Maus and Barefoot Gen - A commentary

The first time I was introduced to both these comics was in our History of Illustration class last semester. We were discussing the topic of PTSD rather than comics, but to be revisiting both these comics was hard. I knew it was inevitable we'd be reading/watching these, but I'm still not entirely sure what to say. 

Both events I can't exactly connect with since I have never experienced it myself, yet the way it was illustrated and present almost feels like I can relate or at least feel sadness for them. Especially Maus since it was basically narrated. I could almost hear his raspy voice and the memories he recalls. What terrified me the most was how clear it was. There wasn't really a moment of hesitation of "this might have" or "maybes" this was a portion of his life that was stripped from him and something that even till present day holds lots of regrets.  

The art style was very unsettling. In the beginning it's actually seen as quite cute up until the reader realizes this isn't exactly a book for children. It's clear it's a comic, but for what the story tells it legitimizes the fact that comics can be a whole story, a memory, and even informative. I thought it was quite clever that the mouses were jews, cats were germans, and pigs were polish. It almost made sense and simplified it for me more easily rather than if they were people. They were all animals, yet still different. I thought it was especially clever when he had to disguise himself by wearing a pigs mask. I can't imagine any other way of how the artist might've shown someone disguising their race. 

Now unto Barefoot Gen... This was a comic (I read the comic last year before learning there was an animation, so I'll be talking mainly about the comic) that hit me hard. Of course I had no personal family or connection to this event, yet felt a deep sadness and realization after reading this graphic novel. The majority of the beginning is just showing a day in a life of this small Japanese town. There were some warning signs of trouble like bomb drills, but the tragic event itself came out of nowhere. It basically spent the beginning making a peaceful relation with the viewers and characters and proceed to basically rip your heart out. The rest of the manga is spent on life afterwards and the struggle, which made me realize how this wasn't just some comic of an event, but an experience. 

(Also backtracking a little bit I recall in class after watching the film we discussed a bit about nuclear war and whatnot. It really baffles me something as dangerous as nuclear warfare is even up for debate. I think the whole point of this comic/film was to ensure that this never happens again.)

Underground Comics- (Slight nsfw warning) Commentary

"Gay Comix"

What I appreciated the most out of this comic was their summary page explaining who's worked on it and why it was made. They state clearly that these compiled comics are not made to represent the "average" homosexual, rather more personal experiences or views. This comic wasn't made to be politically correct, but more so bring humaness to a poorly represented community. It seems like the artists that have worked on this made this on genuine fun rather than trying to take a progressive stance.

One of the short comics that stood out to me the most was "Billy Goes Out". The layout in itself was very unique in which where he gets ready to go out, but in his mind is going through an existential crisis on how to act according to his "values" (Ie. I'm guessing religion) while being gay. While getting ready to go out to possibly sleep with someone he prioritizes that over going to his uncle's funeral. This sends his mind into an abyss where he feels like a terrible person, but in the end comes with his happiness coming first. It had a charming ending, but don't get me wrong this comic was very explicit, but almost felt like it was required to get the point through.

"Tits and clits"

Another underground comic that isn't afraid to mention that this isn't for some philosophical or moral ending. It's literally there to "please" the readers. There's even a page where it states "My mommy's vibrator can't compare with getting off on all these comix" referring to the comic the viewer is reading. It's vulgar, explicit, and all around red flags everywhere, but done because there isn't a publisher or a big company that would put them under a microscope.

There's one particular short comic that intrigued me the most was "Wet Dreams" by Shelby. It strangely almost felt informational? Not for me, but it seemed like there was a visible demographic, which is a good thing for people who want to do that sort of thing or might be interested

Contract with God + Blankets - A commentary

Similarity in graphic storytelling:
I think the biggest similarity I find is the flow and composition of each singular panel. They're very easy to read and sequential to the point of being able to imagine it in movement. (Animation;Film)

Personal Commentary:
"Contract with God" was a very entertaining comic book to read overall. Most of the endings had some sort of ironic twist or a hit of karma, which I enjoy. It all felt believable enough of such events actually happening during that time because they show different viewpoints, endings, and story. The most interesting chapter was definitely the last. To be honest I wasn't quite sure to make out of what happened to the -rapist- man, but I assume that's what the author is going for. The naive girl who turns out okay in the end and the bad man who thinks he got everything he wanted, but instead is given the unfortunate obstacle of leaving behind success to forcefully take care of his poor family. It was a bittersweet ending nonetheless and I didn't really find a certain chapter that I could personally relate to, but with Craig Thompsons "Blanket" novel is an entirely different review.

I feel like I can heavily relate to things that had happened during his childhood/young adult life. It's strange questioning something you've grown up with, it even feels disgusting almost. Disgust with yourself with even questioning something you thought was your whole being. There's so much respect to the artist for tackling this topic and for being so brave for sharing. Not just Craig, but in the publishing industry it's so refreshing to see writers, artists, and podcasters even for discussing their relationship with religion.

The style was very unique and held a lot of charm. It's hard to believe this was something publish in 2003 rather than 2010. The story and art itself seemed so modern it was very easy to relate with it in contrast of "The Contract with God". It was simple enough to understand each panel, but also held lots of symbolism. For example the bed in the cubby was first seen as a monster, where the dad had to pry it's teeth. It really gave me a shock up until we learn that it's just a dingy bed. It shows the little brother's genuine fear of the cubby. In comparison with the "Contract With God" while they do share a similar aesthetic of character movement and emotion I believe that "Blanket" had more things to relate to, thus was more enjoyable to read. (Aka crying a whole bunch realizing I've never related to something so much in terms of religion and sort of being happy that there's an artist out there that feels the same way. We lived very similar lives.)

Jack Cole and Plastic Man (Commentary)

Thoughts before Reading:
Oh boy I had no idea we were ever going to touch base with THE Plastic man. He's a very niche superhero compared to more known heroes like Superman or Wonder woman. I first saw him in a Batman animated movie as a kid. The internet was still a mystery to me so I couldn't really do research about him when I wanted to so he just disappeared into my memories. Recently popular tv show "The Flash" actually hinted that the Plastic man might make an appearance in this season, so imagine my surprise when I learn that we have to read about it in class. (A fun convenience..really)

Post comic commentary:
It took me a little bit of googling to understand who Jack Cole was. I had no idea that he was the creator. It's common for comic writers to resemble their characters so I was curious of what Jack Cole might've been like because I really like the Plastic man's boyish and energetic personality. The information I found led me to learning Jack Cole had actually committed suicide, which is really tragic. Because he was so uppity to the comic community no one saw it coming.

Whatever events led up to this he did not get lost into history. The whole point of Art Spiegelman  making this compilation is to pay tribute.

Okay so actually after reading about 3/4 of it I really enjoyed it. Unlike other superheroes that are sort of uptight about justice Plastic man held some sort of comedic fun. He still cared about doing right, but at the same time he'd use his powers to do silly/dumb things like looking up skirts and whatnot. Even the side characters, antagonists, and rivals had so much character. The dialogue was pretty on point as well. Not too wordy and expressive enough where I can almost imagine what they might sound like. It didn't feel too wordy and didn't feel like I was reading a book more like a cartoon in my head? (I don't know if that makes sense!!)

Overall reading about Plastic man's history was a very positive experience and I look forward to how "The Flash" will portray him in the show. I hope they keep his boyish nature and humor!

Little Nemo in Slumberland

I remember quite clearly that the first thing that had come into mind when reading this book was if Alice from "Alice in Wonderland" were a boy. Though back then it was a weekly comic page and the book I read it from compiled most all his adventures in "order".

Little Nemo in Slumberland is composed so it shows this amazing surreal adventure with the last panel always being some sort of abrupt awakening. (Which is relatable to those who dream and wake up when they do not want to) I don't know if McCay did this intentionally but the concept of the boy waking up at the end and signifying it's end makes it feel like the reader is Little Nemo. A boy who just wants to know what happens next? What does it mean? That's what I feel like really compels the readers to keep wanting to read more in anticipation of what comes next.

McCay really hit it out of the ballpark not only during his generation, but to people who appreciate the classics to this day. His use of colors, narrative, and consistency really showed he knew what he was doing. His work did not go noticed. Before ever coming to this class I remember the title vividly from childhood where there used to be an anime my mom would put on. It was not from my time (1989 to be exact) but after rewatching the animation studio tried it's very hardest to mimic that dream like aesthetic though it did have a darker color palette. In 2014 as well Eric Shanower attempted to make a continuation tribute by making "Little Nemo Return to Wonderland". It was about Little Nemo and touching base to those he met along the way. But personally I think it fell flat because everything that McCay worked for almost seemed in vain. They did not keep the tradition of him waking up in the end rather it was one consistent dream until the last page of the comic. The concepts were even there (Ie. Dragon chariot, clowns, and princesses) but the more modern dulled out colors really made it uninteresting and no longer this spectacular feeling in contrast to Mccay's bright saturated colors.

Overall Winsor McCay's Little Nemo in Slumberland is a timeless comic that will be appreciated in both comic and art world.

Une semaine de bonté - A Commentary

Page 1:
There is a lady taken aback by a chicken. Maybe she's afraid of them. (or maybe it's Maybelline) There's not much of a direction or composition in this panel so it's actually hard to tell whether or not the chicken is within her view.

Page 2:
Same lady is going through sleep paralysis and usually lucid dreaming can turn into nightmares. She cannot move or speak. Only to helplessly try to wake up as she sees a giant chicken looming over her body.

Page 3:
She goes back into dreaming though she dreams that she's died and gone to hell. Hell is where the chicken men are and she must live her life amongst these beings. Below she sees herself in a coffin.

Page 4:
The chicken men speak amongst themselves over the body. Pitying for it's lifeless soul.

Page 5:
Plot twist she actually did die in real life and chicken men aren't just something of a dream rather they replace human men.... I guess... The chicken man is devastated to see her dead, but also fear what others might think if he was caught in the same room as her lifeless body.

Page 6:
Afraid, the chicken man hangs her body and hides so no one witnesses him on the scene.

The Arrival by Shaun Tan - A Commentary

In this time it shouldn't be a surprise that things that are wordless and speechless, yet understandable exist. Silent movies were introduced during the 1890's and the first animated silent film was invented in 1906 (Humorous Phases of Funny Faces by J. Stuart Blackton). The way Shaun Tan illustrated his graphic novel was in a way a sequential of a movie. Like pre-productions of a storyboard. Though the world he created around The Arrival was most all imaginary. It exaggerated the feeling of when someone sees something foreign and almost unexplainable through his art. Ergo the dragon tails that loomed over the main characters hometown (most like corruption or oppression) or the strange fruit,machines, and environment he had seen in the new area.

A successful wordless graphic novel like The Arrival must rely on mime like expressions where they must exaggerate common actions to get the point through. An example would be, when the main character was most often seen confused and in need of assistance. Readers would see him point in confusion, see a grateful expression when someone helps him, and walk around with wonderment as he examines the new things around him. A recurring focal point in most panels were the characters faces.

When people see something they cannot read they look for the hidden details. Symbolism, scenery, emotions, and actions without words; these are things that made The Arrival a universal/ timeless comic. Immigrants around the world can mentally "read" and sort of relate with the book. Giving them a sense of ease knowing that this must be how most immigrants feel. It doesn't matter what year this book is read, nor does it matter where someone lives in this world, or what their language is because lucky for them there are no words to be read in this piece or art comic.