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recentanimenews · 4 years

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Bookshelf Briefs 9/30/20

Accomplishments of the Duke’s Daughter, Vol. 6 | By Reai and Suki Umemiya | Seven Seas – Another series down to “once a year” release—I had to jog my memory at the start to recall what had been happening. Many things are going wrong for our heroine, who is trying to be strong and tough but is also starting to break down, and I felt that the scenes with her and Dean struck just the right balance of comforting and letting the heroine cry without making her seem weaker. This sets the stage for her comeback, which is extraordinary. (And also has a corrupt Church, a constant in Japanese light novels, though at least here there are also honest and good religious people in it.) That said, eventually Dean’s identity will come out, and I do wonder how this very good “villainess” isekai will handle it. – Sean Gaffney

The Ancient Magus’ Bride: Jack Flash and the Faerie Case Files, Vol. 1 | By Yu Godai, Mako Oikawa, and Kore Yamazaki | Seven Seas – A faerie switched at birth for a human child, Jack never fit in in either world. Only in the mortal realm could she earn money for anime collectibles, however, so she decided to make herself into a tough, capable woman like her literary heroes and set up shop as a detective. Together with her fellow changeling, Larry the werewolf, Jack takes on supernatural cases in New York City. In this volume, Lindel tasks them with tracking down a missing dragon egg. I liked the resources Jack uses to obtain information, which include a dapper theatre ghost and a spell with components of rat whiskers and taxi tires because “Nobody out there knows this city better than them.” I still found this a bit hard to get into, though, especially the parts involving a perpetually tearful off-off-off-off-Broadway actress and her pickpocket boyfriend. Still, I will check out volume two! – Michelle Smith

Black Clover, Vol. 22 | By Yuki Tabata | Viz Media – At long last, this interminable arc comes to an end. I enjoyed a lot of it, but I cannot deny it should have been about two volumes shorter. Most of the book is taken up by shonen battles, with the villain being nigh unkillable, the heroes almost breaking themselves to stop him, etc. Fortunately, the day is saved, and even the Wizard King turns out to be… sort of alive again? Shota fans should be happy. Asta fans perhaps less so—the sheer amount of damage done to the kingdom in this arc means someone has to be blamed, and give Asta has the “dark evil magic” it’s gonna be him, especially when he takes the incredibly obvious bait they use to get him to fight. Oh well, if Asta were smart, this wouldn’t be Black Clover. – Sean Gaffney

Don’t Toy with Me, Miss Nagatoro, Vol. 3 | By Nanashi | Vertical Comics – Part of the problem with titles like this and the other teasing works (Takagi-san less so as Nishikata doesn’t fall into the category) is that they are, at heart, the classic “extroverted girl acts overtly extroverted to bring introverted guy out of their shell,” and that’s not really a plot that feels comfortable in the Gen Z days, where you’re more likely to say “why doesn’t she just let him be in his quiet, safe space?” And by she I mean they, as Nagatoro’s two friends appear far more often here, which offers some good two-way teasing action, as they clearly see her crush on him, if not why. It’s still sort of hard to read, but if you pretend he’s more OK with it than he actually is, this is cute. – Sean Gaffney

Failed Princesses, Vol. 1 | By Ajiichi | Seven Seas – The concept of “popular girl meets unpopular girl” is a common one in yuri manga, and we do indeed hit several of its tropes in this first volume. The amusing thing is that Kanade, the shy outcast girl, is perfectly aware of how things are supposed to go, and keeps pulling back a bit to try to save Nanaki from, well, making herself an outcast by associating with the wrong people. The best part of the volume is that Nanaki really doesn’t give two shits about any of that, and seems set on making Kanade her best friend… and also making her over, which backfires a bit as Kanade cleans up nicely. I hear this gets a bit dramatic later, but for the moment it’s a cute and fluffy proto-yuri story. – Sean Gaffney

In/Spectre, Vol. 12 | By Kyo Shirodaira and Chashiba Katase | Kodansha Comics – The first story in this volume is another “Rikka tries to make people understand Kotoko is an evil Machiavellian schemer,” this time with one of her ex-classmates, but again the response seems to be “we know she’s a manipulative bitch, but she’s a good person anyway.” The larger story, which will continue into the next book, seems to be a chance to write Kuro and Kotoko as an actual romance, as the man we meet here and his relationship with a yuki-onna… as well as his penchant for attracting misfortune… very much parallel them. That said, they’re very cute together, which is why I hope he avoids the murder charge he’s now being investigated for. Still a favorite. – Sean Gaffney

Interviews with Monster Girls, Vol. 8 | By Petos | Kodansha Comics – The author knows what people want to see, but also knows that the best way to get readers is to drive them crazy by not showing it. We finally get what we’ve been begging for here, as Tetsuo asks Sakie out on a date. (This is after rejecting Kyouko’s love confession, both because she’s his student and also, as he is forced to admit, as he likes Sakie.) The stage is set for the date… and the rest of the book is thus spent with the three main student girls going to Kyouko’s for a fireworks viewing and meeting her family. They’re good chapters, and I really liked showing how difficult Kyouko has it as a dullahan in terms of everyday life, but GOD, please get back to the teachers, I beg you! – Sean Gaffney

Kaguya-sama: Love Is War, Vol. 16 | By Aka Akasaka | Viz Media – The series has gotten to the point where the more rewarding chapters are the ones as part of a larger arc. Not that the one-shot chapters are bad—though Maki’s journey to India may be the most pointless thing in this entire series to date, we do get Chika’s iconic “shut up or I’ll kill you” here. But the larger arcs, featuring Miyuki and Kaguya attempting to date without interruptions, and setting up Ishigami and Iino for a romance—though given the number of limbs broken in this book, and Iino’s own horrible lack of self-awareness, it may be a ways out—are better. This series is still hilarious, but we’ve come to read it more for the heartwarming moments. Heck, there’s even some serious drama here. Very good. – Sean Gaffney

Nineteen | By Ancco | Drawn & Quarterly – Although it was translated and released second in English, Nineteen is a precursor to Ancco’s internationally award-winning manhwa Bad Friends. The volume collects thirteen short comics originally published in Korea over a decade ago which absolutely remain relevant to today’s world. While understandably not as polished as some of Ancco’s later work—one can observe her style evolving and growing over the course of the collection (which is fascinating)—the comics still carry significant emotional weight and impact. Nineteen includes diary comics, which tend to be more lighthearted, as well as harder-hitting fictional stories, many of which also have autobiographical inspiration. As a whole, the collection explores themes of young adulthood, growing up, and complicated family relationships. In particular, there is a compelling focus on the relationships among daughters, mothers, and grandmothers. Some of the narratives can be rather bleak, but a resigned sense of humor threads through Nineteen, too. – Ash Brown

Ran the Peerless Beauty, Vol. 8 | By Ammitsu | Kodansha Comics (digital only) – Shoujo manga that has couples getting together BEFORE the end of the series is inevitably going to have an arc dealing with how far the lead couple should go now that they’re dating, and this is Ran’s turn, as she and Akira and their friends go to a beach house Ran’s family owns and have some beach fun. Unfortunately, the cast gets winnowed down one by one until it’s just the two of them… and her overprotective father, who arrives in time to provide the cliffhanger and no doubt ensure that nookie does not ensue. Not that I think it should—these two kids are even purer than the couple from Kimi ni Todoke, and I think they should mature a bit more before going further. Plus, watching them blush and kiss is wonderful. – Sean Gaffney

Spy x Family, Vol. 2 | By Tatsuya Endo | Viz Media – Having spent our first volume establishing that our found family can really come to love each other deep down, this volume shows off how they are also, at heart, fundamentally awkward and unable to socialize normally. This is unsurprising—hints of Loid’s life we’ve seen show him as a war orphan, Yor is a contract killer, and Anya basically grew up being experimented on by bad guys. As the school soon finds, this leads to issues. The second half of the book introduces Yor’s sister-obsessed little brother Yuri, who turns out to be a torture expert for Loid’s enemies. As always, half the fun is that everyone except Anya has no idea who their real selves are, and the cliffhanger tells us we’re in for some hilarious family fun. I love this. – Sean Gaffney

Spy x Family, Vol. 2 | By Tatsuya Endo | VIZ Media – After a brief spell atop the waiting list, Anya officially makes it into Eden Academy. Loid is anxious to progress to the next stage of his mission and, believing there’s not much chance in turning Anya into an elite scholar like his agency wants, focuses instead on having her befriend the younger son of his target. It does not go to plan, of course. Anya is very cute in this volume, and I also really appreciated how Loid genuinely listens to Yor and values her input. The arrival of Yor’s brother, a member of the secret police, is going to be a fun complication, and another cast member with a secret, but my favorite part of this series is probably always going to be how much love these three are already feeling for each other. So unique and good! – Michelle Smith

Sword Art Online: Hollow Realization, Vol. 6 | By Tomo Hirokawa, based on the story by Reki Kawahara | Yen Press – The weakness of this manga is the same as always—it’s written to tie into the games, and features several characters I just don’t recognize, which can be a problem given this is the big final let’s-save-the-world ending. That said, this is still a decent SAO title. Kirito gets to be cool and badass, but because this isn’t written just by Kawahara others do as well, and it’s a nice balanced effort that focuses on heroine Premiere. I also really liked the point where all the NPCs are worried when everyone has to log out for several days for maintenance. While I’ll still remember this as the “SAO only everyone is alive” manga, I enjoyed reading it, when I wasn’t confused. – Sean Gaffney

By: Ash Brown

#Anime #News #Manga Bookshelf

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chiseler · 4 years

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Utopia and Apocalypse: Pynchon’s Populist/Fatalist Cinema

The rhythmic clapping resonates inside these walls, which are hard and glossy as coal: Come-on! Start-the-show! Come-on! Start-the-show! The screen is a dim page spread before us, white and silent. The film has broken, or a projector bulb has burned out. It was difficult even for us, old fans who’ve always been at the movies (haven’t we?) to tell which before the darkness swept in.

--from the last page of Gravity’s Rainbow

To begin with a personal anecdote: Writing my first book (to be published) in the late 1970s, an experimental autobiography titled Moving Places: A Life at the Movies (Harper & Row, 1980), published in French as Mouvements: Une vie au cinéma (P.O.L, 2003), I wanted to include four texts by other authors—two short stories (“In Dreams Begin Responsibilities” by Delmore Schwartz, “The Secret Integration” by Thomas Pynchon) and two essays (“The Carole Lombard in Macy’s Window” by Charles Eckert, “My Life With Kong” by Elliott Stein)—but was prevented from doing so by my editor, who argued that because the book was mine, texts by other authors didn’t belong there. My motives were both pluralistic and populist: a desire both to respect fiction and non-fiction as equal creative partners and to insist that the book was about more than just myself and my own life. Because my book was largely about the creative roles played by the fictions of cinema on the non-fictions of personal lives, the anti-elitist nature of cinema played a crucial part in these transactions.`

In the case of Pynchon’s 1964 story—which twenty years later, in his collection Slow Learner, he would admit was the only early story of his that he still liked—the cinematic relevance to Moving Places could be found in a single fleeting but resonant detail: the momentary bonding of a little white boy named Tim Santora with a black, homeless, alcoholic jazz musician named Carl McAfee in a hotel room when they discover that they’ve both seen Blood Alley (1955), an anticommunist action-adventure with John Wayne and Lauren Bacall, directed by William Wellman. Pynchon mentions only the film’s title, but the complex synergy of this passing moment of mutual recognition between two of its dissimilar viewers represented for me an epiphany, in part because of the irony of such casual camaraderie occurring in relation to a routine example of Manichean Cold War mythology. Moreover, as a right-wing cinematic touchstone, Blood Alley is dialectically complemented in the same story by Tim and his friends categorizing their rebellious schoolboy pranks as Operation Spartacus, inspired by the left-wing Spartacus (1960) of Kirk Douglas, Dalton Trumbo, and Stanley Kubrick.

For better and for worse, all of Pynchon’s fiction partakes of this populism by customarily defining cinema as the cultural air that everyone breathes, or at least the river in which everyone swims and bathes. This is equally apparent in the only Pynchon novel that qualifies as hackwork, Inherent Vice (2009), and the fact that Paul Thomas Anderson’s adaptation of it is also his worst film to date—a hippie remake of Chinatown in the same way that the novel is a hippie remake of Raymond Chandler and Ross Macdonald—seems logical insofar as it seems to have been written with an eye towards selling the screen rights. As Geoffrey O’Brien observed (while defending this indefensible book and film) in the New York Review of Books (January 3, 2015), “Perhaps the novel really was crying out for such a cinematic transformation, for in its pages people watch movies, remember them, compare events in the ‘real world’ to their plots, re-experience their soundtracks as auditory hallucinations, even work their technical components (the lighting style of cinematographer James Wong Howe, for instance) into aspects of complex conspiratorial schemes.” (Despite a few glancing virtues, such as Josh Brolin’s Nixonesque performance as "Bigfoot" Bjornsen, Anderson’s film seems just as cynical as its source and infused with the same sort of misplaced would-be nostalgia for the counterculture of the late 60s and early 70s, pitched to a generation that didn’t experience it, as Bertolucci’s Innocents: The Dreamers.)

From The Crying of Lot 49’s evocation of an orgasm in cinematic terms (“She awoke at last to find herself getting laid; she’d come in on a sexual crescendo in progress, like a cut to a scene where the camera’s already moving”) to the magical-surreal guest star appearance of Mickey Rooney in wartime Europe in Gravity’s Rainbow, cinema is invariably a form of lingua franca in Pynchon’s fiction, an expedient form of shorthand, calling up common experiences that seem light years away from the sectarianism of the politique des auteurs. This explains why his novels set in mid-20th century, such as the two just cited, when cinema was still a common currency cutting across classes, age groups, and diverse levels of education, tend to have the greatest number of movie references. In Gravity’s Rainbow—set mostly in war-torn Europe, with a few flashbacks to the east coast U.S. and flash-forwards to the contemporary west coast—this even includes such anachronistic pop ephemera as the 1949 serial King of the Rocket Men and the 1955 Western The Return of Jack Slade (which a character named Waxwing Blodgett is said to have seen at U.S. Army bases during World War 2 no less than twenty-seven times), along with various comic books.

Significantly, “The Secret Integration”, a title evoking both conspiracy and countercultural utopia, is set in the same cozy suburban neighborhood in the Berkshires from which Tyrone Slothrop, the wartime hero or antihero of Gravity’s Rainbow (1973), aka “Rocketman,” springs, with his kid brother and father among the story’s characters. It’s also the same region where Pynchon himself grew up. And Gravity’s Rainbow, Pynchon’s magnum opus and richest work, is by all measures the most film-drenched of his novels in its design as well as its details—so much so that even its blocks of text are separated typographically by what resemble sprocket holes. Unlike, say, Vineland (1990), where cinema figures mostly in terms of imaginary TV reruns (e.g., Woody Allen in Young Kissinger) and diverse cultural appropriations (e.g., a Noir Center shopping mall), or the post-cinematic adventures in cyberspace found in the noirish (and far superior) east-coast companion volume to Inherent Vice, Bleeding Edge (2013), cinema in Gravity’s Rainbow is basically a theatrical event with a social impact, where Fritz Lang’s invention of the rocket countdown as a suspense device (in the 1929 Frau im mond) and the separate “frames” of a rocket’s trajectory are equally relevant and operative factors. There are also passing references to Lang’s Der müde Tod, Die Nibelungen, Dr. Mabuse, der Spieler, and Metropolis—not to mention De Mille’s Cleopatra, Dumbo, Freaks, Son of Frankenstein, White Zombie, at least two Fred Astaire and Ginger Rogers musicals, Pabst, and Lubitsch—and the epigraphs introducing the novel’s second and third sections (“You will have the tallest, darkest leading man in Hollywood — Merian C. Cooper to Fay Wray” and “Toto, I have a feeling we’re not in Kansas any more…. –Dorothy, arriving in Oz”) are equally steeped in familiar movie mythology.

These are all populist allusions, yet the bane of populism as a rightwing curse is another near-constant in Pynchon’s work. The same ambivalence can be felt in the novel’s last two words, “Now everybody—“, at once frightening and comforting in its immediacy and universality. With the possible exception of Mason & Dixon (1997), every Pynchon novel over the past three decades—Vineland, Against the Day (2006), Inherent Vice, and Bleeding Edge—has an attractive, prominent, and sympathetic female character betraying or at least acting against her leftist roots and/or principles by being first drawn erotically towards and then being seduced by a fascistic male. In Bleeding Edge, this even happens to the novel’s earthy protagonist, the middle-aged detective Maxine Tarnow. Given the teasing amount of autobiographical concealment and revelation Pynchon carries on with his public while rigorously avoiding the press, it is tempting to see this recurring theme as a personal obsession grounded in some private psychic wound, and one that points to sadder-but-wiser challenges brought by Pynchon to his own populism, eventually reflecting a certain cynicism about human behavior. It also calls to mind some of the reflections of Luc Moullet (in “Sainte Janet,” Cahiers du cinéma no. 86, août 1958) aroused by Howard Hughes’ and Josef von Sternberg’s Jet Pilot and (more incidentally) by Ayn Rand’s and King Vidor’s The Fountainhead whereby “erotic verve” is tied to a contempt for collectivity—implicitly suggesting that rightwing art may be sexier than leftwing art, especially if the sexual delirium in question has some of the adolescent energy found in, for example, Hughes, Sternberg, Rand, Vidor, Kubrick, Tashlin, Jerry Lewis, and, yes, Pynchon.

One of the most impressive things about Pynchon’s fiction is the way in which it often represents the narrative shapes of individual novels in explicit visual terms. V, his first novel, has two heroes and narrative lines that converge at the bottom point of a V; Gravity’s Rainbow, his second—a V2 in more ways than one—unfolds across an epic skyscape like a rocket’s (linear) ascent and its (scattered) descent; Vineland offers a narrative tangle of lives to rhyme with its crisscrossing vines, and the curving ampersand in the middle of Mason & Dixon suggests another form of digressive tangle between its two male leads; Against the Day, which opens with a balloon flight, seems to follow the curving shape and rotation of the planet.

This compulsive patterning suggests that the sprocket-hole design in Gravity’s Rainbow’s section breaks is more than just a decorative detail. The recurrence of sprockets and film frames carries metaphorical resonance in the novel’s action, so that Franz Pökler, a German rocket engineer allowed by his superiors to see his long-lost daughter (whom he calls his “movie child” because she was conceived the night he and her mother saw a porn film) only once a year, at a children’s village called Zwölfkinder, and can’t even be sure if it’s the same girl each time:

So it has gone for the six years since. A daughter a year, each one about a year older, each time taking up nearly from scratch. The only continuity has been her name, and Zwölfkinder, and Pökler’s love—love something like the persistence of vision, for They have used it to create for him the moving image of a daughter, flashing him only these summertime frames of her, leaving it to him to build the illusion of a single child—what would the time scale matter, a 24th of a second or a year (no more, the engineer thought, than in a wind tunnel, or an oscillograph whose turning drum you can speed or slow at will…)?

***

Cinema, in short, is both delightful and sinister—a utopian dream and an apocalyptic nightmare, a stark juxtaposition reflected in the abrupt shift in the earlier Pynchon passage quoted at the beginning of this essay from present tense to past tense, and from third person to first person. Much the same could be said about the various displacements experienced while moving from the positive to the negative consequences of populism.

Pynchon’s allegiance to the irreverent vulgarity of kazoos sounding like farts and concomitant Spike Jones parodies seems wholly in keeping with his disdain for David Raksin and Johnny Mercer’s popular song “Laura” and what he perceives as the snobbish elitism of the Preminger film it derives from, as expressed in his passionate liner notes to the CD compilation “Spiked!: The Music of Spike Jones” a half-century later:

The song had been featured in the 1945 movie of the same name, supposed to evoke the hotsy-totsy social life where all these sophisticated New York City folks had time for faces in the misty light and so forth, not to mention expensive outfits, fancy interiors,witty repartee—a world of pseudos as inviting to…class hostility as fish in a barrel, including a presumed audience fatally unhip enough to still believe in the old prewar fantasies, though surely it was already too late for that, Tin Pan Alley wisdom about life had not stood a chance under the realities of global war, too many people by then knew better.

Consequently, neither art cinema nor auteur cinema figures much in Pynchon’s otherwise hefty lexicon of film culture, aside from a jokey mention of a Bengt Ekerot/Maria Casares Film Festival (actors playing Death in The Seventh Seal and Orphée) held in Los Angeles—and significantly, even the “underground”, 16-millimeter radical political filmmaking in northern California charted in Vineland becomes emblematic of the perceived failure of the 60s counterculture as a whole. This also helps to account for why the paranoia and solipsism found in Jacques Rivette’s Paris nous appartient and Out 1, perhaps the closest equivalents to Pynchon’s own notions of mass conspiracy juxtaposed with solitary despair, are never mentioned in his writing, and the films that are referenced belong almost exclusively to the commercial mainstream, unlike the examples of painting, music, and literature, such as the surrealist painting of Remedios Varo described in detail at the beginning of The Crying of Lot 49, the importance of Ornette Coleman in V and Anton Webern in Gravity’s Rainbow, or the visible impact of both Jorge Luis Borges and William S. Burroughs on the latter novel. (1) And much of the novel’s supply of movie folklore—e.g., the fatal ambushing of John Dillinger while leaving Chicago’s Biograph theater--is mainstream as well.

Nevertheless, one can find a fairly precise philosophical and metaphysical description of these aforementioned Rivette films in Gravity’s Rainbow: “If there is something comforting -- religious, if you want — about paranoia, there is still also anti-paranoia, where nothing is connected to anything, a condition not many of us can bear for long.” And the white, empty movie screen that appears apocalyptically on the novel’s final page—as white and as blank as the fusion of all the colors in a rainbow—also appears in Rivette’s first feature when a 16-millimeter print of Lang’s Metropolis breaks during the projection of the Tower of Babel sequence.

Is such a physically and metaphysically similar affective climax of a halted film projection foretelling an apocalypse a mere coincidence? It’s impossible to know whether Pynchon might have seen Paris nous appartient during its brief New York run in the early 60s. But even if he hadn’t (or still hasn’t), a bitter sense of betrayed utopian possibilities in that film, in Out 1, and in most of his fiction is hard to overlook. Old fans who’ve always been at the movies (haven’t we?) don’t like to be woken from their dreams.

by Jonathan Rosenbaum

Footnote

For this reason, among others, I’m skeptical about accepting the hypothesis of the otherwise reliable Pynchon critic Richard Poirier that Gravity’s Rainbow’s enigmatic references to “the Kenosha Kid” might allude to Orson Welles, who was born in Kenosha, Wisconsin. Steven C. Weisenburger, in A Gravity’s Rainbow Companion (Athens/London: The University of Georgia Press, 2006), reports more plausibly that “the Kenosha Kid” was a pulp magazine character created by Forbes Parkhill in Western stories published from the 1920s through the 1940s. Once again, Pynchon’s populism trumps—i.e. exceeds—his cinephilia.

#Jonathan Rosenbaum #The Chiseler #Thomas Pynchon

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hypocrisyofandrewdobson · 5 years

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Does/Did Dobson ever have his own comic series or has it all been strips of him bashing people of different mindsets than his? I mean I know of that- what was it- the thing about lesbians comic but did anything even come out of that???

He’s had a few, though nothing has lasted very long save for a couple...

Untitled Video Store Clerk/Autobiographical comic - probably his first comics posted “professionally”, part were stories about a clerk at a video rental store. Heavily manga inspired and bizarrely wacky. Others could be considered a precursor to SYAC, in which Dobson drew comics about his day-to-day life working at a video rental store. Actually shows off a lot of the talent he started off with. Can be read and seen here.

Patty - Dobson’s “realistic” take on how a tomboy in high school discovers she’s a lesbian. Lasted one volume which can be read here. Occasionally draws art of the two characters to show what a good LGBT “ally” he is. Recently drew a “redesign” to see if people were interested in seeing him redo it.

Formera - very generic “young boy magically and randomly transported to other world and meets cave girl” story. Lasted two volumes. Not really much to say about it due to how generic it was, though a follower did point out the hypocrisy between how Dobson hates on Quiet from MGSV vs how he wrote said cave girl.

Legends/Alex ze Pirate - pirate girl and her crew gets into wacky hijinks. Originally created by a girl Dobson had a crush on and was about space pirates. Lasted two volumes mixed with some comics only posted online. Best know for “Lesbian Kick”

Percy Phillips - massive Sherlock Homes rip-off. Covered in full detail here.

Danny and Spot/Danny and Spot 2: Stop Making Fun of my Wii, Assholes!) - flat-out Garfield rip-off about a guy and his talking cat. Lasted only a few comics in its original run, brought back as a comic calling the Wii the best console ever and bashing the PS3/XBox360 because some people on a video games forum made fun of Dobson for being a such an intense Nintendo shill

So You’re A Cartoonist - His longest last comic to date. Started out as a sort of “day in the life of” comic about being a webcomic artist, but quickly became a strawman comic for Dobson to bash people and things he disliked and imply anyone who disagreed with him was stupid. Origin of his blue bear persona and the “STOP DOING SEXIST CRAP!” comic. Basically, if you see a blue bear, it’s a SYAC.

Brentalfloss: The Comic - was hired to be the artist of a comic written by Brentalfloss(of “What If ~video game song~ Had Lyrics?” fame) and one of the McElroy Brothes. Lasted over a hundred comics before being cancelled. Dobson has no input aside from drawing it, so the jokes and writing are stronger than his usual stuff.

Unnamed Mythological Ski Resort comic(aka Muslim Vampire comic) - project Dobson has supposedly been working on for years but has no physical proof outside of one image. Bragged about how there would be no straight white men anywhere in the comic and mocked people who asked him why. Dubbed”Muslim Vampire comic” became Dobson claimed that the comic would be “very inclusive”, giving a vampire being Muslim as an example. Most likely will never see light of day.

The Adventure Zone: Amnesty webcomic adaptation - Dobson’s fancomic of a D&D audio podcast by the McElroy Brothers. Blatent attempt to be hired as their comic artist for an “official” adaptation of the podcast. Deflected any criticism of the comic by claiming it was a “direct adaptation” of the podcast and not adapted for better flow in a comic, so people were really just hating on the podcast itself. Abandoned after three chapters because he wasn’t getting the attention for it he wanted and the McElroys never contacted him.

Soapbox Derpy - what Dobson calls any political comics he makes. Had a couple made five or so years ago before churning out a ton after Donald Trump was elected president. Can be summed up as “all republicans are evil sexist Nazis and are also stupid racist rednecks”.

Bonus: Monkey Love: comic idea he never got off the ground about the son of a janitor and a monkey he fell in love with at the zoo. Seriously. No, I don’t know why.

#ask #feelconcerned #andrew dobson #tom preston #adobsonartworks #adobsonart #webcomics #patty #formera #alex ze pirate #danny and spot #syac #taz amnesty #muslim vampire #monkey love #percy phillips #brentalfloss #soapbox derpy #long post

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diamondsassessment · 5 years

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Defining

A Summary

My wicked problem is how society perceives autism spectrum disorders. Through research and the surveys I’ve conducted I’ve been able to identify a general lack of understanding of what autism is. ASD individuals feel underrepresented in media and misunderstood by the general populous, which leads to higher rates of depression and suicide. I’d personally argue that it’s not autistic people that need to change (especially considering this is how we’re wired) but that society as a whole needs to catch up and become more aware of our traits and needs through things like the educational system and work environments.

Which aspect of ASD perception matters most?

I think representation in the media matters as much as early childhood education. The media has a wide reach and a potential influence over people of all ages, locations, and economic backgrounds. Parasocial relationships can form between the audience and a piece of media which can have an incredible impact on how large groups of people feel towards and interact with others, for better of for worse. This leads to the creators of such media having a responsibility to represent marginalised and misunderstood groups in accurate, honest, and empathetic ways. I feel more ASD representation in media (independent or mainstream) will lead to a normalisation and overall better understanding of autistic traits within the general populous.

Which should we act on first?

I feel positive representation in the media is something that can be acted upon here and now and will be able to possibly do some damage control regarding older generations’ lack of understanding and acceptance of autism spectrum disorders.

What is feasible?

Regarding what I can do to play a part in this representation, I feel I have several options as a digital media student which can combine both craft and future aspects of my skills that can have a potentially effective impact.

Comic series

Poster series

Short film

Podcast

Illustration

Out of all of these options, I feel a comic or poster series would be most effective. I am actually currently creating a podcast series in my spare time with an autistic main character, but regarding this assessment, I feel I should try something new and more purposefully tailored towards “how society perceives autism spectrum disorders”.

What can I do?

If I make a comic series it can go in either two directions: autobiographical or a means to give multiple other people a voice. I already touched on both ideas further below in the blog, but the short of it is that I could create journal comics of my life as an ASD person and post them online. This can potentially give people a means to interact with and share my work while reaching out to allistic (non-autistic) individuals. Another option is to take stories and ideas from other autism spectrum individuals (with their permission; I’d likely open a suggestion box of sorts for people to submit to) and create comics of those ideas. This would have the same benefits as the autobiographical comic, but with the added bonus of giving multiple people on the autism spectrum a voice and a means to express themselves in ways some may not be able to (aka. art).

If I make a poster series, I can take quotes from my “Are there any aspects of ASD that you wish the general public were more aware of?” question from my survey and make a series of posters about them. Effectively giving multiple people a voice.

I’m still undecided on which of these I want to do, but I’m leaning towards a comic series.

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Bookshelf Briefs 9/11/19

Atsumori-kun’s Bride-to-Be, Vol. 1 | By Taamo | Kodansha Comics (digital only) – Nishiki loves to study, so when family acquaintance Atsumori suggests attending high school in Tokyo and finding love there as a way to get out of the engagement her father has arranged (to the boy her best friend is in love with), she goes for it. Seizing control of her own future is one facet of her motivation, but so far she seems mostly concerned with getting Atsumori to fall in love with her, since he pledged to take responsibility if she couldn’t find anyone else. Nishiki is okay as a character, but I really like Atsumori. He at first comes across as somewhat snooty and imperious (reminiscent of Naoki Irie), but soon shows a kinder side. I read a few volumes of Taamo’s House of the Sun, but it didn’t really stick with me. I suspect Atsumori-kun’s Bride-to-Be will fare much better at keeping my attention. – Michelle Smith

Blank Canvas: My So-Called Artist’s Journey, Vol. 2 | By Akiko Higashimura | Seven Seas – The second volume of Higashimura’s autobiographical manga Blank Canvas shows her as a young artist making the difficult transition from high school to art school. Granted, for a moment there, it looked like she might have completely failed her entrance exams. And she continues to struggle once she’s actually made it to art school, losing her confidence and creative drive. Blank Canvas comes across as a very honest work. Higashimura softens her story with humor, but there’s still a sense of sadness and regret expressed, especially when it comes to her community art teacher Hidaka. Even though she’s now at art school and she doesn’t see him much at all (and in many cases tries to actively avoid him), Hidaka and his support are still an incredibly important part of her life and of her development as an artist. It can be hard-hitting at times, but Blank Canvas‘ excellence continues. – Ash Brown

D-Frag!, Vol. 13 | By Tomoya Haruno | Seven Seas – So this is now officially a yearly release, I suppose. This is due to Japanese releases rather than low sales, though. The gags still come thick and fast, though, as the game clubs try to game even though it’s too hot and no one wants to leave the house, infiltrate the school to steal back a precious anime figurine, and play virtual-reality games so realistic that they turn intruders in the real world into enemies. And there’s also Takao, her massive crush, and her massive breasts, which as ever get the bulk of the gags. Unfortunately, the long time between volumes means it’s hard to remember anyone, something briefly lampshaded as the club recalls their faculty advisor, who we last saw… when? – Sean Gaffney

Dr. STONE, Vol. 7 | By Riichiro Inagaki and Boichi | Viz Media – I will admit, it’s refreshing to see Dr. STONE actually make you believe that they can create a smartphone in this technologically bereft village. Of course, finding someone to really test it may be a challenge. In the meantime, this very shonen series continues to have very shonen moments, as Senku and Chrome win over one of their former antagonists while spelunking in a cave for minerals. And of course there’s the ridiculous poses, which will make you cry out “YES! TUNGSTEN!” just like the rest of the cast. It’s pretty clear that all the humor that recently vacated One-Punch Man has ended up here, and it’s all the better for it, because honestly would you want this title to be serious? – Sean Gaffney

The Girl from the Other Side: Siúil a Rún, Vol. 7 | By Nagabe | Seven Seas – This series is bad for my heart. I just love Teacher and Shiva so much and bad things keep happening to them! Why can’t they just have adorable snowball fights forever? In this volume, the cursed soldiers have found them and, contrary to the Black Children who believe Teacher is one of them, suggest that Teacher might’ve once been a human doctor named Albert. He’s been clinging to the belief that he was once human this whole time, but once Shiva begins to show signs of the curse at long last, he immediately sheds all those pretenses and actively attempts to use Black Children powers to steal a new soul for her. “If it is for your sake, I will be as monstrous as I must.” It almost feels like a new beginning for the series, and I both dread and deeply anticipate seeing where things go from here. – Michelle Smith

Kaguya-sama: Love Is War, Vol. 10 | By Aka Akasaka | Viz Media – There’s some nice depth added here to Hayasaka, who is bossed around by Kaguya once too often and snaps a bit, though is eventually defeated by the power of Shirogane’s awful singing. We also—finally, after ten volumes of seeing her staring in horror as a background character—meet Maki Shijo, who turns out to be Kaguya’s third cousin twice removed or something, and just as mood swingy if not more than Kaguya is. But the tear-jerking and heartwarming chapters of the volume have Kaguya breaking her cell phone, so ancient she can’t get the pictures restored, and the others sending her new phone photos so she can start to create new memories. This is sweet and funny, as always. – Sean Gaffney

Kino’s Journey: The Beautiful World, Vol. 3 | By Iruka Shiomiya, based on the novels by Keiishi Sigsawa | Vertical Comics – Kino is a lot more active in this one than usual, for reasons that we don’t really figure out until midway through the book. Kino’s in a city where you fight for citizenship, and after discovering it can be lethal decides to join in, even though they’re moving on in three days. Kino’s final opponent, though, is also very invested in this battle—and also has a talking familiar, in this case a dog. As the cover shows, they compare very nicely, and are essentially distaff counterparts of each other. If you want to see some painful moral lessons with a dose of action and badassery, this is a very good volume for that. – Sean Gaffney

My Monster Secret, Vol. 17 | By Eiji Masuda | Seven Seas – This volume devotes most of its page time to Okada, one of “those three guys” and his somewhat half-assed, passive love for Mikan. I do appreciate how the nature of his “confession” is called out for what it is, and like the rest of this cast he has to go through a lot of emotional humiliating shouting before he can actually be redeemed. Of course, Mikan is still in love with Asahi, but let’s face it, that’s not going to be happening in the future. Actually, we’re still not QUITE sure what is going to be happening in the future. At least Akari won’t be immediately fired, though I still dislike this particular relationship. This was OK. – Sean Gaffney

Ran and the Gray World, Vol. 4 | By Aki Irie | VIZ Media – I am so torn about Ran and the Gray World. There are scenes I genuinely like, such as Sango using her thread magic and Ran practicing with her teacher (and new rival pupil) to control her powers. This volume also finally follows up on Otaro getting attacked by bugs and that huge door that Shizuka had been guarding. But it seems like this series’ main mandate is “Get Ran into teen mode and then get her clothes off, ASAP!” It’s not Otaro this time—in fact, he doesn’t avail himself of an opportunity to kiss her—but her tutor, with Irie-sensei putting them into sexy quasi-bondage poses as Tamao attempts to help Ran recognize the breadth of her powers. The action at the end is kind of neat, but do I care enough to finish the series? I’m undecided. – Michelle Smith

Reborn As a Polar Bear: The Legend of How I Became a Forest Guardian, Vol. 1 | By Houki Kusano and Chihiro Mishima | Yen Press – I have to say I thought it would be fine. Yes, it was a reincarnation isekai. Yes, there was a group of cute girls. Yes, the protagonists saves the girls from getting raped, the standard isekai introduction for this sort of character. But he’s a freaking Polar Bear! He doesn’t transform, we don’t see him as a human—he’s a big old bear, out to protect a group of werewolf girls. As such, the fact that they seem to be falling in love with him, and asking about having his children, is even more jarring than it would be if it were something like Bunny Drop or Daughter Demon Lord. HE’S A BEAR! Like Fozzie Bear, but… well, not very much like Fozzie Bear. In any case: no. – Sean Gaffney

Yowamushi Pedal, Vol. 12 | By Wataru Watanabe | Yen Press – There are manga that I enjoy more than this on a fannish level, or a shipping level, or on an overanalysis level. But pound for pound there are very few manga that I enjoy as I’m reading them like I do YowaPeda, which manages to turn a cycling race into the most dramatic thing ever. More manly sacrifices are made, more trash is talked, Okita continues to somehow keep up with everyone through the sheer power of being the lead character, and even Midousuji gets through the volume without being the most annoying person ever. The omnibuses also help a lot, as this race is STILL GOING, though all signs point to it ending in the next book. One of the best sports manga coming out here. – Sean Gaffney

By: Ash Brown

#Anime #News #Manga Bookshelf

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Bookshelf Briefs 5/21/19

Anne Happy, Vol. 9 | By Cotoji | Yen Press – This is the second-to-last volume, but while there are a few hints of plot (Hibari’s family is lampshaded a bit), for the most part it’s devoted to another test of “happiness,” this time by a VR environment that causes everyone to resemble children. Given our main cast already know each other and are pretty good friends, the stakes are honestly pretty low, and there’s a bit less “everyone is useless” here—I don’t even think Botan coughed up blood once. It does make it feel like this is a series that needs to come to an end, though, which is why it’s good that it’s about to. If you’ve been following Anne Happy, this is a pleasant enough volume, and there’s no reason to stop just before the end. – Sean Gaffney

Blank Canvas: My So-Called Artist’s Journey, Vol. 1 | By Akiko Higashimura | Seven Seas – I’d loved everything by Higashimura that I’d previously read—Princess Jellyfish and Tokyo Tarareba Girls—so I was looking forward to the release of the award-winning Blank Canvas a great deal. After reading the first volume I can confidently declare that I’m still enamored with Higashimura’s work. Blank Canvas is an autobiographical series in which Higashimura, now a successful manga creator, reflects back upon her early days as an artist. The first volume shows her in high school as she’s preparing to apply for art school, a somewhat daunting challenge since up until that point she’d largely been coasting through her clubs and classes. Determined to become a famous shojo creator, she enrolls in a community art program, the teacher of which isn’t about to let her get away with slacking off. Told with Higashimura’s characteristic mix of humor, heart, and honesty, Blank Canvas is a tremendously engaging manga. – Ash Brown

Dr. STONE, Vol. 5 | By Riichiro Inagaki and Boichi | Viz Media – Tempted as I am to just copy/paste my review of the fourth volume here, I will try to say something new. It’s hard, though, as the same two things I spoke about last time are focused on this time. Senku is very invested in science, but it’s a ridiculous shonen kind of science. Also, ridiculous is the order of the day elsewhere, as this series really goes over the top in everything it does. Thankfully, the tournament arc doesn’t last too long. The winner may surprise you, unless you’ve read any other shonen manga ever. I admit I laughed at Ruri’s sprint across the village. But we’re getting a backstory flashback as well, as Ruri knows Senku’s last name. How? We’ll find out next time. – Sean Gaffney

Eve and Eve | By Nagashiro Rouge | Seven Seas – Between Seven Seas and Yen Press, we’re getting quite a few yuri anthologies in 2019. This one is a collection of yuri-themed stories by the same artist, and the title comes from the first of these. They’re fairly explicit—Seven Seas actually labeled the title Mature, something they rarely do—and a few of them range towards science fiction. Two of them also involve getting pregnant in a handwavey sort of way, and in fact those ran in “Yuri Pregnancies” in Japan, which I assume is an anthology and not a magazine. There was nothing earth-shaking in here, but nothing truly bad either. If you like yuri, and don’t mind that it gets sexual (or the magical pregnancies), it’s a good volume to pick up. – Sean Gaffney

Haikyu!!, Vol. 32 | By Haruichi Furudate | VIZ Media – Karasuno’s game against Inarizaki continues in (and beyond) this volume. The plot = “volleyball,” but that allows Furudate’s artistry to shine. Getting caught up in the drama of who will win is unavoidable, but I also marvel at the skill with which Furudate fleshes out the opposing team and imbues moments of individual victory with significance. For example, I loved when terminal bench-warmer Kinoshita thinks he’s missed his chance at heroism only to be credited by Nishinoya for helping him practice a move that pays off on the court. And I especially loved when Hinata not only manages to perfectly return an intimidating serve but proves so defensively competent that even Tsukushima comes to rely on him. That’s major progress! I love this series so much. – Michelle Smith

Hitorijime My Hero, Vol. 3 | By Memeco Arii | Kodansha Comics – I’m happy to report that Hitorijime My Hero has improved a lot since its first volume, which left me with some trepidations. In this volume, Masahiro’s friends find out about his relationship with Kousuke and one reacts badly, though it’s mostly coming from a place of feeling like he was the last to know something so important. Starting with volume two, Kousuke has been worried that Masahiro might focus on him instead of his “youth,” so he gives some good advice that helps them sort things out. I also appreciated that Kousuke’s friends are really concerned about his choices and grill Masahiro a bit to find out how much of a threat he poses. No, Kousuke doesn’t actually get arrested—although one of his friends is a cop, he’s an absolutely useless cretin—but it’s nice that it’s acknowledged that he could be. I’ll keep reading. – Michelle Smith

Kaguya-sama: Love Is War, Vol. 8 | By Aka Akasaka | Viz Media – After the plot-filled seventh volume, we’re back to wacky gag chapters in this book. Which is good, as this series does comedy well. It’s still working Ino into the fun, but even when the humor is based around a Japanese concept (one chapter talks about collecting bellmarks, which helpfully is so old in Japan that it’s explained in the text) there’s still laughs. My favorite chapter might be the one where Chika tries to tell Kaguya about the one she likes, and paranoia makes everything so much worse (and also reveals Chika is well aware of Kaguya’s ambiguity towards her). As for our lead couple, well, even Kaguya literally collapsing and going to the hospital can’t stop the laughs—or get them together. Great fun. – Sean Gaffney

Laid-Back Camp, Vol. 6 | By Afro | Yen Press – There’s some actual character development here, though for the most part the series still runs on ‘cuties camping’ for all its attention. Nadeshiko has been sort of the airhead of the group for most of the series, and I was expecting her desire to own the camping lantern to be blown up in some way, but no—she gets a part-time job, is decent at it, and buys the lamp. The author even toys with us, having her trip and almost break the lamp, but then catching it. What’s more, she wants to try solo camping. Hopefully her camping goes better than Inuko, Aki and Ena, who try a cold-weather campout and thankfully don’t die—though they need a little help to avoid it. This is getting better as it goes on. – Sean Gaffney

Murcielago, Vol. 10 | By Yoshimurakana | Yen Press – I never thought I’d say this, but this is actually a pretty sedate volume of Murcielago. Oh sure, Kuroko finds a new girl she wants to seduce, and there’s some naked bathing, but there’s no sex in this one. Even the violence is relatively behind-the-scenes here, though I have a feeling the volume after this will take things up a notch. We’re at a fishing village with a dark secret at the local church, one that’s led to an awful lot of dead people being eaten by sharks. And, of course, Kuroko’s new girl turns out to be the key to it all—or rather, the rosary left to her by her late father is. Will Kuroko and Hinako save the day? Can Suiren avoid getting seduced? Likely no to that second one, but that’s what makes Murcielago what it is. – Sean Gaffney

Our Dreams at Dusk: Shimanami Tasogare, Vol. 1 | By Yuhki Kamatani | Seven Seas – Tasuku Kaname has recently transferred to a new high school. His classmates are friendly enough, but soon a rumor starts circulating that he’s gay. Tasuku is quick to deny it, though the truth is he’s struggling to come to terms with his sexuality since it carries such a large social stigma. It’s only after he meets and learns the stories of several other people who are likewise not straight that Tasuku starts to feel less isolated and is able begin to accept himself. The fear, anxiety, and agony that results from not being able to freely live true to oneself both inwardly and outwardly is exceptionally well-conveyed by Kamatani in Our Dreams at Dusk. But while the first volume is at times heartbreaking, it’s also not without hope. Emotionally intense and tear-inducing for both sorrowful and joyful reasons, Our Dreams at Dusk is off to an incredibly compelling start. – Ash Brown

A Strange & Mystifying Story, Vol. 7 | By Tsuta Suzuki | SuBLime – And so, A Strange & Mystifying Story comes to an end. I could quibble with some aspects of this finale, like how Tsumugi convinced grief-stricken Magawa to give up on his destructive quest with ease to spare, but since it led to a happy ending for all concerned, I’m not going to argue with it. There are some great moments between Tsumugi and Kurayori, especially a tearful and relieved two-page hug once the effect of Magawa’s spell is reversed, and I adored their first love scene. It’s fumbling and awkward and loving and entirely about the characters. It felt necessary and not gratuitous. This series stumbled a little in the beginning but I’m glad I kept with it because from the third volume on, it became something special. I recommend it highly. – Michelle Smith

By: Ash Brown

#Anime #News #Manga Bookshelf

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