Final Blog Post: Revisions

Underground Comix

This may be one of my favorite areas of comics we will touch on in this class. If you were to look at my work and my own comics, you would never know how enthusiastic I actually am about the artists and artwork that came from the Underground Comix movement. A lot of people frown upon Robert Cumb's work. I completely understand the negative reaction his work gets most of the time. As feminist and anti-stereotyping/anti-racism/anti-'pretty much everything Crumb illustrates' I may be, I love every single, awful illustration he does.

Believe me... I wish I could say that I hate this, but I hate it so much I love it.

Half of my collection is made up of Crumb books, because not only do I appreciate the attitude in his work, I admire the flagrant obscenity in his style of drawing. It first reminded me a lot of album covers and show flyers I had always seen in my music collection.

 Along with comics, I grew up on a lot of punk rock and stoner-metal music. I have been totally desensitized to the crass and inappropriate imagery he depicts in his comics. The thing I loved about the Underground Comix was the liberal presentation of X-rated material. Hence the X in Comix. It was, in my opinion, the punk rock of comics. A middle finger to the publications that limited artists and their freedom to be gross and inappropriate. It was aimed at a much more mature and open minded audience, and although at that time, sex, drugs and rock and roll were heavily depicted in comics, Underground Comix took it to an extreme level. I love that!

ADDITIONALLY:

On the subject of inappropriate comic books and cartoons, I feel it is necessary to make mention of the relatively recent events which occurred in Paris. Charlie Hebdo is a satirical French comic book company in Paris, France. It highlighted subjects which include politics, religion, and culture in very blunt and sarcastic depictions. On 7 January 2015, two Islamist gunmen forced their way into the Paris headquarters of Charlie Hebdo and opened fire, killing twelve staff cartoonists, 1 economist , and 2 editors. I had very strong opinions about this and my parents told me not to make a fuss about it and to never ever post my opinion about it anywhere... Naturally I posted this in tribute to the events which occurred because so many people should be made aware of such events. I had many debates about it and came to the conclusion that NO artist, for any reason (so long as they aren't physically harming anyone in the making of their work) should ever deserve death for creating a cartoon.

"My heart goes out to all of the artists of Charlie Hebdo. It is a shame that an artist should be punished for expressing themselves openly and freely..."

Another person who had a different response, was none other than Robert Crumb ...

PREACHER - Garth Ennis

1. Were there any prominent symbols in what you read and how were they used?

The repetitive use of Flame, every time they switched off in their storytelling, one character lights a cigarette (with the exception of Tulip), and the flame is 'passed around'. I don't think its necessarily a significant symbol, but perhaps a good technique for switching off the 'spotlight' onto narrator and dialogue. The 'Angels' and the 'Demons' are depicted in a very different way than we have been introduced to most often times, as well as the relationships between the two. I'm not sure that this is even a good observation or a stupid analytical detail that I am pointing out, but Cassidy's sunglasses seem to always have the same shape/reflection within the lenses? I dismissed the repetitiveness of the designs, but then remembered my first time reading Watchmen and thinking "How inconsistent can a person be with inking that mask!?" Since Rorschach's facial mask prints are always morphing and changing. I didn't realize it until the film came out when I saw the mask physically morphing and changing and felt really stupid. It could be nothing, but it was prominent enough to me to recognize. I felt I should call it before I catch myself in a stupid moment again. 

2. Is there an aspect of the story with which you were able to make a personal connection?

There are a few details within the first 20 pages of this comic series that I was able to make a personal connection with. One of them being the preacher's outlook on God and his whereabouts. In the very beginning, when told that there are only two places where God can be found, he sets the tone by responding that 'It sure as hell ain't the Church'. I have never been religious, and because of personal and cultural reasons, have seen the destruction and corruption of faith/religion onto people, and can agree that 'God' may be present in many unexpected places, but certainly is not found in the Church. I really like the western quality of the comic so far, it reminded me a little bit of Moebius' Blueberry (which I grew up on), but a lot grittier and with a much deeper storyline. Another personal connection was the scenario in which Tulip was sexually harassed by the man in the vehicle. This was a very real moment and her reaction, shooting the man beside him in the face, was very extreme, but understood. I'm sure at some point it will be justified or explained (since she knew they were coming and I haven't read far enough to know how she knew that).

3. If you were to adapt this story to another medium, what changes would you make?

If this comic were adapted into another medium, I would see it adapted as a film. If that were the case, I would ideally hope for more of a starting foundation or a little bit more of an introduction that sets the tone. A piece of imagery or background info establishing the purpose of the Preacher without exposing too much information. I think certain aspects of it should be explained a little more thoroughly without removing the element of mystery or fiction. I personally would not make changes, and there are many film studios that create controversial films, but this film might have a hard time in mainstream hollywood movies due to the religious content and heavy violence. Even still, I could see it being produced by Grindhouse, and directed by Quentin Tarantino or something. 

Superheroes!

I have never been one to draw traditional superheroes or care for the typical look of perfectly muscular macho / morally superior superheros, but this topic, 'Reconsidering the Superhero' is a topic I am most interested in. I love the nonconventional superheros and 'superhero stories'. Watchmen, Hellboy, Batwoman, and Neil Gaiman's 'Sandman', are examples of stories and superheroes I have always admired. I love Darwyn Cooke's work, especially in DC: The New Frontier (Side note: I got to have dinner with Darwyn Cooke and some artists after a convention, and along with his incredible work, is an awesome dude!) Anyway, the few specific examples I want to underline in this response are Watchmen, Hellboy and Batwoman. Alan Moore has a brilliant way of depicting superheroes in a very nonconformist manner. Along with the costume/aesthetic of his characters, it is their backstories that pull them out of the customary image and idea of superheroes. Unlike Superman, these heroes have real human weaknesses, their emotions sometimes conflict with their responsibilities as 'heroes', they became the people they are because of traumatic, disastrous and/or very real human experiences or accidents. They are individuals with very different looks and characteristics. My favorite Watchmen characters are Rorschach, Dr. Manhattan, and the Comedian (<Love/Hate relationship with him).

Rorschach is the Anti-hero, in that he is not nice, or handsome, or charming and lovable and definitely doesn't fit the standard of a conventional hero. He is fed up and tormented, and borderline psychotic. He does good because he feels that he has to, not because he wants recognition or reward.

Dr. Manhattan... I feel for him. a character living in a quantum universe would not perceive time with a linear perspective, which would influence the character's perception of human affairs. Moore also wanted to avoid creating an emotionless character. he sought for Dr. Manhattan to retain "human habits" and to grow away from them and humanity in general

Comedian could be describe as ruthless, cynical, and nihilistic, and yet capable of deeper insights than the others into the role of the costumed hero. I love his look, I love his attitude, I hate that he attempted to rape silk spectre though. -__-

Altogether, they are the Watchmen. Their story focuses on the personal development and moral struggles of the protagonists as an investigation into the murder of a government sponsored superhero pulls them out of retirement.


The next character I am most impressed with in terms of reinventing/reconsidering the superhero, is Batwoman. A character designed to completely change the conventional super hero. First and foremost she is a strong powerful woman. The modern Batwoman is written as being of Jewish descent and as a lesbian in an effort by DC editorial staff to diversify its publications and better connect to modern-day readership. Described as the highest-profile gay superhero to appear in stories published by DC, Batwoman's sexual orientation drew wide media attention following her reintroduction, as well as major praise and minor criticism from the general public. One of my favorite DC artists working on the newer Batwoman comics is JH Williams. His breaking up of panels and use of texture in the comics is phenomenal. I love the way Batwoman has been depicted in terms of looks (She is not overly sexualized), and designed as a human character with controversial personal/human qualities.

I started to develop my own character, Pigeon Girl (*laugh it up*), but she was a very serious character heavily influenced by both Watchmen and Batwoman. She had the attitude of Roarschach, the look of Batwoman, and powers similar to Night Owl's. She lives in a world comprised of rodents (rats, mice, vermin) and predominantly birds. Her villain was Vultress (who is later revealed to be Pigeon Girl's sister), and PG's sidekick is Diabla, a bitchy angsty motorbike-messanger who doesn't take anyone's shit. Anyway, it sounds ridiculous but don't all "Reconsidered Superheroes" at first? 

Comics by Women

I absolutely loved the Safari Honeymoon comic that was recommended for this week. The graphic nature of the artwork in Jesse Jacob's comic already appealed to me, but the writing was especially fun for me to read. It had a sophisticated grit to it which I admire. Aesthetically clean, but disgusting in content.

For this week's reading I read a Marjane Satrapi novel, Embroideries. I enjoyed Persepolis primarily for it's graphic black and white designs and illustrations, and of course for the content which usually emphasizes/touches on women in the middle east; a subject I can strongly relate to. Growing up, I would be forced to go to dinner parties and adult gatherings, and most times, men and women were divided in separate rooms. It is common for women to gather and discuss feminine things, while the men would leave and discuss 'manly things'. The Iranian women converse frequently about sex, marriage, virginity and other intimate matters. The form of conversation and the humor these women share is so familiar for me. One portrayal of women in the Middle East, and also a misconception, is that they are impressionable and weak not by choice but by obligation or circumstance. This is not entirely true all the time, many women take pride in their wit and knowledge, and capability, however feel almost expected to conceal it especially in the presence of men. Some of the topics addressed in this story may seem unrealistic to some readers, but in such a culture are very common and real. I especially like that even though the matters which are brought up between the women are upsetting or disheartening, they discuss it lightly and almost humorously, giving the reader a sense of normalcy in a context they may not be able to comprehend fully depending on where they come from or the kind of lifestyles and surroundings they may have. It reveals a not-so oppressed image of women, but more of a realistic, 'it is what it is' sort of approach? If that makes any sense. In Lebanon, it is expected that a woman is a virgin till marriage, married at age 22-24, beautiful from the moment she wakes till the moment she sleeps (often times done up with surgeries and makeup), and conservative with her language and opinions. Anyway, the point is, those things seem outlandish and crazy to perhaps a person in the US just based on modern social standards, but in the Middle East, there are very old fashioned, traditional values which have not and may never change. This is no big deal to us, it's just the way it is. That is how I feel many things are presented in Embroideries. 

 

As much as I enjoyed this story by Satrapi and the little stories within it, I loved being able to laugh to myself because of how strongly I could relate, however, can't help but feel weird that the subject matter and values reflected and conveyed in most of Satrapi's novels (along with many other women's), is best recognized for the familiar feminine qualities presented to/for women. I love having the option to feel feminine and unique from men or male readers? to some degree? (in the sense that I have my own sexual ideas and values), but wish that sometimes female writers wouldn't stand out as much for that particular reason or quality. I love when female creators (in general) are able to take that approach sometimes, but also have the ability to be chameleons in the world of comics. Point being, I love a woman who not only writes about female oppression, sex/virginity, and childbirth, but also a woman who writes/draws gritty disgusting things , science fiction stories, or action thrillers. Whatever it may be, I hope that the line between female or male creators/writers/comic book artists disintegrates.

Comics as Contemporary Literature

I think to my understanding, what defines a successful 'graphic novel' is : The collection of beautifully composed and executed sequential artworks, paired with a very well developed and written narrative + intelligent dialogue. The pairing of the two, pictures and words, should form an intriguing and compelling story, one that would be equally compelling if not paired with the other. If the images are as powerful standing alone, as they are with the writing, and the writing is as strong without the visual guides, you have a successful piece of literature; A successful graphic novel. 

There has been an evolution to comics, from their point of entry to now. From newspaper strips to graphic novels, this medium of story telling has been ever-changing and continues to expand and grow. There is a quality in graphic novels that breaks the barrier between 'comic strips' and 'literature'. What used to be humorous entertainment for kids, or light reading for adults, has developed and has become sometimes very serious, influential, and sophisticated reading for mature audiences. One piece of contemporary literature that I read and believe was extremely successful, in this regard, was Persepolis by Marjane Satrapi. I also bought the book Habibi, by Craig Thompson, which I had a more negative response toward. 

Illustrated so simply, using only black and white high contrast inking, with flat two dimensional shapes, Marjane Satrapi tells an extremely complex story about her own childhood in Iran. Persepolis was a fantastic read. It was so visually sophisticated and astounding to me, and as far as the quality of the storytelling goes, It is an illustrated autobiography about a woman's life in the Middle East, making it feel very personal and important to read all throughout. I felt that the writer was coming from a real place, that the story and the details came from a real woman, with a real story coming from the country of Iran.  

Habibi on the other hand, wasn't  awful. I guess it was so beautifully packaged and printed I could not resist buying it solely for its good shiny looks. I had no expectations for this book, didn't know what it was about, actually didn't even look at the name of the writer/artist, opened and started reading it. I guess I wasn't totally disappointed with the story or the writing, but something simply felt 'off' all throughout my reading it. I simply couldn't break through a wall of detachment. I felt a total disconnect from this particular story and though it revolved around a woman and her struggles on a long painful journey (Which i can usually relate to and follow intently), I just couldn't bring myself to enjoy this book. It was evocative and made me feel emotions. I was enraged in the rape scenes that Dodola had to experience, and was heart warmed by her love connection with Zam. 

I think I was most disappointed because I come from that world, and even though there were a lot of real issues addressed in this book, it felt like a total dramatization/exaggeration of whatever the writer/artist was attempting to convey. Like... I was annoyed with the amount of rape scenes scattered around throughout the book. I know the 'therapist response' to that would be, "Maybe they just upset you because they struck a nerve", which in a lot of cases could be true, and I will commend him on his attempt to emulate and communicate the felling of being raped from a woman's point of view, 



... But i just really just didn't think that that many rape scenes were necessary. TRUE, rape happens in the Middle East. It also happens a lot in New York city. I think it's okay to be forward about such a strong subject, and if it is a reoccurring repetitive thing Dodola had to endure, FINE. But maybe the book would have benefitted from reminding the reader of that theme in more subtle ways. I kept reading bits and pieces of it, giving it chance here and there. I finally did a little bit of research and saw that the writer's name was 'Craig - Thompson'... I ignored the totally American looking name because that would be ignorant of me to decide, and also dismissed the fact that it was a man because that would also be stupid and ignorant for me to focus my negative attention on. But when I researched a little bit more about the production of this book and the background of Craig Thompson, I learned that it was written by someone who had little to no credibility in terms of culture and experience. He grew up in a Christian family, in Michigan. -__- ... I didn't see anything about his connection to Islamic culture or the Middle East. For me, that was easy to see in the book, even before researching this. I kept reading on Thompson's idea for this book, "While it is located in an Islamic country and features such elements as Arabic writing, Thompson is reluctant to say that it takes place in the Middle East, preferring to emphasize that it is a mythical landscape, and that the characters are vaguely Muslim as a result of the context in which they grew up. Thompson explains that he borrowed elements from different geographies, and infused them with the elements that he wanted". How pretentious. Ew. 

 ... I just didn't like the basis and 'support' on which this story was told. 

The artwork was beautiful, the compositions were nice, I like the fact that it was black and white and that there was so much beauty in the exterior covers, and I appreciate a person's attempt to explore and depict a foreign culture and journey to readers, but this book was NOT at all for me. 

A Wide World of Comics !

Before even being introduced to American Comics, I mostly collected French comics, many of which were drawn or written by Jean Giraud, AKA Moebius. I have a large collection of Métal Hurlant issues and collected many of his other works. What I loved most about Métal Hurlant (Heavy Metal), was the variety of genres and the styles of imagery presented in every comic that came out. One specific issue I have was actually a very special limited issue. It included, in my opinion, one of the greatest comic stories of all time by Moebius. The story was called, The Eyes of the Cat , and was Giraud’s first collaboration with the filmmaker Alejandro Jodorowsky. It was actually never meant for widespread distribution. It was printed in a tiny quantity, as a bonus gift for friends and clients of French comic publishers Les Humanoïdes Associés. The story was initially supposed to just be a kind of internal thank you note. The piece has very little dialogue and is narrated from the point of view (which is not revealed till the very end) of a small, bald character who's back silhouette is all we see for the majority of its pages. He is standing in a window throughout the entire story while pages cut back and forth between him, an eagle, and a cat. As I read this fantastically paced comic, it took a while for me to realize that the the narrator was actually dictating the motions of the eagle, narrating his thoughts and at the same time, communicating those thoughts into actions using the eagle.

 The eagle soars through the city,

 finds a cat, 

plunges towards it, and with it's beak pulls the cats eye balls out. 

              

The narrator summons the eagle, the eagle returns to the boy, (nearing the point in which we realize that the narration was from the point of view of silhouette all along...)

                

and when he is given the cat's eyeballs, he struggles to put them into his own head, and then scolds the bird. He ends the story saying something along the lines of, "Next time, bring me the eyes of a human !" 

It was such a perfectly drawn and written story and forever engrained a style of storytelling I would have never considered before.  There is a quiet intensity to this poetically composed comic. Its hypnotic, almost metronomic quality lets the horror catch you totally off-guard. In an interview, Moebius somewhere called The Eyes an example of the “effective horror story”: one in which the genre is a soaring night-bird of prey stalking the reader in an effort to awaken them and open their eyes. It’s an interesting way of putting it given how I took to clenching my eyes shut near birds of any kind. It is obvious this story came from a personal place, the best stories told come from the most personal experiences and sources. After reading it again as an adult, I had to do my research. It has been said that Moebius was diagnosed with severe cataracts, a common cause of blindness. I also found that there is something called, Moebius syndrome: a rare neurological condition that primarily affects the muscles that control facial expression and eye movement. Anyway, the history of Moebius' eye sight isn't so important, but the inspiration and production of many of his works is exemplary and impeccable because of his personal history and experiences. This specific story left a very strong impression on me. The stories in Metal Hurlant often had that impact on readers. I was rarely ever disappointed with the outlandish and unusual stories put out by them, and though I enjoy the American version, Heavy Metal, I do feel it could reintroduce that foreign quality a little bit more. 

Stereotyping & Ethics of Representation

This is a topic I am very passionate about from both an objective and quite personal standpoint. Stereotyping and the generalizations of people and cultures is an awkward but necessary subject to talk about for various reasons, especially at this time. 

Though this practice of "characterization" (with negative connotation) originated hundreds of years ago, and unfortunately still occurs, it is still affects the world we live in today. In some areas, it is seemingly harmless, but in other areas, plays a big role in a much greater cycle. Through racism/segregation/discrimination, stereotypes are born, and overtime, evolve and become a casual part of the media, advertising, lifestyle, self-image, and overall, the general society that we live in. Many examples that came up in class were the renderings of 'african americans' in many early comics. 

Other examples that were brought up were the differentiations of characters (displayed in a lineup on what appeared to be a character design sheet - a mother, a worker, a manly man, a villain, a girl, etc.). The Gamergate controversy, and the Female presence (the actual artists/editors/publishers and characters designed for books) in the Comic Book industry.  

A.)  Women are NOT always 'damsels in distress', They do not say things like THIS in hardcore action scenarios:

B.) they should not be expected to have these physical proportions, nor these outfits when defending themselves in super intense Tekken Tournaments : 

While there are a million gender stereotypes about females, these are definitely some of the biggest, and the most debated by feminists of today:

• Women are supposed to have "clean jobs" such as secretaries, teachers, and librarians
• Women are nurses, not doctors
• Women are not as strong as men
• Women are supposed to make less money than men
• The best women are stay at home moms
• Women don’t need to go to college
• Women don’t play sports
• Women are not politicians
• Women are quieter than men and not meant to speak out
• Women are supposed to be submissive and do as they are told
• Women are supposed to cook and do housework
• Women are responsible for raising children
• Women do not have technical skills and are not good at "hands on" projects such as car repairs
• Women are meant to be the damsel in distress; never the hero
• Women are supposed to look pretty and be looked at
• Women love to sing and dance
• Women do not play video games
• Women are flirts
• Women are never in charge

This does not only apply to women. Men should not be expected to always have super mega muscle strength, to always be victorious, to "bring home the bacon"... Some gender stereotypes that inaccurately try to describe all men are:

• All men enjoy working on cars
• Men are not nurses, they are doctors
• Men do "dirty jobs" such as construction and mechanics; they are not secretaries, teachers, or cosmetologists
• Men do not do housework and they are not responsible for taking care of children
• Men play video games
• Men play sports
• Men enjoy outdoor activities such as camping, fishing, and hiking
• Men are in charge; they are always at the top
• As husbands, men tell their wives what to do
• Men are lazy and/or messy
• Men are good at math
• It is always men who work in science, engineering, and other technical fields
• Men do not cook, sew, or do crafts

Gender stereotyping is only one of many cases in which people are grouped up and categorized a certain way so that society/media/etc. can better depict and digest those specific groups of people. There is a much deeper reason for that which I will not get into here. 

Stereotyping also HEAVILY occurs in the misrepresentation of nationalities and cultural groups. I have experienced a lot of issues personally with 'stereotyping' and it has caused me a lot of problems to this day in every place I have been. 

1. I am a Female

2. I am from Lebanon

3. I am also French

4. I am a Comic Book artist 

In Lebanon, being a female often times means I am married at age 22, I am not outspoken nor opinionated about important matters, I do feminine things and have a very feminine appearance, I do not say bad words, I DEFINITELY don't get tattoos, I learn to cook, and I do not pursue art as a career. 

I defied almost EVERY SINGLE one of those expectations: These are real responses I have received...

- I'm not married ("She must be doing something wrong to detract men!")

- I am VERY opinionated ("So manly!")

- I curse like a sailor ("How vulgar. She will never attract a man with that language")

- I have a lot of tattoos ("Who did that to her?! Does she know they are permanent? Tattoos are for prisoners, men, criminals")

- I cannot cook to save my life ("What will she do at home while her husband is working?")

- And though being a comic book artist isn't the most promising career, I have decided to pursue it anyway. ("?!?!?!?!")

In America, I as a young Lebanese girl, I was often called a 'terrorist' in school, asked if I was muslim (valid but somewhat of a stereotype with middle eastern background), and asked why/how I am so pale if I am from the desert. It infuriated me growing up but I could not blame people for thinking this way. The media, NEWS channels especially, like to show only certain aspects of other countries. Because people in America rely so much on the NEWS for outside country information, many Americans (and people all over the place) don't know about the non-terrorist side of Lebanon and the non-muslim population in the Middle East. I deal with the French stereotypes of not showering or shaving, smoking lots of cigarettes and being very rude - (Only one of those is actually true). 

In the comic book industry, I have enjoyed all aspects of it so far, drawing, other artists and creators, the Cons... but often in interviews get asked questions like, "What is it like to be a FEMALE comic book artist? Is it difficult to perservere being a woman in this industry?" . A question people ask when walking past my table: "Wait... This is YOUR artwork?! You draw?" or "Can I take your picture?", without even taking a look at my artwork. 

< I don't mind those as much as "Why don't you ever Cosplay? You would make a great Bayonetta or Psylocke!" 

I understand that stereotypes were designed to make certain mediums of entertainment more relatable. Characters are designed and simplified to extremes based on these stereotypes so that certain audiences can understand and relate to some degree. It is often times very destructive to certain groups and most times does not accurately represent those groups of people. It is a lazy, perceptually misleading means of characterization and should not be encouraged by the people within or isolated from certain cultures or 'groups'. I see, more and more, not people mocking OTHER races and cultures, but the very people within those races and cultures mocking themselves, probably to lighten the trope, but this in turn has a reverse affect and only encourages/validates those stereotypes. Not to get off topic, but I must mention Tyler Perry, known for his TV shows and Films marked by old stereotypes of buffoonish, emasculated black men and crass, sassy black women. His work has been criticized and his response is always very closed minded. Many have urged him to "stop dismissing the critics as haters and realize that black people need new stories and new storytellers." I disagree with his idea of entertainment and his response to the critics in this subject. Stereotyping your own culture is only so funny for so long before it becomes problematic. 

                    

With all that being said, I love girly things. My secret favorite color is in fact, PINK. I wear makeup. I am very attracted to the stupid way that girls in video games and comics are designed, simply because they are visually appealing to my eyes. I also skateboard, I listen to heavy metal, I've gotten into fist fights in high school, I sometimes play video games, I love tattoos and comics, and have really strong opinions about a LOT of worldly issues. None of those things define me or classify which group of 'girls' or 'people' I fit in with. I am guilty of stereotyping and of comedically 'self-stereotyping' by making jokes about my middle eastern culture, being a woman, etc. 

When designing characters, I think it is so important to thing beyond the simple stereotype. I think it requires so much more research and empathy to create a really well developed character, and more creative maturity to rise above the simple stereotypes.