Last month, the 9th annual conference of the German Society for Comics Studies (ComFor) took place in Berlin. Unfortunately I missed half of it, so instead of a proper conference report (not that my previous ComFor conference posts – 2012, 2013 – were proper reports), I thought I’d just point out my favourite talk out of the ones I have heard:
Julia Ingold (Kiel University) presented an allegorical reading of Markus Färber‘s comic Reprobus. Reprobus seems to be Färber’s first standalone comic, and was published only two years ago. In this comic, Färber re-tells the legend of Saint Christopher (who was called Reprobus before he met Jesus), albeit with some twists. Reprobus is a beautifully drawn comic, and its non-linear story is cleverly written. But that’s beside the point.
In her talk, Julia Ingold referenced Craig Owens’s text “The Allegorical Impulse” (which I have discussed on this weblog last year), and placed Reprobus in a postmodern context. That latter statement was more of an incidental remark, if I remember correctly, as her main point was the reading of Reprobus as allegory through Owens. Therefore I won’t hold it against her that she didn’t take the time to expand on what’s postmodern(ist) about Reprobus.
It’s easy enough to recognise Reprobus in “The Allegorical Impulse”, or vice versa: Reprobus is a typical example of a “palimpsest”, of “reading one text through another”, of the artistic strategy of “appropriation”, in that Reprobus “confiscates” the legend of Saint Christopher (all quotations from Owens). The problematic point is that for Owens, this allegorical impulse is already the characteristic that distinguishes postmodernist from modernist art. Nowadays, as I have tried to show in the aforementioned blog post on Owens, Foster and Ishinomori, Owens’s view of postmodernism is only one of many.
Hal Foster, on the other hand, emphasises (in “Postmodernism: A Preface”) the challenging stance of postmodernism towards the social context of objects.* I find it hard to see such a thrust in Reprobus. The “realm of myths and legends” is “sinking into oblivion”? The people in the big city “have almost forgotten” about Jesus? If this story was really intended as a critique of contemporary society, it’s about 100 years late. This comic combines rather old-fashioned aspects with some undeniably timely traits – which isn’t a bad thing, but makes me reluctant to classify it as entirely postmodernist.
The papers of the ComFor conference aren’t published yet, but an earlier article by Julia Ingold on Reprobus can be read in the latest issue of the journal helden. heroes. héros. (PDF, German).
Out of the many authors who publish on comics, Frederik L. Schodt is one of the few with a truly distinct writing style – neither academic nor fannish, neither highbrow nor colloquial, his writings are full of rather obscure words, some of which I have never seen anywhere else. Recently I re-read the beginning of his book Dreamland Japan, and while doing so, just for fun,* assembled this list of my favourite eccentric words therein and their meanings (as far as I could find out):
to accord – p. 19: “Japan is the first nation in the world to accord ‘comic books’ [...] nearly the same social status as novels and films.” – to grant, to give.
bone-crushing – p. 28: “Yet along with this celebration of the ordinary is the bone-crushing reality that the vast majority of manga border on trash.” – back-breaking, depressing (cf. German: ‘erdrückend’).
hari-kari – p. 11: “in due time both words [manga and anime] will undoubtedly be listed in the standard English dictionary along with other Japanese imports like ‘hari-kari’ and ‘karaoke.'” – variant of harakiri (ritual suicide).
finicky – p. 13: “In Japan, people’s names are usually listed with the family name first and the given name last. Certain academic types in the English-speaking world are rather finicky about this convention and insist on preserving it even in English texts” – difficult to please, demanding.
to flounder – p. 34: “Japanese people have floundered about trying to the right term to describe the sequential picture-panels that tell a story.” – to struggle.
full-figured – p. 26: “Japanese manga offer far more visual diversity than mainstream American comics, which [...] still reveal an obsession with muscled males and full-figured females” – according to Wiktionary, ‘full-figured’ means ‘fat’ or ‘plump’, but here it’s probably used in the sense of ‘curvaceous’ or ‘voluptuous’.
persnickety – p. 14: “Fans of Japanese manga (even more than academics) can be a rather persnickety and unforgiving lot” – see finicky.
profuse – p. 15: “Profuse thanks are offered to all who helped.” – plenty, abundant.
raga-like – p. 14: “[...] with raga-like stories that may continue for thousands of pages” – maybe Schodt means, ‘as lengthy as an Indian epic (raga)’?
satori-like – p. 21: “his face lit up in a satori-like realization” – (Buddhist) enlightenment.
I’m looking forward to present some more preliminary results from my PhD research, more precisely on Katsuhiro Ōtomo’s manga Akira and its first English and German editions, at a conference on “Übersetzungen und Adaptionen von Comics / The Translation and Adaptation of Comics” at Hildesheim University, Germany, from October 31 – November 2, 2014. Information on where to read this paper to follow.
Authors: Warren Ellis (writer), Declan Shalvey (artist), Jordie Bellaire (colourist)
Previously in Moon Knight: In the series written by Brian Michael Bendis, Marc Spector was working on a TV show in Hollywood, although on the last page Spector already announced he’d leave Los Angeles. He also was the masked vigilante Moon Knight, plus he had a split personality disorder.
In the new series, very little of that remains. All these things are briefly referenced, but why exactly Marc Spector has moved to New York, and why he isn’t imagining talking to Spider-Man, Captain America and Wolverine anymore, isn’t really explained. Rather than one continuous story, the new narrative structure is more like a series of one-shots: in each of the almost self-contained issues, Moon Knight fights a different villain.
Moon Knight is now more than ever a kind of Batman – a detective with high-tech gadgets and impressive martial arts skills, and not much more. It’s a pity that his mental illness isn’t as much the focus of this book as it was before. On the other hand, Warren Ellis introduces (in #3) something the previous series was lacking: the mystic aspect of Moon Knight being the incarnation of the Egyptian god Khonshu.
The larger story aside, both the writing and the artwork are a huge improvement over the Bendis/Maleev run. The dialogues are now smart and almost funny, and the drawings by Declan Shalvey and Jordie Bellaire, particularly the smart layouts in the second issue, are stunningly slick. Still, my overall impression is that Ellis is trying too hard to make a fresh start with this character and sever all ties to the 2011 series. If there’s one justification for the continued existence of monthly comic book series in the universes of Marvel and DC, it’s the continuity – readers want to follow one big story that goes on and on. By largely ignoring the old Moon Knight comics, Marvel sabotage their own format.
By the way, the series ends this month after only six issues. Warren Ellis writing an ongoing Marvel book? That would have been too good to be true.
Rating: ● ● ● ○ ○
Other people seem to be quite fond of the new Moon Knight, though; see e.g. this review by Joshua Rivera at The Beat: http://comicsbeat.com/one-and-done-it-doesnt-take-much/
In my PhD research I don’t deal with 21st century reception of Akira, but recently I’ve come across some interesting adaptation projects which I wanted to share here, just in case you haven’t heard about them already:
The Akira Project – Live Action Trailer (via Major Spoilers)
A three-minute fan-made “trailer” for a live-action film that doesn’t exist (i.e. not the one that was recently announced to be at the scriptwriting stage).
Player Piano – Akira (via Geek & Sundry)
An elaborate video of a performance of the anime soundtrack.
A faithful panel-by-panel remake of the manga – except all original characters have been replaced by Simpsons characters.
On his weblog Kevin Reviews Uncanny X-Men, Kevin O’Leary had an interesting post last month in which he picked the six members of his “ideal X-Men team”. I liked the idea and thought I’d post my own version, albeit with a twist: instead of choosing from all X-Men comics ever published or which I’ve ever read, I just browsed through whatever comics I had currently at hand on my shelf and in my longbox, and from these I selected the characters that I found interesting for some reason or other. Here they are, in order of publication:
- Morph from Scott Lobdell’s and Joe Madureira’s Astonishing X-Men v1, 1995 (“Age of Apocalypse” storyline): no idea why I own a copy of this comic book, which is mediocre at best. But Lobdell and Madureira employ Morph’s shapeshifting abilities for comedic purposes, which makes him the most memorable character here.
- Bishop from David Hine’s and Yanick Paquette’s Civil War: X-Men, 2007: while I find Bishop’s mutant power (“energy absorption and redirection” – Wikipedia) rather boring and himself as a character not very likeable, his backstory – coming from a dystopian future – makes for interesting storytelling material. In Civil War: X-Men, Bishop feels compelled to side with the government and turn against Cyclops and the other X-Men.
- Wolverine from Cullen Bunn’s and Paul Pelletier’s run on Wolverine v4, 2012: while Wolverine certainly isn’t an underexposed character, Bunn and Pelletier showed that his backstory still has some new plot devices in it. Plus, his regenerating abilities can be stunningly visualised, e.g. when half his face is blown off by a shotgun, and he regrows his eye during the same fight scene (in #306).
- Warbird from Marjorie Liu’s and Gabriel Hernandez Walta’s run on Astonishing X-Men, 2013: Warbird is a member of the Shi’ar alien race and not a mutated human, but her ‘otherness’ (which Liu frequently emphasised) matches that of the other X-Men misfits nicely.
- Nazi Xavier from Greg Pak’s and Andre Araujo’s X-Treme X-Men v2, 2013: it’s Charles Xavier, the popular telepath. Only he’s a nazi. X-Treme X-Men introduced many alternate versions of well-known characters from parallel worlds, one weirder than the other. Technically Nazi Xavier is a villain, not an X-Man, but Marvel never had much problems with changing a villain into a hero and vice versa. Such a ‘deal with the devil’ would create those tensions that seem to be all-important in any superhero team.
- Magneto from Cullen Bunn’s and Gabriel Hernandez Walta’s Magneto, 2014: Magneto has already undergone the treatment from villain to X-Man (and back again, probably several times), so it shouldn’t be a problem to have him on the team too. It would be interesting to have Holocaust survivor Magneto (don’t ask me how old he is supposed to be) on the same team as Nazi Xavier, but the reason I want Magneto on my ideal X-Men team is that it’s just so much fun to see him twisting and twirling pieces of metal around.
In November last year, I gave a talk at Comics Forum in Leeds on “Early manga translations in the West: underground cult or mainstream failure?”
That paper is now online at the Comics Forum website: http://comicsforum.org/2014/07/14/early-manga-translations-in-the-west-underground-cult-or-mainstream-failure-by-martin-de-la-iglesia/.
If you always wanted to know what my PhD research is about, this is the place to go.