conference of the birds

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An efficient successful person… If you want to be an icon you have to accept to be an object, just like a robot, but never forget the spiritual lyrics.

“I can’t stand it! I want to see the world I knew again!”

Quand parfois heureusement, les biscuits sont là.

#PasD'amoureuxMaisDesBiscuits #TendresseEtSexe #BeaucoupPlusSimple

Quand c'est pas bien vu d'avoir plusieurs biscuits.

#EtantCélibataireJeFaisCeQueJeVeux #PlusDeBiscuitsPlusDePlaisir #AToutMomentDeLaJournée

by 有寺 

De El Hombre sin talento por Yoshiharu Tsuge.

Delighted to see that Lucile Hadžihalilović will have a new film out this year; she’s probably best known as a Gaspar Noé cohort (producer, I Stand Alone; co-writer, Enter the Void), but her 2004 feature Innocence is a truly unique allegory of adolescent reverie/dread. This is a panel from the official manga adaptation(!!!!!) of her first film, 1996′s La Bouche de Jean-Pierre, drawn by Robot Okuda, who pairs full-page images (such as this) on right-facing pages with text and photography on left-facing pages, leaving only crucial scenes to appear as ‘full’ comics… (Mimi - La Bouche de Jean-Pierre, Robot Okuda c. 1998)

It’s 1956 and manga ain’t just frivolous pictures anymore. You know what that means - slashing rain. Ryan Holmberg has theorized that a crucial difference between Matsumoto & Tatsumi – two major dudes of kashihon evolution, as well as literal roommates for a time – is that Matsumoto explored “the relationship between time and space” while Tatsumi (inspired in considerable part by Matsumoto’s advancements) pursued “the relationship between time and energy.” It reminds me a bit of the classic differentiation between the great Belgian cartoonists of the mid 20th century: Hergé, so heavily focused on composition, and André Franquin, who pursued the expression of motion. Of course, Matsumoto’s temporal breakdowns differ greatly from the stately artifice of Tintin, so this is not an entirely appropriate analogy…  

A few contemporary values are also on display. Breakdown Press published the first English-language Matsumoto anthology just recently: The Man Next Door. It is a handsome, compact volume, observant of today’s manga-qua-manga expectations: right-to-left formatting, original sound fx, etc. Black Blizzard, on the other hand, was published by Drawn and Quarterly in 2010, as part of an extensive line of Tatsumi releases which had managed, by that point, to ‘sell’ the artist to a wide-ish audience (i.e. beyond manga connoisseurs) as a uniquely visible figure in manga history. As such, the book is reconfigured left-to-right, with most (not all) sound effects re-drawn in English by the editor, Adrian Tomine, himself a literary comics name of no small recognition. The 'pulp novel’ cover design (see link), while cutely gesturing toward Tatsumi’s own (uhh) influences, further nudges the unacclimated lit comics reader into realizing that this is old work indeed - it cannot be presumed that the audience here will have too many expectations, save for those fostered by prior historical manga releases by prominent North American comics publishers.

(The Cat and the Locomotive, Masahiko Matsumoto c. 1956)

(Black Blizzard, Yoshihiro Tatsumi c. 1956)

Umezu Kazuo

oh my god