Sunday, October 26, 2014

On Persepolis

On Persepolis

            Persepolis opened my eyes to the reality behind Iran and the Islamic Revolution. It was one of those topics that were barely touched upon, if at all, in school. This book, however, was a good insight into life into that period of time. The autobiographical work by Marjane Satrapi is ground breaking in more ways than one, and personally, it’s a celebration of the graphic novel medium.
            The style is simplistic and rustic right from the get go, featuring at most 3 values from cover to cover. It features black line and bold inks. This puts the Satrapi’s story in the forefront of the graphic narrative. Through simplification of the characters and backgrounds, it makes for a very comfortable ground to present the facts and drama behind the situation. If this was realistically rendered, for example, I would be more inclined to be paying attention to the intricacies of what the characters are saying, and be appreciating the novel for the art instead.
            The art further drives the feeling that the child in the story is telling the story, and drawing the imagery; even if it isn’t the case, as the work was done in her later years, it still feels a lot more welcoming than one would expect of a topic like this. This storytelling device, combined with a first person narrator, is sure to stir up emotions.
            How Marjane Satrapi draws may be derived from her graphic design background. The imagery in the book echoes the stylistic choices of ancient Persian art, with the soft curves and an emphasis on pattern and intricacy. By doing so, Satrapi successfully placed Persepolis in cultural context, however subtly, hereby placing the readers in the correct cultural mindset.
            The art is in service to the story, with the more ‘artistic’ sections of the book taking place within the panels and headers. Otherwise, the formatting is very controlled and regular, featuring no breaking of the frame. Text is placed in standardized speech bubbles, and narration in standardized textboxes.
            All of these aspects combined to present a very controlled environment where I could enjoy a deep story, without feeling like I was stuck in a history textbook. The story is a very personal one, where the opinions presented were personal to the narrator herself, and raised a sense of empathy towards the social situation in Iran, as well as a reverse extrapolated view for those who are new to the subjects discussed.

            

Wednesday, October 22, 2014

On Genre in Manga and Anime

On Manga and Anime  

Japanese animation is what I grew up with; it has been ingrained into my history since I could remember, and to be honest, I’m not even sure what the first anime I’ve ever seen is. Maybe it’s Crayon Shin-chan, Astroboy or Detective Conan. I remember my first Gundam craze, after secretly watching Char’s Counter Attack on television; my first Miyazaki film was Nausicaa; my first super robot experience was Mazinger Z; my first tears shed during a movie was during Grave of the Fireflies.
I’ve always loved animation. Over time, I’ve grown to notice the differences between western animation, and Japanese animation. Japanese animation caught my heart since an early age, perhaps due to the feeling that they treated me as an older ‘child’. I know that there’s the possibility that I’ve been looking in the wrong places to begin with, but it struck me that western animation I watched during my childhood, always seemed to assume my intellect was a little lower than what it actually was. Even as a kid, I wanted variety in what I watched; Cow and Chicken, or Power-puff girls, as good as they were, never really had the emotional impact on me Detective Conan did, even though the target audience was about the same.
Maybe that was a little off the mark for an analogy, but I still firmly stand beside my observation on western animation still lacking the reach to breadth of audiences. I don’t mean this in an age group perspective, but one of genre. Mainstream western animation, even today, is mostly geared towards either comedy, or family friendly adventure. Other genres exist, for sure, but they’re usually difficult to access, or unknown to the general public.
 Japanese animation’s appeal, to myself, often stems from the fact that it covers almost anyone’s tastes. Drama? Check. Comedy? Check.  A coming-of-age story featuring brotherly love and overcoming all odds in the cosmos with the help of a handheld drill? Or how about a story where the world’s greatest surgeon accidentally saves a juvenile serial killer? And a story where a man is placed deeply into debt, and goes onto a floating casino to win himself out? Check, check, all checked.
Don’t take this wrong, though, I love western animation all the same. Action is found in shows like Young Justice and Avatar; Pixar themselves, pump out a variety of movies. I just don’t think it’s that far yet; there’s so much potential. What we see is the budding that has somehow been slowed. Looking towards the past, it may have been due to the stigma parents placed on Comic books, which subsequently led to their disdain towards animation in the early days. A good portion of the last generation see comics and cartoons as just cartoons, things made to move to entertain children. 
            It saddens me to see this sort of connotation attached to one of my favorite art forms of all-time. Many people still see animation as a children’s thing, and it’s not. In the western world, animation is an inferior form compared to live-action. Batman is more popular after hitting the silver screen; Ironman was practically reserved for the “nerds”, until recent years, where it has become a pop symbol. The uprising of “geek-culture” in western pop culture is nice, but it is still spearheaded by live-action movies, followed by millions who couldn’t care less of the Batman’s other stories, prior to his screen debut.
            Examples of this sort of idea of animation inferiority can be seen in appropriation of anime to Hollywood. Dragon Ball, Dead or Alive, Street Fighter for instance, weren’t great adaptations. It’s not going to stop, though, as they’re planning Akira, Ghost in the Shell, Space Battleship Yamato, Death Note…so on and so forth.
            Not that adaptations never work though, as we can see from From the Edge of Tomorrow (Based on All you need is Kill), which was done pretty effectively. I just hope that Animation gets its well-deserved time in the spotlight, or at the very least, the same general respect like live-action films. They’re a great medium that allows things to be stretched, stylized and exaggerated to an almost infinite degree, and the potential in that is inspiring in its own right.

            

Monday, October 13, 2014

On Stereotypes


          
            The professor brought up a really interesting point the other day. While we extensively discussed the stereotyping of black people in media, we briefly touched upon Asian stereotypes. The topic we started consisted of how Asians in pop culture is often victims of positive stereotyping. It was made clear how negative stereotyping could be a detrimental cycle; that stereotypes come from nowhere, and are oft made-up and self-perpetuating. And so, naturally we’d ask: what about positive stereotyping?
            In my opinion, stereotyping is necessary to a minute degree. We use it to get ideas across efficiently, to parody or to poke fun. A personal rule of thumb to keep in mind though, is that if you decide to poke fun at one party, you should poke equal amounts of fun at everyone else. It’s all in relativity. I see stereotyping to be a spectrum ranging from good to bad: For example, making a black man love fried chicken can be seen as bad; next to a white man bathing in money, and an Asian man on a calculator, and all of a sudden, it doesn’t seem as offensive, because everyone else is subjected to the same level of prejudice.
            In today’s media, this rule doesn’t seem to be applied much at all. Black characters (I refuse to say African American in this case, because it’s not an exclusive phenomenon to the United States) are often put into small-time crime roles, for instance. In recent days, it’s getting better; for one, we don’t have blackface as a standard depiction, and there is an emergence of actors in Hollywood of African descent. I point towards characters like Ian or Curtis, from Utopia and Misfits respectively, or John Luther from Luther…even Jerwayne from Phoneshop, as examples of characters in the right direction.
            Asian characters, however, don’t share the stereotyping spotlight. It takes a lot to mark any Asian character as stereotypical; in illustration class, someone literally had to draw a Fu Manchu clone for it to be branded a stereotype. But this isn’t the case. We aren’t all good at math, or all good at music. We aren’t all good at kung fu, and Asian girls aren’t all obedient wives. All of these can, arguably, be good or bad, but they’re usually seen as a good thing in the media. As a result, characters of East Asian descent suffer positive stereotyping. The effect is that there are rarely any well developed oriental characters in recent western pop culture. Mako from Pacific Rim, for example, served as the kick-butt girlfriend to the white American main character. In DC, we have China White the female Asian assassin; Shado the female Asian assassin; Katana the female Asian assassin, Cheshire the female Asian assassin and, yes, you guessed it Huntress is indeed a female Asian assassin.
            That is not to say there aren’t any other characters. There are plenty of Asian characters in the various comic-verses. The issue is, there aren’t any unique ones; they all share a stereotype of some sort, like the female Asian assassin; in Ryan Choi as the Atom’s case, the brainy Asian guy, or the Mandarin, another Fu Manchu clone.
            Someone tried to convince me once, that I was overthinking it. There were plenty of Asian main characters in pop culture, as I quote, “[…] like Jackie Chan, or Bruce Lee and Jet li.” This highlights the limited roles an East Asian can play in the current mass media; we’re evil, good at fighting or female.
            Asian females especially, get a lot of damage from this. There is a sense in popular culture, that East Asian women are repressed, obedient and highly desirable. This leads to websites like Creepy White Guys, which shares the various types of racist and misogynist messages Asian women get. This is a whole other topic for another time, but it highlights my next point.
For some odd reason, if the main character weren’t white, the comic, movie or television show, wouldn’t be popular. There is always a sense that White is better in popular culture. For example, Akira, commonly hailed as a milestone in animation, was on the verge of being turned into a live-action film. The premise, however, was that, instead of being set in Neo-Tokyo, it would be set in Neo-Manhattan. It was rumored that Garrett Hedlund or Zac Effron would play Kaneda.
Another example: The Raid, soon to be a trilogy, is an Indonesian story, said to be one of the best set of action movies of all time. Soon, it will be remade, still called The Raid, but instead, Chris Hemsworth will be playing the main character. The Raid is already a live-action film; post 2000s, why it has to be remade with white main characters is still foreign to me.
            Jumping past the recent and obvious examples of 47 Ronin, Avatar and live-action Dragon Ball, let’s discuss the upcoming movie from Disney, Big Hero Six.  Based on the Marvel comic book series of the same name, in the comic, they were all Japanese. Sadly, their translation to the big screen meant they had to be “less stereotypical” and “more diverse”. And so, we now have a range of characters from different places in the world. One thing that still bugs me though, is that even though the main character Hiro looks oriental, his description on various sites always starts with “[…] He is Half Caucasian”; and the only other Asian character on the team is, yes, that butt-kicking Asian girl.

            I hope that perhaps someday, another Bruce Lee emerges in the entertainment world to reorient our views on how Asians can be represented in media, but until then, all I can do is hope, and try. Maybe I’ll wake up one morning, and finally find a hero in western pop culture that I can finally latch onto and say, “look, he’s like me!”


Tuesday, October 7, 2014

Barefoot Gen and Elric: The Dreaming City

Barefoot Gen and Elric: The Dreaming City 

            To be honest, I had a busy week, and didn’t get very far with Maus. I did love Barefoot Gen though. As a child living in Asia, I grew up with anime and manga; never having touched a comic until about fourth grade. Barefoot Gen had the classic symptoms of a 80s Anime; movements straight out of Tetsujin 28, Astroboy or Gatchaman. Of course, the story is far from being fantastical; On the contrary, I’m inclined to believe it is largely autobiographical. It struck me right at heart to watch the movie; and the bombing could not be more foreshadowed than it was in the line, “All the other major cities were bombed, but not Hiroshima.”
            The bombing was sad, the atmosphere heavy; it was horrible. It was not, however, what I cared for the most; it was the narrative of the bonds shared within the family of Gen that kept me invested in the story. From my personal experiences, I can safely say that, East Asian culture, namely Japanese, Chinese and Korean; place a huge emphasis on teamwork and sibling bonds. I’ve grown up with my brother calling me brother my whole life, only having stopped once he hit the ripe age of 18. To this day, despite being 21, I still call my sister, well, sister. In Asia, siblings are taught to look after one another, no matter what the cost of doing so is. Examples of this include Akira, Tekkon Kinkreet, Gurren Lagann, Grave of the Fireflies, Full Metal Alchemist…so on and so forth.

            And so, when Gen lost his brother, Shinji, it hit pretty close to home. Gen’s sadness of losing his brother is a lot more than what it may seem. To many viewers, I’m sure that it seems that Gen mourns the loss of his brother. From a cultural point of view, the impact is more inclusive of other factors; trust, guilt and the inability to be there until his final moments. To Gen, he may as well have killed his brother, having betrayed the honor and respect his brother placed in him. I would imagine Gen went to sleep, wishing he died in that fire in his brother’s place.
            On the topic of Elric: The Dreaming City. It was great. Reminded me of Jean Giraud’s work. I am greatly looking forward to seeing his works in class.

Wednesday, October 1, 2014

Underground

Underground Comics

            Having read the recommended selection, all I could say is, it was fun. It wasn’t particularly exciting or inspiring personally, but looking back at history, the outlandish content is justified. For me, this week’s topic cultivated the artistic romance side of doing comics; the intangible feeling of being a purist, respectful in its own right despite the content. I remember being swooned by that feeling myself. In underground comics, or at the very least, in the selection shown, we see artists go out of their way to be offensive. Like an obnoxious nudge at your inner personality, daring you to stray into their world.
            I find that the gaming industry has begun going through the same processes today. Independent studios are popping up in defiance of the mainstay flavor of games. As is the trend with movies and television shows alike. Nudity, violence, and ‘romantic action’ themes are popping up in our media more and more frequently.
            I’m afraid the underground comics don’t really appeal to me much. Not that I took that much offense from it; on the contrary, it felt guiltily comedic to read. It brought back the nostalgia of being a fresh teen, flicking through the television channels, accidentally catching two characters in bed vaguely doing blanket activities. It didn’t appeal to me, but I probably did chuckle at myself; I wouldn’t watch that movie I caught if I had the chance, and likewise, I just wouldn’t read these comics again out of leisure.
The style was intentionally clunky and grotesque; for others, it was just bad craftsmanship. I conjecture that underground comics were a good entry point for aspiring comic artists, and thus showcased lesser work. After all, when you’re selling a story about a she-yeti tripping and landing on someone’s penis; or about a couple having sex in the air, you’re going to hire whoever you can get.

One thing I am thankful for is what these comics represented. They stood for creative freedom, freedom of print, and freedom of craft. Thanks to the army of clumsy females and the Viagra filled males of these publications, we have a vaster array of material to select from today.