Number 2118: “Hot dawg! Ain’t I nifty?”
2 hours ago
This essay is a very belated response to a " part 1 " published in February 2015. The gist of that essay was a response to a corre...
While there's no question in my mind that Jerry is a "perilous psycho" in the uncanny mode, I had to think whether or not STEPFATHER also made use of the uncanny version of the "bizarre crime." Certainly Jerry's not an artful psycho: he clubs one victim to death with a board. But I finally decided that his motif of moving from family to family in pursuit of his twisted ideal qualified as a bizarre crime in itself-- though of course, like any uncanny facet of a narrative, it can be reconfigured to take on a purely naturalistic phenomenality, as one indeed sees in some of STEPFATHER's imitators.
"Affective freedom," rather, stems from the author's intention to privilege the tropes from the domain of literary artifice over tropes that signify adherence to worldly verisimilitude...-- ARCHETYPE AND ARTIFICE PT. 4.
I should have said earlier that these two forms of will, these "two souls" that seem to dwell in every human's breast, only appear in fictional characters to the extent that their creators choose to emphasize one or both. It is possible to have characters who are purely devoted to glorious ideals, or purely devoted to the persistence of ordinary existence. It is also possible to have combinations of the two, but one form of will must dominate over the other...
For all that the Surfer is not integral to the conflict's resolution, he combines some fascinating Judeo-Christian motifs. It's hard to say whether or not either Lee or Kirby drew any conscious parallels between the Surfer and the Christian Son of God, not least because the latter does not rebel against his heavenly father. Rebellion is more the department of Satan/Lucifer, who is generally characterized as being opposed to the good fortune of humanity. Nevertheless, I think it possible that Lee and Kirby's collaboration brought a fortuitous confluence of ideas, possibly one that neither creator could have pulled off alone. In the Surfer's later appearances, the character became more visibly an Imitatio Christi, though Kirby still tended to emphasize his inability to comprehend human mores.The Silver Surfer made a few appearances in the FANTASTIC FOUR title before the character finally received his first solo appearance in a short tale in FANTASTIC FOUR ANNUAL #5, about a year and a half after his first appearance. I have the sense that though both creators hoped to find some way to spin off the hero into his own series, they might not have quite known what direction to pursue. Yet this story-- the only solo-starring role for the Lee-Kirby Surfer, before Lee decided to launch a Surfer series in 1968 with John Buscema-- does touch on some of the same themes that Lee would explore without Kirby. For instance, many Kirby stories begin with a little gratuitous action, and this one is no exception: the Surfer is just flying around on his board when some duck-hunters fire at him.
the name given to a specific, pervasive form of aggressive cluelessness, that masquerades as a sincere desire to understand
Fictional comics about "toxic masculinity" can be directed at specific audiences because fiction does not (or should not) have to meet tests as to real-world applicability.
Non-fictional articles may indeed be written to target audiences, but in theory they ought to meet the test as to real-world applicability.
You’ll never see Batman sexually assaulted while disassociating.
SYNTAX: -- the way in which linguistic elements (such as words) are put together to form constituents (such as phrases or clauses)-- Merriam Webster online.
Do you know why we care? I go back and forth – I’m not sure why I feel the way I do. There’s no conclusion here. Don’t look for a revelation, unless it’s your own. Certainty is comforting. It’s familiar. I don’t want to speak unless I know exactly what I’m about to say, and I don’t want to express an opinion unless that opinion is completely solid. It’s a lot harder to say, “I don’t know.”I don’t know why comics hooked me. All I know is that they did. All I can do is try to tell you what I feel and think. Maybe you can provide your own answers.
There’s an old saying, credited to a man named Peter Graham, that the Golden Age of sci-fi is twelve. Knock a few years off and the same goes for comics: the comics you read as a kid will always be the best comics. Nothing will ever come close in your eyes to that first rush, from back before you knew enough about the making of the books to become cynical. Even if the comics you grew up with were awful (and they most likely were), they will always be the pure and uncut high for which you will hunger for the rest of your life.
I needed something. I needed something to hold onto when so much about the world didn’t make sense. I didn’t exclusively gravitate towards particular characters, although I obviously have my favorites just like everyone else. The characters themselves, I have always maintained, are relatively unimportant: what matters is the whole. What matters is that it hangs together into something resembling a cohesive aggregate entity, one story being told over decades by hundreds of people.
Comics started off a shady business built to entice children into spending their money. They are still a shady business built to entice children into spending their money, but inflation and retail conditions meant their audience grew older without ever growing up. Just like me.There may be individual artists who will starve in garrets for their individual visions, or will keep their works to themselves without any intent of publishing them. But none of these eccentrics ever created an art-form. Theater, literature, music and the visual arts become regularized activities when individuals in a society realize that they can specialize in singing or play-acting, and from this stems the role of "the professional," who must be paid for his or her services, so that he can continue delivering his art to society instead of stopping to plant corn or whatever. And none of these forms would gain traction if they did not offer the audience a way to see life through as many viewpoints as possible-- all of which adds up to a "syntax of experience."