Showing posts with label 2014. Show all posts
Showing posts with label 2014. Show all posts

Thursday, December 7, 2023

COMICS REVIEW: CLIMATE CHANGED (2012, 2014)


CLIMATE CHANGED: A Personal Journey Through The Science

by Philippe Squarzoni


English translation by Ivanka Hahnenberger.


Published in 2014 by Abrams ComicArts.


Edited by Carol M. Burrell

Designed by Meagan Bennett

Production Manager Alison Gervais

Managing Editor Jen Graham


Original French language publication in 2012.


. . .


“We choose an image that fits the idea that we started with . . . so we hold on to that idea . . . so we keep choosing that same image . . . and BAM! We’re stuck in a loop of one vision of the world.”


. . .


Review by William D. Tucker.



Climate Changed is a five hundred page non-fiction comic book covering all of the core aspects of human caused global warming on planet Earth. It goes over the scientific basis of climate change, the research methods of climate scientists, and how the data are worked into comprehensible educational products for the benefit of politicians, business leaders, and concerned citizens. Climate Changed weaves a harrowing tapestry of doomsday scenarios while also pointing to systematic solutions. It confronts the central injustice of global warming: wealthier, technologically advanced societies contribute the most to global climate change which causes the poorest societies to suffer the worst outcomes. 


Climate Offender Number One is, of course, the United States of America, which consistently denies climate science in favor of a no limits fantasy regime of endless cancerlike economic growth, unlimited consumption, and the absolute externalization of all environmental harms in the name of infinite profits. Climate Changed unmasks this fantasy regime as ultimately doomed once certain physical consequences kick in-peak oil, lethal heat waves, superstorms, rising water lines, huge populations of climate disaster refugees, plagues of insect borne illnesses, water wars, collapse of democratic rule, rise of authoritarianism-and makes a compelling case for a global transition away from fossil fuels and the extremist ideology of completely deregulated right wing libertarian capitalism.


Climate Changed also offers a metastory about its own making. French Writer/Artist Philippe Squarzoni tells his own story of a journey from climate innocence to climate experience. He casts his memory back to his Edenic carefree childhood, and crashes those visions against his present day immersion in charts, graphs, endless days of reading and note-taking, long form interviews with France’s top tier climate researchers, and deconstructs his own culpability as part of the global capitalist prosperity religion of consumption without consequences. Squarzoni doesn’t do phony optimism, but neither does he rant and rave. Yes, he feels deep pessimism about the prospects of drawing down the system that will very likely limit the future prospects of the human species; but Squarzoni also describes substantial solutions in convincing detail. Climate Changed is a persuasive argument for a new kind of “globalism” that is authentically global in its concerns, and not just a techno-capitalist sophistry justifying the domination of the poor by the wealthy.


There’s also some self-deprecating humor and wit. Squarzoni weaves in his cinephilia, particularly for the films of Coppola, Sidney Lumet, and Akira Kurosawa. Squarzoni seems to draw inspiration from The Godfather’s indictment of capitalism; Frank Serpico’s crusade for rule of law; and Ran’s warning against the dangers of foolish gerontocratic despots having their way. At one point, Squarzoni indulges in a superhero fantasy of him and his wife using lightsabers, a katana, and an AR-15 to symbolically massacre a hulking Voltronic consumption monster, a carbon polluting SUV, and a gang of Santa Clauses. Squarzoni knows very well that these passages play like corny-ass The Matrix fan fiction, but after hundreds of pages of sober analysis of climate policy paralysis, well, even a stoic film bro has to cut loose.


Climate Changed is over a decade out from its original French language publication. Some of the milestones it describes in terms of lethal heatwaves and storms have been long surpassed. The situation has only gotten worse. And yet its depiction of the core malfunctions of carbon pollution, inadequate governance,  and capitalist avarice have become more valid than ever. It is also a weirdly enjoyable read. To be clear, Climate Changed is not a giddy celebration of doom-that’s the book I would’ve written. In fact, the book is engaging because it is so meticulously reasoned and thought through. Squarzoni isn’t trying to bamboozle himself or the readership with false hope or non-productive hysterics. He acknowledges his frustrations and his fantasies while also pushing beyond them to deal with reality itself. And all of this is accomplished with black and white line art that ranges across abstract visualizations of intricate climate processes, lyrical evocations of childhood nostalgia, and incisive satirical caricatures. Climate Changed is an impressive panorama of nostalgic memory, fantasy, science, and irrevocably harsh physical reality.


There’s nothing comics can’t do.


Except, perhaps, convince politicians and business leaders to do what must be done to avoid climate catastrophe.


Alas . . .

Thursday, December 30, 2021

COMICS REVIEW: HAROLD (2014)

 by Antoine Cosse  

Published by Retrofit Comics and Big Planet Comics in 2014.


. . .


"It's a love story, sir, so brace yourself."


. . .


Review by William D. Tucker. 


In a black and white future, dogs of shadow and light chase a film director's limousine across a simplified landscape just on the border of a great metropolis and a blank-inducing wilderness. Maybe the wilderness is so obliviating because the humans and clones and animal-headed people in this story can no longer see past a world of media and celebrity and paparazzi and trendchasing.


The film director's driver/bodyguard is a burly clone named Harold, who wears a weird little mask over his mouth. Harold and his fellow clones all look the same-same mask, same burliness, same shaved heads with a tuft of hair on top. 


I mentioned the animal-headed folks-those are the paparazzi. I think they might be jackal-headed, and/or dog-headed, and/or donkey headed, or some chimerical mixture of the three. If this were an Enki Bilal comic, I would assume them to be Egyptian deities of yore, fallen out of the heavens, and cursed to work sleazy jobs upon the dusty Earth.


Harold and his boss park outside of a luxury hotel, waiting for the boss's wife to check out, when animal-headed paparazzi swarm the area. These pictorial scavengers are looking to get photos of a princess who is staying at the same hotel, no doubt looking vaguely pinched and resentful-kinda like the thousands of photos of skinny Los Angeles-based actresses looking deeply skeeved-the-fuck-out as they are surveilled going to and from the gym that get uploaded to Instagram. 


The film director doesn't know anything about the princess or the past history of this black and white world, and so Harold obligingly enlightens him. There was once a King who lived in a fancy house atop an unlikely hydraulic lift-think of a fantasy residence pitched between Miyazaki's Castle in the Sky and Edgar Figaro's Burrowing Castle from Final Fantasy VI-that could be activated to elevate the royal family above the unwashed masses. Civil war breaks out below. The King strikes a neutral stance, and allows the lower compound to serve as a hospital for Royals and Rebels alike. The King's daughter-the Princess-desires escape from her gilded cage and contact with gritty reality. Therefore, the Princess descends to be among the tumult and gore of the people's uprising . . .


Harold is a comic of about 60 pages that uses what Scott McCloud would probably describe as a 'decompressed cinematic' style. We flow smoothly to and from the pursuing dogs of shadow and light, and the pages are sequenced to give the feeling of moving our imaginary camera in and out of large-scale setpieces, featuring swarms of animal-headed paparazzi, and the flashback involving the fanciful hydraulic mansion. 


The story encompasses a vast, bloody history . . . that is seemingly of little interest to the movers and shakers of this world. The paparazzi and the media beast whose maw they feed are only interested in the surface glamor and voyeuristic sex appeal that can be extracted and/or manufactured from taking photos of the Princess. The film director-another kind of content producer-is also indifferent to history. He is a wealthy creative impatient to get from Point A to Point B.


As for Harold . . . well, he is a mere driver, and a bodyguard-a clone, at that. We see a gang of his fellow clones run interference on behalf of the Princess at one point. 


This is all the work that's left to be done in this world. Creation of vacuous distractions from the weight of history. Playing the role of a celebrity to be vampirized by the image hungry media beast. And the body guarding clones who act to ration out the vanishing table scraps to the image jackals.


But Harold's here. Trying to keep the history alive. 


Here's to Harold.

Sunday, February 21, 2021

MOVIE REVIEW: THE BABADOOK (2014)

 Written and Directed by Jennifer Kent

Director of Photography Radek Ladczuk

Production Designer Alex Holmes

Costume Designer Heather Wallace

Editor Simon Njoo

Composer Jed Kurzel

Sound Designer Frank Lipson


Starring

Essie Davis as Amelia



“This monster thing has got to stop, all right?”



Review by William D. Tucker. 


Amelia works as a caregiver in an elder home. She’s suffering grief which she cannot sufficiently process on her own, and yet she has no one in which she feels she can confide. Her son is six years old and a huge pain in the ass-but she’s not allowed to come right out and say that. Well, she’s come to believe that she’s not allowed to come right out and say it or deal with her stress in some constructive way. And then Amelia’s life is invaded by a demon from a children’s book. 


When it rains, right?


Of course, this demon-the titular Babadook-may just be a metaphor or an allegory or a symbol . . . well, it may be those things to the audience watching this movie. It seems like it’s a real thing to the people in the movie, if you follow me on this. 


The Babadook is a precise horror story where the monster is mostly kept off screen. We only know its evil in fractional manifestations. Flickering lights. Harassing phone calls. Phantom knocks on the door. Those are the mild, non-spoilery manifestations. This is also a movie which plays on childhood fears of looming shadows and being engulfed by spaces which are larger than you. We see these fear-inducing things from a child’s perspective and then from an adult’s perspective-an adult filled with the fear that they are losing their mind and their autonomy as a person.   


The Babadook could just be a horror in the mind of our protagonist. What we might be watching is a confrontation within a wounded psyche . . . I mean, I think that’s what many people come away with in the audience. But Amelia seems to perceive the demon as an actual entity making her life a living hell. 


But if the Babadook indeed exists as an entity unto itself-whether as an outside invader ruining Amelia’s life or as some strange thing brought into the world via her profound grief-then it would seem to have a place in the larger ecology of the world Amelia inhabits. The word parasite comes to mind. Maybe, also, scavenger. And also . . . jeez, I’m really walking on spoiler eggshells here. 


‘Cause this one’s an experience. You’re not gonna get the full deal from reading a review or someone’s college thesis or what have you about it. 


And if you’ve seen it already . . . then you know what’s going on. Or, you know, you’ve formed your own opinion about it. 


I guess what I’m trying to say is . . . I see the Babadook as being an entity unto itself. A dangerous, predatory thing taking advantage of its victim’s isolation and lack of connection to other people. I don’t just see it as a metaphor or an allegory or a symbol or whatever. It’s a make believe entity, sure, but I think the movie is incredibly interesting if one examines the Babadook as a bizarre and cruel life form. It has its methods. It has its reasons for being. They’re terrible methods. Its reasons don’t make anything it does less horrible. But it came from somewhere. And it ended up in Amelia’s life. 


And, once you see the movie or if you watch it again, riddle me this:


Is anyone getting what they really want from this dire situation?


And isn’t the Babadook better off . . . once it's put in its place?


It’s far from perfect how it all ends up. 


No doubt about it. 


But where else are Amelia and the Babadook supposed to go?


Everybody’s gotta live somewhere. 


And somebody’s gotta be the adult in the house.


Sunday, December 27, 2020

VIDEO GAME NOVELIZATION REVIEW: ALIEN: ISOLATION (2019)

 Novelization by Keith R. A. DeCandido. 

Based on a video game developed by Creative Assembly and published by SEGA in 2014.

Review by William D. Tucker. 

This novel tells the story of Amanda Ripley, the daughter of Ellen Ripley, the heroine of four Alien movies played by Sigourney Weaver back in the day. Amanda spends her childhood separated from her mother who goes out on various long-haul space trucker assignments, and she is left in the care of her deadbeat alcoholic stepfather back on Earth.

Ellen disappears on a job somewhere out in the cosmos, and teenage Amanda decides to cut loose from her piece-of-shit stepdad, and get out into space to find her mother come hell or x-tro infestation. 

Amanda knows that her mom worked for the Company, and the Company only cares about profits, not people. However, the Company is also into covering its ass, and so they provide financial relief and job assistance to young Amanda, who initially resists their offers, but caves when she realizes that they're offering the only viable path to uncovering the truth of her mother's disappearance. 

What I like about this novel is how it portrays the Company's invasion of all aspects of life planetside. Amanda's earthbound existence consists of an obstacle course of hyper-corporatized, make-work beauracracy and an education system that seeks to strip people of all humanity according to a regime of bogus standardized tests and credentialing ordeals. This is next-level crapitalism.

The putrid norms established by the Company infect all levels of society, creating a social reality where everyone is trying to get over as best as they can, even if that means fucking over your friends, your family, yourself. 

Amanda takes after her mother, and refuses to let a world constructed upon greed, incompetence, and lies keep her down, and this strength of character inevitably puts her on a collision course with human evil. 

And, yes, there's the iconic double-jawed beastie from beyond the stars . . . this novel plays the hits for sure.

Look, this is media tie-in product. It ain't Proust. But it's a worthy elaboration of the cynical nightmare world of the original Alien flick. So, if you're into that . . . here's some more punishment. 

Friday, October 31, 2014

Every Day is Halloween

by William D. Tucker

I pull on this costume
'Til I break it in.
Take it off before I go to work,
Of course,
But then there came a time
When I just kept it on.

I was kinda depressed, to tell you the truth.
Hard to care about bathing properly,
Flossing, brushing, soap stuff.
But terror twisted my guts at the thought of missing work.
Getting fired.
Having no money.
Not being able to eat.
Eviction.
Now I'm one of those people standing on the side of the road with a cardboard sign.
One of those people that no one cares about.
Because no job, no money, no clean clothes, no status, zeroed out of reality.
Except as a kind of living breathing object lesson
To all the workers.

So I decided I would just go to work with the costume on.
Sure, it was a rebellious thing.
A fuck you kind of thing.
Even though I got along with everybody at work.
The customers were all right, discounting a few hard-ons here and there.
My boss, Becky, she was always cool to me.
It was the routine, the structure, the day-after-goddamn-day-ness of it
That I despised, I think.

So I decided I would just go to work with the costume on.
And nobody said anything.
It was one of those deals where you do that one fucked-up thing,
And you're expecting to get punished for it,
And you're terrified,
But you're also kind of looking forward to being confronted about it, punished,
Especially at work, right?
But the first time I did it
My whole shift making those sugary, syrupy caffeinated coffee beverages
I'm waiting for my boss to give me shit.
But it's like nothing.
I hit every order just right.
I'm greeted by all the usual customers,
I say the expected lame non-funny funny remarks I'm supposed to say,
And laugh at the expected lame non-funny funny remarks my fellow employees say in response,
Just like any other day.

And then my shift ends.
Before, I made a ritual out of going back to my apartment,
Lighting some candles to the spirit of Tom Snyder at the homemade altar,
Stripping out of my work clothes,
Blowing out the candles, singing a praise hymn to Tom Snyder,
Pulling on the costume,
One last prayer to Tom Snyder,
And going out and getting in fist fights and knife fights
With the same old gang of assholes downtown.
We'd been mixing it up like that for about six years or so,
But it seemed more like decades.
We packed all kinds of insane feuds, betrayals, and lunatic ideologies into those days.
I think we started out with some kind of half-sensible rationale for why we were doing it,
But that got lost,
Hmm,
Probably by the end of the third day or so.
Maybe the fourth day.
I don't really remember. Not sure I want to.

So up until that day,
I had my ritual.
Knew exactly what I was going to do with myself every moment of every day.
But that day
I already had my costume on,
So I didn't need to even go inside my apartment.
I just went straight downtown,
Muttered some quick prayers and a mini-hymn to Tom Snyder under my breath,
And immediately jumped on some dude I'd punched and kicked and stabbed a thousand times before.
Only this time
My beloved target
Was possessed of preternatural strength,
And beat the holy glowing feces out of me a thousand ways to Sunday.
One of the best times I ever had.

So I just kept coming back to work with my costume on.
Didn't bathe, either.
Stopped sleeping.
Lost my faith in Tom Snyder.
Just go to work,
Then go straight to the usual mayhem downtown.
Kept wearing it
'Til it was glued to my body by the filth.
'Til it grew into me, me into it.
Like the rope of the swing and the tree it's tied around.

Although it was hard to tell,
At first,
Because I was hallucinating like crazy from sleep deprivation,
The appearance and apparel of the customers
And my fellow employees
Began to subtly change.
A store-bought movie slasher mask here.
Some wild eyebrow makeup there.
And check out the finely carved and lacquered wooden Japanese demon mask on this one.
People started coming in with plastic swords, plastic AK-47s, and plastic pirate hook hands.

And then people started coming in with real steel katanas, live ammo AK-47s, and sharpened hook hands.
And that one guy with the fine wooden demon mask?
He came in one day with arcane energies crackling from his scaly body,
A wildly darting three foot tongue with its own face,
Which bore a striking resemblance to Edogawa Rampo
Declaiming mysterious verses in some lost language,
And a bouquet of perverted "tentacles" manifesting from his nether regions.

My manager tumbled in, seemingly carried by a strong breeze,
With wavy, razor sharp filaments extruding from every pore on her body.
I thought she was some kind of overgrown plant-seed-carrier-thing,
But then she started a fight with the weird dude in the traditional Mephistopheles costume from Gounod's perennially underrated opera Faust,
Flaying the Tempter down to his oddly poignant skeleton,
And that's when I realized that things had taken a turn.

Everybody began brawling with everybody.
Fangs.
Claws.
Projectile spines.
Unexpectedly pugilistic eyeballs popping in and out of muscular sockets.
Lightning bolts arcing from wizened fingertips.
Fire breath.
Antennae emitting psychedelic death rays.
A huge muscular dinosaur tail knocking a pack of rotting zombies through a plate glass window.
A coked-up bootlegger in a pinstriped suit thumb-wrestling a half-unicorn, half-Richard Nixon whatsit.
A Buddhist centaur lighting its horse half on fire to protest the Vietnam war,
While the human half threw a Molotov cocktail at a police car. Better late than never, I guess.
All the cops got in on the action, too, most of 'em stripped down to their bare asses.
I guess they were all rebelling against the costume, not sure.

In the midst of all this chaos,
Which started with a slow build of about a week,
And then sparked off into a little over a year long riot,
I found myself,
At first,
Exhilarated,
But then,
And this is the part where I know I'm going to disappoint some folks,
But I kinda just
Shut down.
But not.
See, I had all the sugary slushy caffeinated drinks memorized for most of the customers,
Including the times of day when each one was likely to come in,
I even had the other baristas' routines memorized, more or less,
So while this mythological clusterfuck was roiling around me
I started to obsessively make the caffeinated specialty beverages,
And set them at the pick up counter,
Announcing each one with perfect enunciation,
"Mocha blend tiramisu turtle soup Americano with 16 shots at the bar,"
Which was rather impressive for me
Because I've had kind of muddled enunciation all my life.
People have always had trouble understanding me all my life.
Not anymore.
Now there was no more ambiguity.
Only clarity.
Only perfectly hand-crafted coffee beverages.
In a never ending stream.
For all time.
In an ever-growing pile.
From floor to ceiling.
Through the ceiling.
For. Fucking. Ever.

Okay, not forever.
I exaggerate.
But that was the feeling.
As mythological beasts from legend, comic books, literature, and cinema
Slaughtered each other all around me,
As the air vibrated with a pulsing minimalist synth score,
As I became splattered with suspect fluids,
Even on those occasions when I was temporarily conscripted into the infernal army
Of this or that BDSM attired wannabe god-CEO of agony,
Or this or that sentient outsized globally recognized candy bar brand with dreams of inhaling all the gas on Jupiter just to get wicked high,
I would still perfectly pantomime fulfilling the orders
Of all the customers
From that increasingly distant time
That I so dearly hated.
And now so dearly missed, wanted, needed.
Like I said,
I shut down.
But not really.

How can I put it?
It's like if every day is Halloween . . . I don't even know.
I mean,
My life was kind of insane before,
And now it's even more insane,
And there's more insanity on the road ahead, right?
That's not how things are supposed to be.
Things are supposed to start normal,
And then go crazy.
Or you start out crazy,
And then you get your shit stabilized,
Start exercising, eating properly, get on a proper sleep schedule, take the right pills,
Right?
I mean,
I didn't come up with this shit.
This is how things were always presented to me.
You start on one side of the line or the other,
And then you work your way to the other side.
You're either playing the getting over game,
Or the hedonist self-destruction game.
Unless you're born on the right side of the line,
The one that has all the money,
In which case, okay, stasis would make sense,
So, uh, I dunno. I really don't have any clue.

So,
Like,
The universal mythological clusterfuck riot scene went on for about a year,
A little over a year,
And then people started to come down from it.
They started going into their old job routines in pantomime.
Like what I was doing with my barista gig after I stopped taking off the costume,
But I guess, like, I was ahead of the curve?
I dunno.
I mean, I've always been a kind of trendsetter.
Going back to when I was a teenager.
I'd find out about some band that no one heard of, and then I'd tell everybody about it,
Or some movie or some comic book.
And then people would be into that new thing.
And I was fashionable.
I wore pretty cool clothes.
People wanted to dress like me.
Even the teachers.
Even the coaches.
I tell that to people now,
And they think I'm joking.
But it's true.
I set trends.
So maybe now with all this crazy costume shit . . . I don't even know.
So,
Maybe,
That's what was going on with me my whole life?
It's totally nuts,
And like I said, I stopped sleeping. Maybe I'm not seeing what I'm seeing.
Even though I see everything with perfect clarity, especially now.

But things started to get back to, like, fake normal.
No one was bathing. No one was sleeping anymore.
Those who had undergone full-on transformations into mythic and supernatural beings
They didn't really change back.
But they acted like they were back in the old human rut.
My co-worker Ben,
He became this human-shaped thing made entirely out of toes
That was constantly emitting a pre-recorded stream of audio clips of speeches by George W. Bush,
And he didn't change back,
But he went back to slinging those coffee beverages just like in days of old.

My boss, she was still that overgrown plant-seed-carrier whatsit,
She still smoked weed in her Honda every lunch break,
Still a pretty cool boss.

Sidney, the girl who biked to work, still loved to talk about her mission trips to South America,
Even though she was now a difficult to pin down blur of scintillating lights and arcane symbols.

We had all been transformed.

We all had our Time of Fun.

And now we were back to work.

Except there were no more coffee beans, latte mix, or shots to shoot.
Most of the paper cups had been eaten by the naked cops,
And the freaky tentacle rape beast had eaten all the metal objects in the store,
Including all the coffee making machines and assorted equipment.
But the team went into action in pantomime.

Even the customers,
Who had all ritually burned their cash in praise of Psychopathic Deities and Insurgent Barsoomian Spirits,
Who had all offered up their credit and debit cards as sacrifice to the ghost of Tom Snyder,
He of the nonstop witty patter and the perpetually burning cigarette held between middle and forefinger,
Even the customers kept on coming in,
Playing their parts with an exquisite mixture of Chekhovian subtlety and violent, alienating  theatrical gestures of embodiment worthy of Bertolt Brecht,
All of us,
Workers and consumers alike
Possessed with the obsessive yet mindful pantomime of mindless commerce.
Exhausting,
But way better than the real thing ever was,
Or ever could have been.
For we are all now in a Transcendent Rut.

William Blake is really pleased with all this, by the way.
I've been speaking to him
Underneath a collective of regular customers
Who have willed themselves into the shape of a Cubist Sequoia
And he said this was exactly what he was getting at.
But I think he's just being polite.
Not sure. Not sure I want to be sure.
-October 2014

Copyright 2014 by William D. Tucker. Used with permission.