Thursday, February 26, 2009

House's Rose and the Rime

So, I saw my first House Theatre show tonight. After having read Don's take on the House again and again, I was prepared to see a spectacle, but I wasn't expecting much more than that. Whereas, I find the whole "Fight Evil" vibe a little too precious for me, and I was turned off by that whole email campaign fiasco... I have to say that the folks at House put on a really good show. I enjoyed The Rose and the Rime, and would recommend it to anyone. It got a little too cutesy-poo for my taste at certain parts (I thought I was going to go into diabetic shock with all the bunny imagery bunny sock puppets bunny hopping)...but the fairy tale they told was compelling, cyclical, and had enough requisite dark moments (truer to the the original tone of many fairy tale traditions) that I was quite sated as I left. One of the better children's theatre productions I have seen as of late. Even though I am of the mind that as an adult sometimes you want to put childish things aside, I have to say... good job.

It has been brought to my attention that some people think my calling House's show a children's show was some dig. Absolutely not. Children's theatre is a worthy pursuit and in that regard, this show was very very good... (deep breath....and...that's that)

Horror of Horrors



Click on image to enlarge

World Theatre Day

http://wtd09.wordpress.com/

If you haven't yet heard of World Theatre Day, it is approaching. It seems to be a novel thing for Americans even though it has been happening all over the globe for decades. Every year, a theatrical personality gets to make an address. Here is this year's address from Augusto Boal.

All human societies are “spectacular” in their daily life and produce “spectacles” at special moments. They are “spectacular” as a form of social organization and produce “spectacles” like the one you have come to see.

Even if one is unaware of it, human relationships are structured in a theatrical way. The use of space, body language, choice of words and voice modulation, the confrontation of ideas and passions, everything that we demonstrate on the stage, we live in our lives. We are theatre!

Weddings and funerals are “spectacles”, but so, also, are daily rituals so familiar that we are not conscious of this. Occasions of pomp and circumstance, but also the morning coffee, the exchanged good-mornings, timid love and storms of passion, a senate session or a diplomatic meeting - all is theatre.

One of the main functions of our art is to make people sensitive to the “spectacles” of daily life in which the actors are their own spectators, performances in which the stage and the stalls coincide. We are all artists. By doing theatre, we learn to see what is obvious but what we usually can’t see because we are only used to looking at it. What is familiar to us becomes unseen: doing theatre throws light on the stage of daily life.

Last September, we were surprised by a theatrical revelation: we, who thought that we were living in a safe world, despite wars, genocide, slaughter and torture which certainly exist, but far from us in remote and wild places. We, who were living in security with our money invested in some respectable bank or in some honest trader’s hands in the stock exchange were told that this money did not exist, that it was virtual, a fictitious invention by some economists who were not fictitious at all and neither reliable nor respectable. Everything was just bad theatre, a dark plot in which a few people won a lot and many people lost all. Some politicians from rich countries held secret meetings in which they found some magic solutions. And we, the victims of their decisions, have remained spectators in the last row of the balcony.

Twenty years ago, I staged Racine’s Ph├Ędre in Rio de Janeiro. The stage setting was poor: cow skins on the ground, bamboos around. Before each presentation, I used to say to my actors: “The fiction we created day by day is over. When you cross those bamboos, none of you will have the right to lie. Theatre is the Hidden Truth”.

When we look beyond appearances, we see oppressors and oppressed people, in all societies, ethnic groups, genders, social classes and casts; we see an unfair and cruel world. We have to create another world because we know it is possible. But it is up to us to build this other world with our hands and by acting on the stage and in our own life.

Participate in the “spectacle” which is about to begin and once you are back home, with your friends act your own plays and look at what you were never able to see: that which is obvious. Theatre is not just an event; it is a way of life!

We are all actors: being a citizen is not living in society, it is changing it.


Augusto Boal

Wednesday, February 25, 2009

FavoriteThing(s)ThisWeek



Kristy Whiten

FYI - Some of these drawings are intense just in case someone is peaking over your shoulder. Nothing hardcore but... just in case



Tuesday, February 24, 2009

What Big Bags You've Got Under Your Eyes

Touch of insomnia last night. Fighting off the bad weather ailments put me off my timer a bit. Now I have to conduct a rehearsal with about 2 hours sleep. It has happened before. Thankfully not too often. The busy time is here. Rehearsal tonight, figuring out the rest of the rehearsal schedule for Devils Don't Forget, prepping for yet again another set of auditions this weekend, all the while trying to have some sort of social life and continue my commitment to see and do as much culturally as possible. At this very moment it is like emulating Atlas, Sysiphus, Prometheus, or any other tortured titan you can think of. I find solace in the knowledge that fatigue comes and goes. This exhaustion too shall pass, get a good night's sleep tonight and do the work that is put in front of you. Still, I'd love to have a pill that turns off that mosquito like buzzing that happens in a limbo like space a millimeter in front of the bridge of my nose.

Did a rewrite last night. That was unexpected but pleasant, rewarding. Now I have to hold out hope the gentleman who requested it still will want to produce it. I also began two new short scenes. Inspired as of late but my friend Joe. I am not going to commit to a new sketch every day, but I am going to use his example to reignite my commitments to produce and write daily.

Thinking about how much my life has changed in the past 4 months. It is a good thing. Fate lit a fire under my arse, even though I've acclimated to the heat, I must remain diligent when it comes to making the most of this life.

FavoriteThing(s)ThisWeek


Lisa Evans - I know it's cute. But, I can like cute every once in a while


Friday, February 20, 2009

I Want You to Subscribe



Thanks so much for reading my blog. Did you know that my theatre company the Mammals has its own blog. Please visit themammals.blogspot.com. And once you're there, I hope you'll subscribe so that you can get all the latest new about the Mammals and all the projects we've got lined up in 2009.

Thursday, February 19, 2009

Seafarer at Steppenwolf

I saw the Seafarer on Tuesday night. I am now going to have to read everything Conor McPherson ever wrote. It was certainly a matter of having fallen upon this excellent production of a play at just the right time in my life, but this thing got my face wet near the end. When one brother turns to the other and consoles him with "It's alright. You're Alive"... I dripped a single manly tear (wink). If you're on the fence about this one, I say go!

Much better than Xanadu

Tuesday, February 17, 2009

I probably shouldn't post this post about money and art, but I just did

So, there is this question now about money and art. Perhaps question isn't the right way to put. It seems to be this riddle about how much is too much, or whether it is money that corrupts or love of said money (which came first the chicken or the egg).

I think that the truth of the matter is that yes sometimes money and art are able to co-exist (and co-exist well). But there are some instances in which money is not the answer. There are some paradigms where raising a certain level of money requires a commitment not only to a certain structure of organization but also to a certain sort of programming, a certain sort of artistic approach... that doesn't always appeal to everyone, especially those who spend most of their time residing in the fringe. Adam Thurman is right in that people shouldn't fear money, they shouldn't fear organization. But Don is also right in that there are some types, methods, and ways of art and expression that can only be corrupted when too much money invades the priority of the folks involved.

Here is the great thing though. I don't have to choose. I can work with and embrace both kinds of ensembles as an artist and/or as an audience. The real problem isn't which road one chooses at which time. The problem is when too many of us get hung up (myself included) pointing fingers at the other convinced they are somehow detrimental to the scene, the community, what have you.

We have enough voices that we don't get to accuse anyone else of "drowning out" the "competition" when it comes to ideas about arts organization, etc. etc. Lets keep talking about different models when they work, when they don't (and admit that in some circumstances... they don't).

When does making theatre make you twitter (not that kind... the original twitter)

Yesterday we had our first read thru for DEVILS DON'T FORGET. I got together with Don Hall for some dinner before the rehearsal and as we headed over to the space, we talked a little bit about what we about to undertake.

"This feels good. Going to rehearse a show that I've written and am directing. It's been a year."
"It has been, hasn't it."
"The weird thing is. I am not overly excited. I am happy, but I'm not bursting at the seams. It feels normal."
"Of course, man. This is what we do. Of course it feels normal."

All day I had this little paradox going on. I was telling people how happy I was that we were starting this new project. I am very lucky to have incredibly supportive friends in ever aspect of my life from the dayjob to the beer pals, even my Chiropractor is always asking me and encouraging me on. But, even as I felt the rightness of the thing, where were those butterflies? Where was that pleasant fearful anxiety? (Be careful, don;t be wishing back too much of it).

The truth is that if you make art a part of your everyday life, there are some trade offs. Your everyday is enriched, but it can also raise the bar of resistance you have towards that super duper spin cycle in the rib cage... that nervous happy twitter (no that twitter!).

So when did the excitement kick in? It came back as soon as the actors starting speaking the lines. I was smacked hard and heavy with a sense of delight that I had a cast this good, this talented, this enthusiastic reading these words out loud. Man, sometimes I feel like the luckiest guy on earth when I have the good fortune to hear intelligent, gifted people willing to spend a couple months trying to bring something I wrote to life.

I know my objectivity is suspect since I'm the author, but hearing those excellent actors last night bring their craft and skill to the words... I still firmly believe we are going to have a heck of a show. The sound of their collective voices, their laughter, their pleasure at the road ahead of us... that brought back the excitement. That gave me... the twitter.

Sunday, February 15, 2009

FavoriteThing(s)ThisWeek - More from Jason





So, I picked up a couple more comic books from Jason. I think it was Issac at parabasis who told me that the comics of Jason's without text were the best. All I can say to that is that these two books with text were still quite wonderful little stories.

Love, Loyalty, Heroism are drawn so simply here, but even if the art is clear efficient and direct, the relationships between Jason's men and women are complex and dense. He uses just the right amount of image and word (sometimes no words) to elucidate tensions between lovers, and in the Last Musketeer between long ago friends.

Really, go to the library and check these out. Wonderful little books, that I can't recommend enough!

And They Put Handcuffs On The Flowers

Handcuffs is the kind of theatre experience that seldom comes along. Anyone who is passionate about theatre as a medium really should take the time to witness this production. I can't guarantee how a theatrical enthusiast will apprehend this piece, but anyone who claims to be contextual in theatrical history, or daring in theatrical taste has no business missing something like this. It is a rare bird, and for that it must be seen.

It is the sort of emmersive application to storytelling that is too infrequent in my opinion. There is no doubt that the script as written is challenging to both actor and audience (I was challenged). Penned in 1969, it is emblematic of a certain type of theatre, certain approach and specific period of theatrical endeavor that is very remote from much of today's ways. It is this challenge and this risk that make it essential viewing.

A production like this can be many things. In one way, it acts as a history/cultural lesson. Because (I would argue) much of it reflects a time in history when much of performance was synonymous to protest, when performance was perceived and accepted as a more direct method of critic of our world, when people really thought they were changing this globe into something else, a time when more people went to the theater to see this sort of thing. The performance remains true to Arrabal from the tonality, the adherence to non-specificity regarding narrative structures (what is dream what is real) and the question of are these actors always embodying a single character going through multiple transformations of being, or is this mere double casting. A tall order theatrically, but executed very close to the letter of the author's intent.

A production like this can be a catalyst. It can galvanize its audience's position on notions of "experimentation" in theatre, notions of characterization. It can question audience's ability to witness artifice, scatological representation, sexual taboo, even human flesh.

It may be that I haven't done a very good job of "selling" this show. Perhaps if I had more time to think on it, to figure out a way to mold my words so that I amplified the provocation and titillation without speaking to the tension and anxiety... If I could figure out a way to convince you it is an evening of entertainment, I would. The truth is that this piece is something else. Something special, something compelling, something that at moments, yes, is even uncomfortable to watch. But, we need more folks seeing and doing this sort of work in Chicago Theater. For all this piece is, it is exciting to me that people still strive to make this kind of theatre. I want more of this sort of ensemble, more of this sort of company. I want us to embrace as a city, not only our legacy toward sketch and humor, but also our legacies of risk, our legacies of daring... And for that I urge you to embrace this production and to embrace this company. I applaud Right Brain Project for its craft, its commitment, and its skill.

Friday, February 13, 2009

BB Been Berry Good To Me

Pitchers and catchers report today. Thank god. I need some BB in mi vida.

Joe Janes as Benny the Bookie and
Don Hall as Rudy the Rhino



Imagine me and these 2 guys sitting on stage during Xanadu.

Thursday, February 12, 2009

Slowly but Surely but Slowly

The graphic novel is coming along. A part of me knew how much it would take to get this project done. Still, there is another part of me that just wonders how I'll ever get the thing done. I have completed the last page of the first really big scene (if fact according to the layout, it is the longest scene page/frame wise in the graphic novel). That should give me some sense of accomplishment, but all I can see is this massive leviathan before me. I got to remember to just process one picture at a time. Just one at a time. That is all I can do. Eat this dinosaur one bite at a time.

La Nuit Fantastique

A handsome young student of philosophy moonlights in a flower market where too often he falls asleep and dreams of a graceful ghostly female always able to make out her shape but never able to catch sight of her face.



He confides to a friend that this dream girl is so alluring that he has fallen in love with her, so much so that he must break up with the girlfriend he has in real waking world.

Then one night, asleep again, his foot is accidentally kicked by a graceful ghostly woman. He finally catches sight of his dream girl's face and stops her with his plea "Now that you've shown me your face, please don't take it away again." She permits him to accompany her through an adventurous midnight Parisian landscape.



During the course of the night they evade magicians, suitors, mad men, thugs, and even Egyptian mummies. They seem to cover the entire city in a single night from nightclubs, magic shops, abandon buildings, sanitariums, moonlit rooftops, and even a late night soiree at the Louvre.

Convinced that he will lose his dream girl's visage with the dawn, the line between reality and what is merely dreamt becomes hazy for the young student. Convinced he is dreaming, he has thrown caution to the wind abandoning any inhibitions or sense of self-survival in service to his dream girl, thereby becoming the hero of this fantasy saving the damsel from both a loveless marriage arranged by a parental impostor and worse interment in a madhouse.



Jonathan Rosenbaum spoke before the film about how this film had a disturbing quality probably due to its being filmed in occupied France. Personally I think that is an over application of contextuality. Sure there are some troubling tense moments in the film, but they are the sort of moments any film that flirts with dementia even in a playful way would have captured. Still, his read on the film was fascinating, and I'm glad for having heard it.

I read online that the lead of the film, Fernand Gravey, actually served in the underground French Resistance during the making of this picture. Imagine, the lead male leading a double life during the war as his character inhabits heroism under the pretense of living in a dream doubled world.

If ever a viewing of this film crossed your path, do not pass it up.

I found the first 2 minutes of the film billed as the trailer. Enjoy!

FavoriteThing(s)ThisWeek



Linnea Strid and More

Amnesia



The title of Clive James' book Cultural Amnesia drew me in since I am writing a play about a man who chooses Amnesia as a way to escape. Moyer and Clive do speak to what is important to remember, but the video also has so much more.

I hope you enjoy

Wednesday, February 11, 2009

Devils Don't Forget - The Rewrite - Process

Currently I am working on the latest draft of the DEVILS DONT FORGET script in preparation for our first read thru next week.

This story was performed previously in early 2005 under the title SAVE ME FROM MYSELF. I like the new title alot better. I am also hoping to parse the previous script to kill a few darlings as they say.

The protagonist is an unnamed man referred to as Buster, and his dilemma is a common occurrence in the world of Noir. He has amnesia. Many a penny dreadful depended upon a character waking up after being slipped a mickey or after having been hypnotized or suffering a conclusion... thereby having to spend the remainder of the story uncovering who they are how they got into whatever predicament they are in. The difference with Buster is that he doesn't want his memory returned... convinced that his memory loss was a conscious choice undertaken by him in order to evade something truly apocalyptic in nature.

The thing I discovered during the workshop run of SAVE ME FROM MYSELF is that it's incredibly hard for an audience to get emotionally involved with a character who refuses to share anything about himself. Imagine meeting someone who evades your every question, shrugs at any inquiry, then suddenly desperately pleads for your assistance. Buster is a character who can not confirm his given circumstance and refuses to pursue his identity through most of the story. Empathy without providing you any familiarity.... Well that is the tall order for any writer.

Whereas I think we staged something that was visual, compelling, active, and engaging... in hindsight I think we could have done more... a lot more to make Buster the sort of character that audiences could relate to. So what are we changing in the next incarnation? We are utilizing one of the most renown tools of Film Noir writers and film directors... the voice over. Sunset Blvd, Double Indemnity, Murder My Sweet, Detour... all of these classic film noirs used VO.

I hesitated using it the first time because the pieces was supposed to be the second play in a triptych dealing with Noir. The first play in the triptych, BREED WITH ME, utilized VO to an extreme effect. So, I wanted to see what we could accomplish in the Noir venue without the technique. But as time has passed, that hang up has eroded, and I think VO might be exactly how we can draw the audience not only into the conflict and action, but into the confused plight of Buster as well.

The other issue to address in the rewrite is the character of the Father. The Father is a symbiotic character played by two actors using a vocal technique emulating a song by Laurie Anderson, Bright Red. The two performers speak in tandem each saying every other word in the text (does that make sense...imagine 2 people counting the first says the odd numbers, the second says the even numbers). The result is very surreal, but it also has a sort of lullaby effect. Our experience was that the audience would submerge into the vocal quality of the Father's text, but also often stop listening to the words, and rather let the sound take over. Since the Father had some very important things to say about the resolution of the piece, this meant that even though the Father told the audience twice the rational for his actions, many just didn't hear it. As a result, the resolution of the piece confused some. So, we need to either change the manner in which we employ the vocal effect or rewrite the text so that, the lulling effect is lessened.

If we can elevate these two things in the rewrite, I think the script will serve its purpose better. So, I have been diligently at the task for the past 2 days. This might also mean that I could be off the blog for a few days. I am just going to play it by ear.

Tuesday, February 10, 2009

Are Things Getting Better?! Fruits of our Labor?!!

Nick on Conversion - aka ... is all this energy put into the theatrosphere paying off?

Just in case you skip the comments, here is what I think...

How do we know if we are making a change for the better? I have to say I am feeling it already.

It has to do with using social media to get more (drum roll) social. Some of us have been using this thing to create real connections, to enable conversation rather than sound bites. We have be talking to each other both online and in person.

That happened because of the blogosphere and other social media outlets.

But many out there aren’t even convinced that the social media revolution is going to take hold, or that it is worth the trouble. How many of us have hear people ask doubtfully “So ,should I look into Twitter?” hoping you’ll say…nah, it’s no big deal.

I know some out there who view this whole social media mode of distribution and communication with contempt. I’m not talking about senior citizens who’ve never touched a mouse in their life, I’m talking about 20 and 30 somethings who feel some sort of burden now that they have all these places in which to check and see if they are in anyone’s thoughts.

I am talking about folks who don’t like getting a 5 facebook reminders, myspace bulletins, twitter, email, every 3 days about a show coming up.

I would argue that such inundation is not the best way to convert keystrokes into action. You must promote, yes. But, sometimes you have to let enough time pass, give me an opportunity to forget the last post before you hit me with another…. OK back to the point which is…

Even though these social media have definitely opened up a venue for more and more noise to fill the void, they have also opened up opportunities to talk to connect, and that is just as likely to get me to come to someone’s show as being told for the tenth time, that some reviewer liked or didn’t like the piece.

I am currently going to be directing at least 5 projects this year. Last year, I directed one. That is conversion.

Not only am I seeing more shows, i am seeing them with more people, more friends, which leads to more communication more debate and is enriching my life. This weekend, I am going to see Hairy Ape with at least 3 other friends, all of which I either met online though the blogosphere or have recently reconnected with as a result of a project again tied to the social media. Even if we can not see the degrees of separation that convert talk, posts, and twitts into action. It is happening. It is a good thing, and It will proceed so long as we do.

FavoriteThing(s)ThisWeek aka An Interesting Manifesto



James Kochalka is a comic artist. There is a cornucopia of his work through the years available at his website. His work tends toward simplicity and cute. But, there is also a very provocative side to him as well evidenced I think by the image above and the mini-manifesto below.



This idea that craft is the enemy is very interesting to me. I would suggest that there is some value to it, but that it is a very dangerous idea as well.

Why wait? Profundity and Virtuosity... are they synonymous? Is this approach to comic making less applicable to other creative medium? Perhaps our time is truly valuable because of brevity, which means that one should spend only as much time as necessary in the realm of craft if one is teeming with content?

Or is craft sometimes a distraction? Can the pursuit of virtuosity be a sort of self-centered worship that can leave little room for other ears and eyes and exchanges? Or that can distract one from actually completing a task at hand because you believe the artist you'll be tomorrow can do it better than the artist you are today?

Issac Butler and I tossed some ideas around briefly while talking about Jason the Comic Artist. I'd love to know what other folks think about craft, how much is essential, is there such a thing as too much? Etc.etc.

Monday, February 09, 2009

Did I see Theatre this weekend... yes I did!

These are the shows I saw this past week with some other folk's thoughts. I'll be attempting to compile my thoughts on the productions later this week.

TUTA's Maria's Field
Time Out Review

Right Brain Project's And They Put Handcuffs on Flowers
Time Out Review

And another show that need not be mentioned here since it lives in infamy on another's blog

ThingsI'dSeeIfIWereThere (Sort of FavoriteThing(s)ThisWeek)

http://ontologicalhysteric.blogspot.com/

Richard Foreman and John Zorn. Man, this takes me back. I would love to see this. Both these guys were so important to my awakening to so many things back while I was in school.

John Zorn... I was trying to get as acquainted with the Jazz section at every record I could find in Central Florida. Now we are talking about the last days before the onslaught of the Internet. This was the time when attempting to familiarize yourself with a genre or even the breath of work of an individual artist required significantly more footwork. So, as I was looking for new Coltrane, Davis, Monk, and Yellowjackets (why do I feel a little embarrassment at the Yellowjakcets?) I came across John Zorn's Naked City CD. The cover was one of Weegee's, a man face down on the cement with a pistol just out of reach, his nose obliterated. I was overwhelmed, smitten at the prospects and I hadn't even heard a note. Of course, the album was excellent, one of the few times I can recall the experience of having heard something unlike anything else I had up til that point (except for maybe Charles Ives).

Richard Foreman.... before I got a chance to see one of his shows, I had passed up his book Unbalancing Acts again and again in the bargain bin at Books-A-Million. I had stared at the cover with Kate Davy concealing herself behind a handkerchief. I had picked it up a couple of time and attempted to jump right into the scripts, picking the one with the title that seemed the most appealing to me Film is Evil, Radio is Good. knowing nothing about Foreman's aesthetics (I hadn't even heard of Bertolt Brecht at this point) I could make nothing out of the script. And so the book fell back into bargain bin, even though that cover with Kate Davy seemed so intriguing.

Then later I finally saw a Foreman show, The Universe with Tony Torn, James Urbaniek, and alot of dwarfs. This was during my first week ever in NYC. I loved the show so much I saw it twice.

Friday, February 06, 2009

Don Hall as Rudy the Rhino



Slowly but surely making progress on the Meatlocker Graphic Novel. Here is a little sneak peek at Don Hall as Rudy the Rhino. Special Thanks to Sarah Elizabeth for working on that nose. I think Don here looks positively evil. Aside from shading and removing the color there is actually no distortion of the manipulation. That is the actual face he made for the shot. Something creepy got inside that guy (insert joke here).

Happy Birthday to Donny Boy. Tonight we feast!!!

Thursday, February 05, 2009

FavoriteThing(s)ThisWeek





They call him (I think it is a him) Pure Evil. I love the echoes of Windsor McKay.

Wednesday, February 04, 2009

Anyone familiar with Brendan Behan?

I am struggling to get through his collected plays. Quare Fellow right now. Page after page and nothing is happening...ughhh! Does it get any better as it goes?

More theatre than I can shake a stick at!

Another Big Busy Weekend Planned

More theatre! I am going to go see TUTA's Maria's Field this Thursday. I have met all the TUTA folks (way long ago, they wont remember), but I have never seen one of their pieces. The review in Timeout leads me to believe that this will be a really good one to make my first TUTA stage experience.

Saturday, is another full day (good thing). We have a read thru of all the one acts at the Side Project (excellent). Then it is Right Brain Project's They Put Handcuffs on Flowers by Arrabal. It is a rare thing to get to see an Arrabal play, and the previous work I've seen of RBP has certainly pleased me greatly!

And another thing, I am digesting more theatre than I have in long while, but it isn't just theatre that jazzes one. I am also trying to get in as much interesting cinema as possible too. In that regard, I am lucky to live in a town where you have a Film Center like the Gene Siskel. Tonight I am going to see Empire of Passion which from its description sounds just like my sort of thing (Noir merged with the Supernatural).

Tuesday, February 03, 2009

FavoriteThing(s)ThisWeek



Blue Pills by Frederik Peeters

If someone told me that I would a) read a comic book about HIV and b) actually be incredibly moved by... I'd inform them that they had no conception of how truly shallow I could be. Anyhooooo...

This is a very heartwarming book. Never too in your face about its premise, never so harrowing or blatant that you cringe at the pain of the protagonist. It even has wonderful surreal touches in it eleventh hour (something that almost always wins me over).

Monday, February 02, 2009

FavoriteThing(s)ThisWeek



The Living and The Dead by Jason

I have been passing this over at the HWLC for over a year. The simple line work just didn't have appeal for me at a fast first glance when compared to Frank Miller, Neil Gaiman, and others.

I picked this up though, and I am highly impressed with the storytelling ability of Jason (Yep Just Jason). It is such a quick read you can finish it literally in less than five minutes, but don't let the simplicity and the directness of the images to get you to rip through this too fast. It is a wonderful, phantasmagorical piece that can make you feel for its hero and heroine if you are open to a simple pleasure.