#still plan on doing my bigger more personal death zine

[nerdyqueerandjewish]

Okay the death positive mini zine turned out pretty good. Maybe I’ll add it to my Etsy or something? Would people be into that? The information is just from the order of the good death website but it’s still a neat little art piece.

#still plan on doing my bigger more personal death zine #death positivity #death positive movement #death positive

[arecomicsevengood]

“Follow Your Own Star”

Lately I’ve found it hard to shake the feeling that everything of value is being destroyed, but we are being given simulacra in exchange, while we wait, to soften the blow. The relationship between the U.S. economy and what actually has value is basically nil, obviously, and COVID has only highlighted that, but beyond that, being in isolation has brought to light how much of what I consider “real” because it exists outside the bounds of money is nonetheless vulnerable. We’ve been given podcasts to fill our working hours with parasocial relationships where once we may’ve had genuine camaraderie with our coworkers. We’re given desultory political candidates to vote for in the absence of those who would govern in accordance with our actual beliefs. It feels like an elaborate art heist is taking place, where the masterpieces are exchanged for forgeries, and the endgame of those seeking to enrich themselves is to set a bonfire of all that’s made us human, all we’ve invested our true selves into. All this can occur only because our relationships have been made increasingly transactional already. I wondered at the start of quarantine how many couples, with the ability to see one another in the flesh compromised, had switched to having “sex” over Skype, how many intimate relationships were compromised by distance into resembling cam shows. Partly this curiosity was a way of comforting myself, as I came to the understanding that I would not be entering into anything approaching a real romantic relationship for the foreseeable future.

In the context of all of this, reading a book that feels reminiscent of the work of another artist feels like a minor thing, but it slips easily enough into the larger pattern. After reading Roaming Foliage by Patrick Kyle, I thought “Huh, this is very much a CF/Brian Chippendale thing.” Then, after reading Eight-Lane Runaways by Henry McCausland, I thought, “Oh, this is even more like a CF thing.” Both are, I think, appropriate for kids, which Powr Mastrs isn’t, but I also never read Powr Mastrs and felt like the thing that made it good was its BDSM pornography elements. People have been biting CF’s style for years — enough for him to address it with a little note in the third Powr Mastrs book, instructing them to “follow your own star.” Simon Hanselmann admits the similarities between the character design for Owl and a character in CF’s story in Kramers Ergot 5, Hanselmann’s subsequent popularity seems to suggest a moment where something becomes less of a direct influence and more just something that exists generally in the world. It’s art: Inspiration, influence, and appropriation are all part of the game. Reading Hanselmann, I’ve wondered what his work would’ve been like before exposure to his most obvious influences; reading these, I wondered instead if they would still have been made had Powr Mastrs 4 ever come out, to finish out the story and close the system; it feels like, in a transactional relationship between artist and audience, the fact of a work remaining unfinished makes it more socially acceptable to steal from. For instance, think of the debt Alejandro Jodorowsky’s The Holy Mountain owes to Rene Daumal’s Mount Analogue. It feels like an attempt to create something with an ending, to satisfy a desire for the logic to reach its conclusion. The comics fulfill a certain set of expectations, I found them a pleasant enough experience, satisfying on a certain level. However, on a deeper level, I found them completely unsatisfying, because they speak so directly to a sense of unfulfilled potential. They lack the thrill that CF’s comics provide, of totally transcending any expectations placed on them.

Measuring the impact made by CF, Paper Rad, and the Fort Thunder contingent is difficult to calculate, because there were so many radical gestures inside that work, and while some have been metabolized, others have not. The “reclamation of genre material in an art-school context” is maybe the most readily understood. Johnny Ryan’s Prison Pit probably wouldn’t exist were it not for these comics, but that’s such a “who cares” for me, such a dumbed-down and simplistic understanding of what makes these comics good. The silkscreening of covers is close behind, in terms of something that people really ran with. That’s fine, no one owns silkscreening, it looks great. What hasn’t really been reckoned with are the gestures against commodity fetishism. Paper Rodeo is progenitor of the free comics newspaper format, but the work that ran there is so much wilder than what you see in what followed, and most of it was anonymous. I understand why that was a gauntlet that wasn’t picked up, but is still one of the things that made an impact on its initial readership. Similarly, I haven’t seen anyone steal the CF format of the single-sheet xerox, with comics on the front and back. I guess that’s not surprising! But honestly? Sick format.

I’ve just been talking about comics, but Lightning Bolt playing on the floor is its own radical gesture, albeit one with an obvious precedent in the form of Crash Worship. The Forcefield oeuvre is its own thing. Those videos are great! The animation made out of photographing the cutting layers of multicolored clay… I wonder how much of this stuff hasn’t been picked up on because it’s the last stand of working with real world physical materials, before the coming of digital as the default medium for art students to work in. Obviously, the silkscreening has similar roots in physical media, and playing on floors relates directly to how you communicate with people when you’re in the same physical space as them. Real world community has distinct advantages, but many that came after took the trade for the benefits working digitally provides. Anyway. I could write a 33 1/3 book proposal for Lightning Bolt’s Ride The Skies that addresses all this stuff, but I also believe I would not be the best person to write such a book; I suspect those better suited would not be interested.

There is something so exciting about artists whose work feels overflowing with ideas, not just on a level of concept or drawing but also in terms of how the work is presented. That whole Providence/Picturebox crew was so abundant with this creative ferment that when I see others picking up on individual threads it makes sense on a certain level — you want more of a certain thing — but if it’s not backed up by something distinctly unique, as a reader I’m hyper-aware of what’s absent.

These artists also made books, and records, and it was their doing so that brought their work to a larger audience, including me. Not everything has to be a gesture against making money. But at the same time, radical gestures suggest the benefits made in fostering community work out better in the long term than leveraging oneself to be consumed as a commodity does. This is not to suggest that McCausland or Kyle are doing something wrong that will sabotage some sort of grand plan for utopia: I’m really just riffing here. If I buy electronic music mp3s online, I’m not necessarily going to lament the death of live music performance the same way I do when buying the mp3s of a jazz act. Looking at a contemporary superhero comic that feels dire and ugly will make me nostalgic for the Mike Parobeck comics of my youth, but a contemporary black and white zine exists in a completely different universe and might not remind me of anything. Certain things make you miss the world that was more than others.

It’s also worth noting that by all accounts Patrick Kyle has a bunch of people online ripping off his style but I have successfully been able to avoid such people. While Roaming Foliage is consciously modeled after the sort of weird adventure comics of not just Powr Mastrs, but also Brian Chippendale’s If N Oof,  What I am most often seeing and thinking “that’s a ripoff” is the presence of these geometrical patterns which are also similar to design choices made throughout his oeuvre. There’s a chaotic, obfuscatory energy approach to comics that he works with frequently, but so much of his other comics feel dark, melancholy, or paranoid whereas this feels much lighter in its tone. At the same time, compared to the claustrophobia of Don’t Come In Here, having his characters move about makes for an adventure narrative. Watching them wander, interact, and be given quests and goals belongs to this tradition that’s not unique to the Picturebox artists — but the feeling that this fantasy material was arrived at through adventure games like Zelda moreso than Tolkien makes for this sort of… generational level of familiarity, rather than seeming to occupy some sort of Campbellian myth-space, if that makes sense. The strangeness of Kyle’s art, where backgrounds overtake figures, suggests a sort of PC glitching, almost like the Cory Arcangel/Paper Rad collaboration Super Mario Movie, but achieved through photocopier technology of blowing up and distorting images. It is the sensation of a feeling being chased after that makes the book feel less exciting and more melancholy, though subsequently, that darker feeling might make the book slot into Kyle’s oeuvre so much that bigger fans of his might not even notice the resemblance I’m seeing.

McCausland has a list of acknowledgments in his book which includes CF alongside Herge and Otomo. I can sort of see them all, but Herge especially is an influence that’s been so widely absorbed by comics as a whole that I really only feel particularly aware of it in the case of Joost Swarte or something. McCausland’s resemblance to CF is reinforced by things as molecular as a resemblance in the lettering, which is really odd. The figures all have this youthful smallness to them, and I can’t tell if the characters are meant to be young specifically or if it’s just the way he’s learned to draw. I can see Otomo, but it’s definitely approached through the CF filter. Other trademarks, like the rendering of geometric shapes, the patterns of parallel lines, seems integrated, highlighted, by the “racetrack” premise that gives the book its name. However, he distinguishes himself because his work is more constantly busy, with the same general level of detail. There’s also these trees in the background, which seem like they’re rendered as these painted soft grey daubs, a type of texture you don’t see in CF’s darkened pencil work.

His storytelling is different, prone to large spreads, or showing the same character multiple times in a panel as they move across the landscape. (The dimensions of Eight-Lane Runaways are considerably larger than those of Powr Mastrs.) There are nonetheless panels that seem exactly like CF drawings, but with a less cryptic sense of humor. It feels more populist, like it’s based around what a person liked, and in the act of working it out, subtracted the mystery. What would’ve been a detailed “money shot” in a CF sequence is here the baseline level of drawing detail that never gets subtracted from. It’s really fascinating to me how this makes it less good, I think many people would prefer it.

I wrote most of this before learning that Anthology is releasing a new CF book next week. You can order it and see preview images at the Floating World site. You can draw your own conclusions. CF’s on his own path such that you might not even note a resemblance between his new images and McCausland’s. We’re all living on the same planet, orbiting the same sun in an expanding universe, subject to the will of an accelerating time.

[to-the-will-of-the-people]

Unsent Letters - Feuilly

January 8th, 2017

Dear Feuilly,

I’m sorry that this is the first I’ve written you in the first year. It can be difficult to find the time to sit down and write. I know you’ll understand. You always do. That’s one thing of many things to be admired about you; you understand people. I wish I could say the same for myself, but I lack comprehension of the human psyche and I can’t read people very well. 

You could always read people so well. You knew if someone was having a bad day just from looking at them. More importantly, you knew how to turn that day around. So empathetic and so considerate. So likable. You, who had no family, could make anyone feel like family, could make anyone feel at home. Not to mention your charisma. 

Little Abrielle is getting bigger. She looks like Courfeyrac, you know. I think it’s her nose. She has his nose, only smaller. Did I tell you about Grantaire’s daughters? They’re five years old, I think. Around there. They’re very energetic, which can sometimes be trying, but it’s also nice to watch because they’re very joyful.

We’re going to return to France soon. Then we can resume planning revolution. And the others will be in Delft shortly, so that means we can return that much sooner. They’re all right, too. That makes matters much better. They’re safe and they’ll be back with us soon.

I’ll try to write you soon, my brother.

Love,

Dominic Enjolras

December 27th, 2016

Dearest Feuilly,

Hello, my brother. I’m writing to you now to tell you that we will be returning to France as soon as possible. And we’ll even have somewhere safe to stay. Do you remember Katherine Jacobs? A long time ago, she published some articles for us in her zine, “The Voice of the People”. She has offered to provide us with secure lodgings, for which we are very grateful.

The new year is coming up. I have always loved this time of year. I think we all have because we’ve always associated it with change. And rightly so. 2017 is going to be the year of change. We are going to free France in 2017, I have no doubt. There will be no more turmoil, no more violence, no more death. I only wish that you could be there with us.

How are things in Poland? Is it very cold there? I hope not. I should hate to think you inconvenienced by the weather. I know you’ve never really cared for the cold, even though you never wanted to admit it. I wouldn’t blame you for being averse to it, given that you grew up in coldness. Heat, too, I guess, but that’s much more bearable, I think. 

I think Cosette is starting to feel stressed out by there being so many of us at her house. And this is with the others being absent in Saint Pierre et Miquelon. Oh, did I mention that? I think I might have in my last letter to you. In case I didn’t, that’s where they are. And they’re safe. 

Oh, the girls are inside now. It’s getting loud again. I think I’ll have to end this letter here.

Love,

Dominic Enjolras

December 24th, 2016

Dear Feuilly,

Great news! Wonderful news! Glorious news! Our brothers are safe! Mind you, they somehow ended up in Canada, but they’re safe.

Currently, they’re in Saint Pierre et Miquelon, which Combeferre insists is still France, but they might as well be their own country. They’re these two small islands just off the coast of Newfoundland and Labrador. Don’t ask me why they count as France, but they do. 

They’re safe. That’s what matters. It is such a relief to know that none of them are hurt. Or worse. They’re an ocean away, but they’re safe. For the first time in awhile, I feel calm, almost. It’s kind of nice. But it’s not going to last for long, which is a good thing and a bad thing. It’s a good thing in that it means leading the people into revolution. It’s a bad thing in that we may (and likely will) lose more friends. But we’re all willing to take that chance. It is necessary. 

We miss you. All of us.

Until we meet again,

Dominic Enjolras

December 10th, 2016

Dear Feuilly,

I’m sorry it has been so long since our last correspondence. I shouldn’t have neglected writing you and I sincerely apologise for it. I had to write you now though because you’ll never believe what’s happened.

Grantaire is a father. Of twin girls. When Sierra went into that coma all those years ago, she was pregnant. The hospital never told anyone and the babies were put into foster care after birth. Then when the government realised this, they used it against us and took one of the girls, Servane. The other one, Juliette, Sierra found. I’m not sure how and when anyone asks, she just smiles. 

The girls are very active. I don’t know how else to phrase it. Grantaire is having trouble adapting, I think. But it’s understandable, given the circumstance. I think it’ a bit of an adjustment for all of us, having two little ones around. And there’s Abrielle, too, but she’s not too fussy. I do worry about what will be done with the girls when the revolution is upon us. Naturally, they shouldn’t be near it. Something will need to be figured out. 

And we don’t know where the others are. We have no idea what happened to them. We don’t know if they’re dead or alive or hurt or captured. We have no way of contacting them. They say no news is good news, but I don’t think I can believe that. It’s all very troubling.

I believe I feel a migraine coming on. I will write you again soon, I hope.

Love,

Dominic Enjolras

September 1st, 2016

Feuilly,

I’ve begun to worry that the others don’t want to return to France. They are enjoying Delft immensely, which isn’t a bad thing in and of itself, but they don’t seem to want to go back. We have to go back. We can’t just abandon our country. That may be what Pontmercy did, but that can’t be our fate as well. We can’t give up. We can’t just walk away! France needs us, the people need us!

We have to go back soon. We can’t get used to Delft. Not like this. We need to go back home, where we belong. We need to make things right there. 

This one has been a short one, but I’m stressed out and I’m tired. 

Dominic Enjolras

July 22nd, 2016

Feuilly,

I’m on my way back to France. Courfeyrac is alive. He’s alive and he’s different. He betrayed them and he turned them in to the government. 

I have to save them, no matter what the cost. I can’t lose my family.

Enjolras

June 22nd, 2016

Dearest Feuilly,

Bahorel, Gavroche, and I are in England. I hate England. I hate English. But at least we can speak with members of the UN, try to convince them to get involved. We can do interviews with different news stations and we can gain a following in other countries. This is a good thing, yet it feels wrong.

I don’t like not being in France, Feuilly. It’s awful. Our brothers are across the English channel. It doesn’t feel right. At all. 

And this language. I know it, yet it’s so unfamiliar. Hearing it spoken to me... I don’t like it. I don’t like it at all. 

I just know that if you were here, you would make it better. You always could make the best of a situation. I admired that about you. I admired so many things about you Feuilly. And I know Bahorel misses you. I can see it in his face every day. You were his best friend. And you were a brother to all of us. 

I should probably try to get some sleep. Sleep well, my friend.

Love,

Dominic Enjolras

March 14th, 2016

Dear Feuilly,

It has been awhile since my first letter. I wasn’t going to continue to write them, but now I’m starting to change my mind. To catch you up:

Lesgle isn’t dead. He is very much alive. He was being held at Beswic, but he has been rescued and he is recovering from a rather nasty bout of pneumonia. He is alive.

I’m in rehab. I lapsed back into heroin use, but I’m getting treatment and I’m going to get better. I promise. I’ll get away from it for good this time. I’m sure I said that last time, but I mean it this time. I really do. I’m going to get clean. I promise you, Feuilly. Don’t you worry about me. 

Third thing: I have a sister. I didn’t know about her until recently. Her name is Augustine and she was locked away in an asylum for being trans back when I was first born. She kidnapped our friends and was keeping them in cages. From what I gather, they are free now, but she continues to plague their lives. I have yet to meet her and I’m fine with that. 

I have to go for treatment now. It’s been nice to recap what has happened. I know you’ll never actually read it, but it’s still comforting.

Love,

Dominic Enjolras

October 10th, 2015

Dear Feuilly,

This is a new thing I’m trying out, to cope. I don’t know if I’ll make a habit of it, but I think it’s a good thing to try out. Now seems as good a time as any to start because your funeral is tomorrow.

It’s not right. It’s not right that you’re gone. Only a few days ago, you were alive and smiling. Now you’ve been stolen from us too soon and I can’t stand it. It isn’t right. It isn’t right. This isn’t how things should be. This isn’t how it was supposed to go.

You deserved better.

You deserved so much better.

I hate this. I hate that you’re gone. It’s so wrong and I don’t know what to do anymore. You were so important to us, Feuilly. You mattered so much.

You were family to each and everyone of us. We love you, Feuilly. You are our brother and you always will be. 

And damn, this hurts so much. It’s so wrong. So, so wrong. I don’t know if things can ever be right again after this. They stole you away from us too soon and now everything is wrong. 

I’m sorry that this has happened. You didn’t deserve this. You were so good, so kind, so warm. You always knew what to say, what to do. Sometimes, you knew it was best to say nothing. Thank you for being who you were, Feuilly. You were an amazing person and an inspiration to us all.

Love,

Dominic Enjolras

#Enjolras #Fanfic #Feuilly #Les Miserables #Les Amis #Les Amis de l'ABC #Les Misérables #Les Miz #Les Mis #Barricade Boys