescence.

Wolf, our overweight protagonist, with his friend Mike decide to take a short trip (in more than one way) after graduating from high school. Self-discovery ensues.

He is, pardon the pun, a lone Wolf, a solitary creature that makes introversion his way of life. His inner monologues are that much more revealing about him and offer us glimpses about the parts of his life that aren't explored in the book - particularly his relationship with his grandmother.

Forsman drawing style is clearly influenced by Charles Schulz (Peanuts), a familiar and safe line that uncomplicates. An appropriate style that, unlike popular belief, is always adult and that fits well with the story's atmosphere and themes.

So, Celebrated Summer is not a story per se, doesn't follow a plot nor comes to a clear conclusion. It's a story about a person, their loneliness and what may or may not be inferred between the lines. A bit like real life.

8 de Junho de 2014

June 1, 2014

A taste for alliteration.

S.F.
Ryan Cecil Smith
Koyama Press, 2013
59 pages, B&W, softcover

If only all saturday morning cartoons were this good. 

S.F. is Ryan Cecil Smith's version of waking up early, turning the tv on, sitting on the floor and telling your mom "just a minute!" when she orders you to have breakfast.

Fun and light-hearted, S.F. is a science fiction comic that plays with the genre's clichés and presents them as an all ages comic book.

This is the third volume of the series but, honestly, it's all pretty (literally) self-explanatory. An intergalactic organization of do gooders is in constant battle with evil, evil people. Kudos to Smith for those introductory first two pages - most comics nowadays forget that sometimes the reader isn't as informed as they "should" be.

Smith's cartooning is strangely familiar and clearly influenced by manga (particularly where shading is concerned) or its animation equivalent (Captain Harlock, anyone?). It's quite easy on the eyes.

The book's strength is in its pacing and character development. Each character has a bit of the spotlight and the book is better for it.

If you want a hardcore science fiction comic, this is not the book you're looking for (try Prophet by Brandon Graham et al.). If you have kids or just want to relive a bit of your lost childhood then go buy this!

1 de Junho de 2014

"You sure?"

SOUTHERN BASTARDS #1
Jason Aaron & Jason Latour
Image Comics, Abril 2014
28 págs., tetracromia, floppy

Earl Tubbs deixou Craw County há quarenta anos mas agora, com a mudança do seu tio para um lar, regressa à sua cidade-natal para resolver assuntos pendentes.

Southern Bastards é uma história sobre nostalgia no sentido mais literal da palavra. Passada no sul dos Estados Unidos, região cada vez mais aproveitada como cenário, seja pela sua história violenta como pela mística que lhe é inerente. Southern Bastards é sobre um regresso a casa.

Craw County está sob o domínio de uma figura misteriosa: Boss (será Bruce Springsteen?) e os seus capangas intimidam a população com impunidade. Earl é o filho do antigo xerife, uma lenda local, e, relutantemente, defende uma figura algo patética do seu passado.
Jason Aaron começa assim o seu novo conto americano, mais uma história de conflitos e costumes que, esperamos, terá a mesma qualidade de Scalped.
O que mais surpreende é a arte do outro Jason (Latour) que consegue ser dura mas elegante. De realçar o ritmo conseguido na penúltima página, onde três momentos diferentes se intercalam de forma eficaz e ressonante. Isto sem falar da palete de cores escolhida que complementa perfeitamente o ambiente da história.
Para ler se gostam de séries da HBO.

15 de Maio de 2014

5 de Maio de 2014

BD - O Documentário from Marília Almeida on Vimeo. Via Filipe Carvalho.

May 4, 2014

"Ciao, professore."

COMICS CLASS
Matthew Forsythe
Koyama Press, 2011
44 pages., B&W, paperback

A comic book about Matthew Forsythe's experience as a seventh grade teacher, Comics Class adresses his difficulties when his romantic perspective of the profession is confronted with the harsh reality of teaching eleven year olds.

The book is a collection of humor strips of relatively simple structure that are based on the author's ineptitude as a teacher and his difficult relationship with his students. 

Somewhat self deprecating and caricatural - much like Forsythe's drawing style, with a pinch of asian influences - the book is a light and easy read whose charm and fun derives very much from its main character - a deluded idealist who does not seem to learn the most important lesson - nobody cares.

4 de Maio de 2014

"Ciao, professore."

COMICS CLASS
Matthew Forsythe
Koyama Press, 2011
44 págs., P&B, capa mole

Comics Class é sobre a experiência de Mattthew Forsythe como professor da disciplina de banda desenhada de uma turma de alunos do sétimo ano. O livro aborda as dificuldades sentidas pelo autor quando vê confrontada a sua perspectiva romântica da profissão com a realidade crua do ensino.

O livro é uma colecção de tiras humorísticas de estrutura relativamente simples que se baseiam na inépcia do autor como professor e na relação difícil com os alunos. Tem o seu quê de auto-comiserativo e caricatural que se aplica também ao estilo visual de Forsythe que denuncia alguma influência asiática no seu desenho.

Leve e fácil de ler, este livrito tem charme e graça muito devidos à personagem principal, um idealista iludido que não parece aprender a mais importante das lições - ninguém se rala.

1 de Abril de 2014

Oli Riches

CAPTAIN AMERICA: THE WINTER SOLDIER
De Joe e Anthony Russo
Com Chris Evans, Scarlet Johansson, Samuel L. Jackson, Robert Redford e outros
136 min

A Marvel Studios parece que faz carreira de lançar blockbusters. Mesmo o precalço ocasional não tem vindo a prejudicar a qualidade global dos filmes lançados. Ajuda imenso estar a ser adoptado um universo comum. Sim, estes filmes são unidades independentes mas referem-se entre si e contribuem para uma narrativa maior.

Este último lançamento, Captain America: The Winter Soldier, está em continuidade com o primeiro filme, com a série televisiva satélite, e, particularmente, com o filme Avengers.

O primeiro filme, Captain American: The First Avenger, é a história de origem da personagem. Steve Rogers, mais pelo seu carácter que por atributos físicos, é escolhido para ser um super-soldado e a principal arma contra o regime nazi. A história passa-se durante o período da Segunda Guerra Mundial e termina com o sacrifício do Capitão que, convenientemente, acaba por sobreviver num estado de animação suspensa até os tempos modernos. E assim começa o verdadeiro sacrifício de Rogers, um homem deslocado no tempo, deixou para trás tudo o que lhe era familiar e terá de aprender a viver neste admirável mundo novo. Neste segundo filme, encontramos o Capitão ainda num processo de adaptação desconfortável e a trabalhar para a S.H.I.E.L.D. como o bom soldado que é.

É um filme de acção com elementos de espionagem e cumpre bem aquilo a que se propunha: entreter e propulsionar o espectador a ver os outros filmes do conjunto. "Gotta catch'em all!"

Agora, em vez de fazer um resumo do enredo, vou focar-me em alguns aspectos que considero mais interessantes. 

Primeiro o protagonista, este Capitão é quase um ser assexuado, evita activamente relacionar-se com o género oposto, apesar da sua masculinidade nunca ser posta em questão. É o exemplo do americano perfeito, valores e ideais, como acaba por evidenciar no seu discurso, próximo do fim do filme.

Quando confrontado com as opções mais "autoritárias" da S.H.I.E.L.D., levanta a sua voz em oposição contra as políticas optadas e a figura patriarcal de Nick Fury que as crê justificadas pelos acontecimentos no passado. Soa-vos familiar? O policiamento global por parte dos E.U.A. pelo bem de todos? Não, a mim também não.

Em vez de o filme explorar uma posição mais rebelde de Rogers e tornar-se numa alegoria para a luta contra a autoridade, opta-se por uma solução muito mais "americana".

Afinal a S.H.I.E.L.D. é um organismo inocente parasitado por indivíduos corruptos - a Hydra - que a manipulam para atingir os seus intentos maléficos. Pode-se até dizer que, embora se passe na actualidade, este filme é mais do que uma sequela directa aos acontecimentos do primeiro filme. Podia muito bem passar-se nos anos 50, altura em que a América vivia o terror do comunismo e o medo da infiltração dos principais alicerces da sociedade americana - a Quinta Coluna.

Este remanescente de um mal antigo (que nem o soldado perfeito conseguiu eliminar) subsistiu e espalhou-se pelas estruturas de poder e, mesmo assim, é uma entidade frágil, pois sente-se ameaçada por uns milhões de indivíduos que têm de ser eliminados a todo o custo. E quem arca com esse custo? O contribuinte americano. Não há dúvida que foi através do aumento de impostos que se conseguiram construir aqueles helicarriers. Fico à espera de ver os nossos a pairarem pelos céus portugueses.

Outra questão interessante, também tipicamente americana, é a da representatividade étnica. De importância tal que o grupo do Capitão durante a Segunda Guerra Mundial tem, obrigatoriamente, que ter um afro descendente e um asiático no seu plantel apesar do "texto fonte". Sem falar do Falcão e da Viúva Negra. E que tal atirar todo esse idealismo racial pela janela fora?

Um branco poderoso, o secretário Pierce, tem uma empregada latina lá em casa, que é, estupidamente, responsabilizada pela sua própria morte (se ao menos fosse mais bem educada...). Perpetuação de estereotipia racial ou exemplo real?

Que tal voltar ao capitão? Há melhor exemplo da pureza ariana? Hitler deve ter ficado orgulhoso por ter sido derrotado por este espécimen.

Não tão claro no filme são as tendências esquerdistas do Capitão, sempre a ultrapassar Sam Wilson pela esquerda e a anunciá-lo em alto e bom som. Obviamente não pode explorar estas opiniões durante o filme, estava demasiado ocupado a enfrentar os comunistas, perdão, nazis. Mesmo assim, após a derrota inevitável dos maus, volta a reiterar a sua posição. Para além do seu melhor amigo estar do outro lado das trincheiras e chamar-se de Winter Soldier e empunhar no seu braço metálico uma linda estrela soviética. Subtil.

A prepotência da visão política americana é colocada ainda mais em destaque quando, nas audiências pós-catástrofe, a Viúva Negra é confrontada com o papel controverso da S.H.I.E.L.D. e defende-se afirmando que é algo necessário à nação e que atenua qualquer penalização imposta.

Quem diria que este blockbuster seria tão político? Quem diria que é uma alegoria para a América dos anos 50? Quem diria que acção, espionagem, explosões, gajos e gajas boas = política.

Ah, é verdade, o Capitão é macho. Afinal sempre vai convidar a Agente 13 para sair. Em relação a isso quem é que o pode censurar?

April 25, 2014

"...the cage..."

THE CAGE
Martin Vaughn-James
Coach House Books, 2013
192 pages, B&W, digital

There are things beyond us, challenging our understanding and enduring as unfathomable mysteries.

In 1975, Martin Vaughn-James published The Cage, his "visual novel " in a succession of books that explore the natural notion of "if two pages (of comics), why not ten ?".

The Cage is characterized by the absence of characters. All human existence is suggested by the spaces and objects of sensorial disposition (as Seth shrewdly states in the introduction). Each page a panel, a window into corridors and landscapes that drain into each other. Spatially and temporaly self-referenciation, like a ball of string, whose beginning and end are hidden inside it. 

The clinically drawn pictures are accompanied by an equally enigmatic text, commenting on what is observed and interpretating what is not. A self contained universe away from our reality.

Maybe Vaughn-James' cage is our reality , our mind or a description of time itself. Vaughn-James is a self-diagnosed orphan. The book has an independent life beyond its author and a hipotetical original inspiration.

My interpretation? The cage is the panel through which we see and explore the world inside the book and the discomfort and perplexity we take from reading it, brings it inside us.

25 de Abril de 2014

"...the cage..."

THE CAGE
Martin Vaughn-James
Coach House Books, 2013
192 págs., P&B, digital

Há coisas que nos ultrapassam, que desafiam a nossa compreensão e que resistem como mistérios insondáveis.

Em 1975, Martin Vaughn-James publicou The Cage, o seu "romance visual" que surge na sucessão de uma série de livros que exploram a noção natural de "se duas páginas, porque não dez?".

The Cage caracteriza-se pela sua ausência de personagens, toda a existência humana sugerida pelos espaços e objectos dos sentidos (como muito bem enunciado por Seth na introdução), cada página, uma vinheta, uma janela única para corredores e paisagens que drenam umas nas outras, uma auto-referenciação espacial e temporal, como um novelo cujo início e fim estão escondidos no seu interior.  As imagens clinicamente desenhadas são acompanhadas por um texto igualmente enigmático, comentário do que é observado, interpretação do que não é. Um universo distante do concreto e real.

Se calhar a jaula ou gaiola que Vaughn-James descreve é a nossa realidade, o nosso cérebro ou o tempo. O autor declara-se como órfão da obra, tal a vida que esta ganhou para além de si e, talvez, da sua inspiração inicial.

A minha interpretação? A jaula é a página, a vinheta que usamos para explorar o mundo interior do livro. E o desconforto e perplexidade que obtemos da leitura trá-la para dentro de nós.