Funnybook Babylon

March 29, 2013

Life Hasn’t Been Very Kind To Me Lately

I’ve spent most of the last six months thinking about trauma. In my day job, we’re investing a lot of time and effort to identify the ways in which the traumatic experiences of our clients (individuals from vulnerable populations with some involvement in the justice system) affect their lives and develop interventions that can help them process those experiences and clear obstacles to a successful, independent life in the community. I’ve also thought about this in a more personal context, as the cycle of life and death has hit pretty close to home lately.

During the same period, I’ve been listening to a lot of music. Fiona Apple’s The Idler Wheel Is Wiser Than The Driver of the Screw, and Whipping Cords Will Serve you More Than Words Ever Will is still in the rotation, as is Amy Winehouse’s Frank, the new Cody ChesnuTT (Landing On A Hundred) and the newest Bruno Mars album (Unorthodox Jukebox). But there are three albums that have had a dedicated place in the rotation over the last couple of months – Kendrick Lamar’s Good Kid, m.A.A.d city, Killer Mike and El-P’s R.A.P. Music and strangely enough, the Django Unchained soundtrack. One day, I heard good kid from Lamar’s album, Willie Burke Sherwood from R.A.P. Music and Freedom from the Django Unchained soundtrack in succession and something clicked.

good kid is a soundtrack for trauma that evokes the experience of being a young black man in the inner city. A narrative about the intangible rents extracted by two forces struggling to establish a monopoly on the use of force in the community. But I’m getting ahead of myself. The first thing that always strikes me about this song is how Kendrick uses his cadence to convey emotion. Kendrick finds different ways to build momentum throughout the album, from using a progressively more complex flow to shifting from soft to more percussive words or simply increasing the pace of his delivery. On good kid, he layers his vocals on the last third of each verse so that you feel the pressure build until you almost feel the foot on your neck.

The references to a foot on the neck evokes Orwell’s 1984 (“If you want a vision of the future, imagine a boot stamping on a human face – forever”) and serve as a visceral reminder of the physical brutality behind the metaphors. The phrase also helps puts the listener in the position of a victim of neighborhood violence and terror, someone who might think that the line between corrupt police and organized crime is gossamer thin.

Radicals have argued that the only difference between police and gangs are badges for decades, but good kid focuses on the psychic impact of this toxic dynamic on noncombatants. It’s the feeling of being stuck between two minority groups that make you feel like a stranger in your own neighborhood. When I was a young man, it felt like they were in an abusive, yet oddly symbiotic relationship. Even though they sincerely hated the other, it seemed as if both were invested in a vision of the poor/working class community as war zone/occupied territory, a narrative that crowded out competing views of the neighborhood.

If you drove by my grandparents’ neighborhood of Bed Stuy in the late 80’s, you’d assume that it was the kind of wartorn dystopia that Charles Murray warned us about, a ‘truth’ that lost its power if you entered the brownstones or saw the trains fill and empty during rush hour. I imagine that in areas where mature gangs were deeply entrenched in the community, it would be incredibly difficult not to accept the gang/cop vision of the neighborhood. The corner boys were pervasive, but they weren’t part of mainstream culture like the Bloods, Crips or Folk.

That made it a little easier, but the ever present threat and reality of violence was hard to avoid. I was lucky. I had the right friends, knew when to appear tough and when to seem invisible, managed to avoid the wrong conflicts with the wrong people. It wasn’t a traumatic experience, but it was an emotionally draining one. I don’t think I realized how exhausted I was until I moved away to college. I had become so used to being guarded all of the time, to the pressure and stress related to maneuvering through neighborhoods, that its absence felt almost alien. There’s this moment in the song where Kendrick says that he got ate alive the other day, and while he might be talking about getting jumped, I know that Ive felt that way at the end of a day without anyone laying a hand on me. I guess that’s why the third verse (which explicitly references drugs) feels inevitable. The ever present threat and reality of violence has a traumatic impact on the body, the mind and the spirit. It fills you with despair and animosity. It’s only natural to search for an anesthetic, something to numb the pain, ease the pressure. A little drink, a little smoke, a handful of pills. The only problem is that the cure is worse than the disease, an illusory balm that “release[s] the worst out of [your] best”.

Killer Mike comes at this from a different angle in Willie Burke Sherwood, his autobiographical song from the classic R.A.P. Music.

In the brilliant first verse, Mike breathlessly recounts the string of violent tragedies that led him to adapt to the realities of violence in his neighborhood by creating a persona that would be respected in the streets. An identity equally informed by the Lord of the Flies and the music of Tupac Shakur, narratives on the anger that fuels endless cycle of violence/trauma. While Kendrick hints at escape through narcotics, Mike copes by becoming harder, by becoming “like an iron man“. Mike went on to become a working class guy before going into music, but it’s easy to imagine how his decision to become hard could’ve had tragic consequences. Prisons and graveyards are filled with men who decided to become hard in that narrow way that garners respect in the street. Although Mike’s choices were different than mine, there’s something about the “and I bought my first tape by Tupac and I got hard” line that reminds me of how effective Tupac was at articulating the righteous anger that I felt through most of my teenage years. I distinctly remember what struggling to control my anger felt like. How hard it was to not overreact to every perceived slight. It starts as a defense mechanism, but ends up as a crutch, especially once I realized that I was carrying those feelings around with me where ever I went. As Ta-Nehisi Coates once wrote, “even if you are not out in The Street, it’s very hard for none of The Street to live in you“.

So what’s the answer? Kendrick suggests a number of them in Good Kid, most notably in Sing About Me, I’m Dying of Thirst, Black Boy Fly and the skit at the end of Real. But the one that speaks to me the most right now is Freedom, by Anthony Hamilton and Elayna Boynton. The yearning for escape that is implicit in good kid is brought to the surface in the gospel tinged duet from the Django Unchained soundtrack.

Freedom was one of the many perfectly placed (if on the nose) sonic accompaniments to the film, but it’s power grows on repeated listening. When I first heard it, I thought that it helped situate Django within the legacy of American folk heroes and the African American community’s long struggle towards freedom while reminding us that his struggle was an intensely personal one. It’s a song about desperate hope in the face of impossible odds, a brief intrusion of reality into Quentin Tarantino’s heightened fantasy.

It’s a painful song, but there’s something about it that fills me with optimism. It’s the slight tremor in Boynton’s voice when she sings that the sun’s gonna shine on her nicely. Hamilton’s declaration that there’s got to be a winning in his bones. The echoes of spirituals and freedom songs that remind me that in some small way, my struggles for inner and outer peace mirror those of earlier generations. The block presented its own challenges to my parents and grandfather as young people. My father spent his youth trying to embrace his neighborhood without being confined by it while my mother gingerly navigated the invisible land mines of her neighborhood as a young woman. In contrast, my maternal grandfather was determined to abandon it for the suburbs. That reminder of a greater struggle helps fuel the hopes and dreams that may give us the power to process our pain.

Next: I dunno, I’ll think of something. It will probably be comics-related. In the meantime, check out FBB on tumblr and twitter. I also tumbl at Infected Worldmind.

March 25, 2013

Private Eye: An Extraordinary Ordinary Comic

Filed under: Blurbs — Tags: , , — Jamaal Thomas @ 12:41 pm

If you’re reading this post, you’re almost certainly aware that Brian K. Vaughan teamed up with Marcos Martin to announce a mysterious independent comic project last Monday. People were excited. The excitement only grew when Vaughan announced that the book would be available for download, DRM free at the Panel Syndicate website on the following day, and that fans could pay what they want. In a FAQ for the project and in an interview with the NY Times’ George Gustines, Vaughan noted that the continuation of the series was dependent on financial support from readers and that the proceeds would initially go towards paying Martin and Muntsa Vicente (the colorist) for their work, with any additional profits shared by Martin and Vaughan.

This raises two obvious questions.
(1) Is this important?
(2) Is this book any good?

I think the answer to the first question is a qualified yes, at least for high-profile creators. As to the second question, it’s a slickly produced, briskly paced book with a clever script from Brian K. Vaughan and gorgeous artwork from Marcos Martin and Muntsa Vicente.

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There’s been a lot of excitement around this project, which can be attributed to the popularity of the creators involved, Vaughan’s marketing savvy and the appeal of the “pay what you want” model. The Private Eye also serves as a timely reminder that there are viable alternatives to the lease model of digital comics distribution. In the last few weeks, readers were disappointed by the limits of Marvel’s Netflix-like Digital Comics Unlimited IOS/android app (subscribers can only download 10 comics for offline viewing) and the open-ended leases offered by Comixology and JManga. Vaughan, Martin and Vicente reminded us that there is a simple, consumer friendly alternative. Just sell the comic to people who want to buy it. No shell games or cleverly worded contracts. No deceptive ‘crowdfunding’ campaign on Kickstarter. Just click the link, contribute what you want and download your book.

It’s not the most original idea in the world (note that the best book of 2010 is available for download in pdf and cbz formats on My Digital Comics), but illustrates that the traditional gatekeepers are far less necessary than they were in a pre-digital age, particularly for high-profile creators. There’s something tremendously appealing about the notion that Vaughan and Martin are making these issues available to readers right after they are finished (as Vaughan suggests in the backmatter of the first issue). It’s as close as a reader of mainstream American comics can get to the creative process – two incredibly talented creators making and sending their art to us without any intermediaries. There are still a number of unknowns. In his NY Times interview, Vaughan mentioned that a sizable number of consumers paid about 2.99 for the first issue, but I’d be interested in knowing more about the financial side of this project. What was the average price paid by consumers? How much did they earn for that first issue? I think transparency around the economics of the Private Eye project wouldn’t only be fascinating to observers, but to other creators. I’d also be curious to know more about the financial threshold for completing the ten-issue series and how subsequent issues will be announced/marketed. I’m almost certain that I will never know the answers to these questions, but that’s okay for now. After reading the first issue, I know that I want more of this.

The premise is appealingly simple – a noir set in a near future world obsessed with privacy. A private detective like figure is hired to help a person ensure that the skeletons in their closet stay where they belong. Complications ensue. There’s an interesting twist in the first issue that I won’t spoil. I think it goes without saying that Marcos Martin’s art is brilliant in this issue. His figures, his storytelling…

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I just finished reading this wonderful post by Jesse Hamm about Alex Toth’s brilliance as a designer and there’s something about his description of Toth’s commitment to simplicity and clarity that remind me of Martin. The first thing I noticed about this book was how easy it was to read. I just glided through the thirty pages and was at Vaughan’s backmatter in what felt like a matter of moments. At first, I thought that I was skimming or distracted, but when I revisited the issue, I realized that it was just because Martin made everything so simple. Every panel (and every image in the panel) has a defined purpose. Everything’s clear. You absorb the information without even thinking about it. It’s pretty amazing.

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Martin and Vicente create a world that feels plausible by blending futuristic elements (hovering cars and holographic projectors) with familiar anachronisms like Walkmen and telephone booths. I know that there’s a specific reason in the plot for this weird mix of analog and digital, but it also helps sustain the absurd futuristic noir atmosphere. On some level, it even grounds the story in a recognizable reality (as do the familiar brands that Martin places in the background). Our present is filled with echoes of the past, so it’s only natural that our future will look a little bit like today.

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The pages are all slightly oversized, which might be annoying on a computer, but is perfect on a tablet. Gently swiping across each page to get to the right quarter of the image almost creates an illusion of motion, one that’s far more appealing than all the motion comics initiatives (which tend to distract me from the story). The weird size of the pages also gives the story a sense of scope that’s pretty entertaining, particularly during an early chase scene. It also gives Martin the space to play with panel placement and perspective in an incredibly entertaining way.

Issue01 01 eng

I wasn’t very familiar with Vicente’s work (a quick check of his website indicates that she’s a talented illustrator who’s done work on Captain America and a recent I Heart Marvel anthology), but was blown away by her coloring in this issue. I particularly loved her use of color to reflect the emotional state and actions of the characters, as well as to establish atmosphere. Vicente’s color choices help underline the impact of the violent sequence at the end of the first issue (I love how the muted aquamarine room shifts to red and then a brighter aquamarine at the end of the issue). I read this issue on a first generation iPad, and the colors were rich and impressive. I know that this might come out in trade at some point in the uncertain future, but I can’t imagine reading this in any format.

Vaughn’s writing is less awe-inspiring, but effective. He’s just mastered the art of writing an individual issue of a comic book. He sets up the premise, introduces the main characters, lays the groundwork for the conflict, and all with a minimum of exposition or unnecessary dialogue. It’s a showcase for Martin and Vicente, and Vaughan gives the two space to work. His dialogue is typically strong, clever and fast-paced without being too artificial or self-indulgent. He embraces the satirical elements of the story while establishing a believable set of stakes.

Private Eye is potentially revolutionary because it should be ordinary. An original story that’s told well by three extremely talented craftspeople. No gimmicks. No distractions. No complicated debates about lease terms and economic models. It’s worth thinking about why this is so unusual in the digital marketplace for mainstream American comics.

Next Up: Music. In the meantime, you can follow Funnybook Babylon on tumblr and twitter.

Note: A previous version of this post incorrectly identified Muntsa Vicente as a male (in the third to last paragraph). Thanks to Carey for pointing that out. I apologize for the error.

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