Commercial Interlude: Abi Jian

A few weeks ago, I came across a website advertising the “imminent” release of an English version of Ma Li and Chen Uen’s Abi Jian (literally Abi-Sword). It is sometimes forgotten that there exist a very commercial aspect to comics in countries outside the Americas, Europe and Japan.  This happens to be just such a comic, notable for being one of the most revered Taiwanese comics in the wuxia genre.

The comic (which in its collected edition of 2 volumes amounts to about 500 pages) was serialized between the years 1989 and 1990 is based on a story by the author, Ma Li. I haven’t read the original novels but on the basis of this two volume adaptation it is of a piece (though somewhat less distinguished) with some of the primary works in the genre.

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Commercial Interlude: Blacksad

A Review of Blacksad (Vol. 1-3) by Juan Díaz Canales (writer) and Juanjo Guarnido (artist)

 


 

Would you pay 18000 Euros (approx US$ 23,500) for this?

[Cover to Blacksad Volume 3 Red Soul]

Well, someone did. Actually,  I lie. That 18,000 Euros was just the upper estimate on this album cover which finally sold for 37,303 Euros (approx.US$48K) before taxes. This kind of pricing can wear you down after a while. It lodges in your memory and when people keep repeating the mantra (“Blacksad…Blacksad …Blacksad!”) within listening distance of your computer screen you begin to ask yourself whether you’re missing out on some fabled piece of Euro pop culture, the kind that has cats in trench coats.

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Review: It Was the War of the Trenches

When two specks in the distance start shooting at Ferdinand Bardamu on the first page of Céline’s Journey to the End of the Night, he quickly comes to the unshakable conclusion that it is all a big mistake. His only viable option is to get out of that situation as soon as possible. The colonel overseeing his fate, a man with no use for fear, is deemed a “monster” and “worse than a dog”, but absolutely typical of the army as a whole:

“…I realized that there must be plenty of brave men like him in our army, and just as many no doubt in the army facing us. How many, I wondered. One or two million, say several million in all? The thought turned my fear to panic. With such people this infernal lunacy could go on forever….Why would they stop? Never had the world seemed so implacably doomed.”

Bardamu’s attitude is one of absolute revulsion for his commanding officers. The report that his sergeant has been blown up while going to meet a bread wagon is an occasion for celebration (“that makes one less stinker in the regiment!…In that respect you can’t deny it, the war seemed to serve a purpose now and then!”). The countryside? Even on the best of days “dreary” and godforsaken, “if to all that you add a war, it’s completely unbearable.”

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Yoshiharu Tsuge’s Red Flowers

Red Flowers. Sayako Kikuchi is lying in the shade of her tea shop. It is a warm summer day and far too hot to count the meager takings from the morning. There is the sound of cicadas in the background and we gaze up at this incessant activity with the girl. The tree before us is as firm and immovable as nature itself. The tea shop is cradled in its grasp, nestling in a womb-like clearing with tendrils and fruit running through its thatched roof.

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Review: Josh Simmons’ House

In an interview given in conjunction with Archi et BD, la Ville Dessinée (see Alex Buchet’s post), Jean-Marc Thévenet suggests there is in many comics “a psychological pressure suffered by a hero who is more often than not dominated by the environment in which they live.”  This is, perhaps, the most common manifestation of architecture in American comics.

At a more popular and utilitarian level, we have Marshall Rogers’ delineation of the ornamented skyscrapers, alleyways, fire escapes and bricks that make up the borders of Batman’s Gotham, casting the caped crusader into realistic space, Rogers’ occasionally clumsy anatomy and staging notwithstanding.

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Review: The Playwright

Warning: Spoilers Throughout

The latest comic by Eddie Campbell is conventional in a number of ways peculiar to the form. It is a collaboration with a writer, in this instance Daren White, the editor of the Australian anthology DeeVee.  Also familiar is the presentation which is not dissimilar to what you might find in a newspaper strip collection with the panels laid out in single file across a squat rectangular book. The pages only lack the closing punchlines once deemed so necessary to such endeavors, but these occur frequently enough so as to negate any  perceived differences; the temporary conclusions and logical ellipses between the pages being the very stuff of modernity (see Campbell’s remarks on the rearrangement of the strip from 9 panels per page to its current format in the interviews below).

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A Response to Alan Choate’s Defense of R. Crumb’s Genesis

Once again, Alan, thanks for taking the time to write your essay and fully articulate the pleasures of Crumb’s adaptation.I have a number of minor disagreements about which I won’t go into much detail since it would merely be a reiteration of my previous discussions with Ken and yourself. In this particular response, my disagreements have less to do with Crumb’s Genesis than with our differing approaches to the comic and comics criticism in general.

There is, for instance, the flawed understanding that the “tendency of modern biblical scholarship to pull apart narrative threads has been disintegrative to the religious sense of the Bible as a unified, divinely inspired whole.” I’m afraid that quite the opposite is the case and no person (of a serious intent) who has read a good commentary would tell you otherwise. Just as scholarship enriches the experience of any dense literary text, so too does it refine our understanding of the Bible and Genesis. The best commentaries provide the context which you lament as being lost to modern readers: historical setting, social mores, linguistic complexities and turns of phrase. The “remoteness” of this text, which is well hidden by many modern translations, is precisely what scholarship brings forth and elucidates.  The “detective work” which Crumb engages in has been done many times over and with far greater ability. But I doubt if this is the real area of disagreement between us. More likely, you find this journey of discovery exceptionally fruitful, while I for the most part do not, if only because I have already experienced it.

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