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So I got to thinking about them X-Men…

3 Jun

…and to me, if you ask me personally, if X-Men is a metaphor for racism, I tell you always “no.” Is the X-Men a metaphor for homophobia and I insist “no.”

If X-Men is analogous to ANYthing in reality, it is a metaphor for the entitlement to private gun ownership.

-Ayo2014

comic books vs picture books

4 Feb

by Ayo

Picture book illustration uses a lot of the same elements as cartooning (both forms are Sequential Art) but it sure doesn’t feel like comics when you look at it and read it.

The visual continuity from image to image is tighter in the comics mode of storytelling, keeping the reader immersed in the world of the story while picture book illustration, even the most densely-detailed sort, keeps the reader at arm’s distance, each illustration acting as a visual anchor while the reader imagines the full scope of the scenario.

The two forms represent different aspects to imagination. Picture books encourage readers to visualize scenes based on the anchor points that have been provided. Comics encourage readers to explicitly empathize with the specific details as they unfold.

Interesting differences.

Eight is Enough

10 Aug

Read comics every day! Let’s go!

Continue reading

Twenty-six hours in Angoulême

28 Jul

By Ayo

Darkness (published as “Noirness”)
By -Boulet-
Published in 2013 by AdHouse
Read the story on -Boulet-‘s website!

The protagonist of -Boulet-‘s comic “Darkness” has roommate trouble. We’ve all been there, protagonist-man. It’s about perception and compatibility.

Continue reading

Fade in

28 Jul

By Ayo

Last Train To Old Town
Chapter One
By Kenan Rubenstein
lasttraintooldtown.com
underthehaystack.net

Kids can be jerks to nerds but it’s refreshing that Last Train To Old Town‘s nerd is kind of a jerk as well.
Continue reading

Anonymous question to me: “how do you feel about webcomics?”

24 Jul

By Ayo

Answering questions on Tumblr, an anonymous asked me:
“How do you feel about webcomics”

So I responded:

Glad you asked.

I’m a hip hop guy, for twenty years. I’ve been into hip hop since The Big Kids came to the playground with a boom box and a tape of Onyx and Dr. Dre. It would not be accurate to say that I “live” hip hop but it informed many of my values and a lot of my ideas about how art and commerce work.

The thing about music in general and hip hop in particular is that they give that stuff to people for free. Before anybody asks you for money, they’ve given you their art with no money asked. Buying an album or paying for a live show feels like a transactional formality by the time it occurs. Back when I was in high school, mixtapes used to cost money. In this day and age, mixtapes are free. It’s just an economic thing. We have computers. Mixtapes can afford to be free now. So they are.

Meanwhile. Comics in the 1990s: Bone, Scud the Disposable Assassin, Hepcats, et cetera. The lasting image that holds in my mid is Rob Schrab (Scud) hunched over his kitchen table, both drawing the comic and figuring out how to pay for it. And likely, how to convince people like you and me to part with $2.99 for an issue. Yeah, comics still cost $2.99 back in 1997 but that was worth a lot more back then.

The point that I’m getting at (and this is how I tell stories in real life) is that when webcomics began to rise up and become a part of people’s daily lives, we see people being better able to expose themselves to the artform. The medium of comics became something that wasn’t restricted by parting customers from their money nor was it bound by readers’ access to specialty stores. Webcomics made comics truly free.

The thing that bothers me and I’m including myself heavily in this since I haven’t worked a webcomic since 2010 or so: rappers put stuff out. Rappers put lots of material out and it isn’t even album stuff. Rappers will make multiple mixtapes and follow them with official albums which represent more material. Not all of the material is exclusive, but enough of it is. People remain engaged with the artist on a continual basis. For that reason, I aspire to the model of webcomics which allows one comic to be seen in public and generate interest in an artist while that artist works behind the scenes on other comics. I call the latter “black comics.” Mostly unseen, until they need to be seen.

Personally, if I were to return to webcomics, I would prefer to use them as a more freewheeling, disposable free thing that causes me as little stress as possible, while concentrating my more detailed labor on projects that I would sell.

Mixtapes versus albums.

@darrylayo

[Feel free to ask me anything, via my Tumblr Ask Box!]

That’s what I’m talkin ’bout!

18 Jul

By Ayo

Cable and X-Force, no. 11
by: Dennis Hopeless & Salvador Larocca
with: Frank D’Armata & Joe Sabino
$3.99, Marvel Entertainment
July, 2013

I was born in Manhattan’s Mount Sinai Hospital. Thirty years later, I had my eyes checked out there (all good). A year and a half after that, X-Force saved the hospital from blowing up!

1. What it is.

Cable and X-Force is a comic about a new version of the original X-Force. The main X-Force comic is a derivative of the version that Craig Kyle and Chris Yost and Rick Remender spearheaded on recent years. Cable and X-Force is the “heroes branded as outlaws, on the run from the law” kind of comic. I’m into this.

2. Larroca.

As an indie comics guy, I’m supposed to loathe Salvador Larroca. His work on Invincible Iron Man should be an abomination to me, made by computers, aided by photographs, driven by photoshop, et cetera. Well, eat dirt, indie comics. I like Larroca’s work.

Frank D’Armata is no small part of this. His limited palate (grey) and silvery sheen probably turn off a lot of old school art-likers. But he and Larroca have slid into a rhythm where their work seems made to be together. It’s just a grey world and that brings me to…

3. Boom Boom.

The character Boom Boom is all pink and yellow. The proverbial ray of sunshine in this world that is so steely that her opposite character is literally black and white (Domino). Aesthetically, they look good together. They make an idea team-up because even their colors are coding their outlooks on life, particularly when contrasted with one another.

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4 Domino effect.

In a Domino/Boom Boom stealth mission, Domino is the one who goes undercover. And nobody blinks at this Obvious Mutant carting a patient out of the hospital!

Points for not being racist, Mount Sinai Hospital!
Demerits for terrible security, Mount Sinai Hospital.

5. Structure: parallel; asymmetrical

In this comic, we actually never see the lead title character, Cable, but we see his daughter, Hope Summers. She is in the future, teaming up with Blaquesmith fighting Warlocks. I ain’t even mad!

When I was a boy, Original X-Force was my favorite comic. While the X-Force gang was running around and rescuing their friends, Domino was hunting down mercenaries and searching for X-Force. That was the era of issues #20-24, especially issue 23 “Domino Triumphant.” Today the tables are flipped and Domino is rescuing mutants (and civilians) while some OTHER estranged member is taking the Long Way Home.

Hope’s mission is long. It began before this issue and it continues past this issue. Domino and Boom Boom’s mission is immediate. It begins and ends in this current episode.

THIS.

IS.

WHAT I KEEP TELLING YOU ABOUT!

A comic book issue should tell its own story while also providing seeds for future (no pun intended) stories to develop. That’s what this comic book issue does and I will support Hopeless and Larroca in their mission if this is what they plan to do.

I call this “polyrhythmic storytelling.” One story arc moves at a certain pace and the other hand (I took piano lessons as a boy) moves at a different pace. Yet both hands compliment the work as a whole.

In comics, what you want to do is have your dominant storyline take up the majority of an issue’s time/space (in comics, time and space are the same thing) and have the subplot move along at sparser, sharper beats to make for an interesting narrative “stab” of interest with each subplot interlude. The idea is that by the time the subplot becomes the dominant plot, the reader will have absorbed enough of that subplot’s world to become fully curious and engaged. And do remember: when the subplot eventually becomes the primary conflict, seeds should still be sewn for subplots even further down the road. That’s how it’s done!

6. Domino effect, part 2

This past weekend, I bought the 1996 Domino miniseries (so, so, so terrible) and the 2002 Brian Stelfreeze Domino miniseries (reading it soon). The day of this Cable and X-Force, I also bought Adam Warren’s A+X comic “Scarlet Witch+Domino.” I really like Domino. The Domino in the comic at hand is not the freewheeling, daredevil Domino but the original Too-Old-For-This-Shit Domino. I can’t complain, it’s just weird to see different comics slide the character back and forth between Stern School Marm and Reckless Trickster. The latter role in this story goes to Boom Boom who was an utterly joyless character until Warren Ellis and Stuart Immonen put her in the comic Nextwave: Agents of H.A.T.E.

So I enjoy this comic for what it is presented as, not what any prior comic suggests that it might be. And shout out to Ellis and Immonen for supplying Boom Boom with an actual characterization.

7. The review of Cable and X-Force # 11.

Wasn’t the best comic book to come out this week (July 17, 2013), but it might have been the closest comic book to my heart. If you were a fan of Fabian Nicieza and Greg Capullo’s X-Force (twenty years ago), this is the comic for you, without a question. Antics, friendship and want an destruction. The X-Force Way.

@darrylayo

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