Can’t Stop the Signal

I was puzzled by some of the posts I read talking about the graphic novel form as comical or simplistic – I never carried those expectations, so to me what “Shooting War” felt most like was pulp fiction or even young adult fiction. While the content was adult and somewhat explicit, the style of writing was hackneyed and the characterization and narrative were rushed and incomplete. I heard that the authors were asked to expand this novel from the first two chapters, and if so, that accounts for what I felt as a confused narrative arc with an ending that I can only call… pasted on. (Also, wow, I hope those blog posts were meant to be whiny and annoying …because they were.) Not only was Jimmy’s redemption unbelievable in terms of his previous actions (With so much previous introspection there was surprisingly little immediate insight into what made him upload those clips.), it was unbelievable in terms of the world he lived in. With such a media splash with those Youtube clips, there’s no way he would be allowed to be freelance and not get snapped up again! Maybe I just wasn’t reading closely, but does anyone know what happened to his people at Global? And what was up with the sanctification of Yoda Rather? Is he some kind of hero to the Left that I don’t know about? I felt in general like I was watching a made-for-TV movie with cut and paste bildungsroman characters.

The art style, however, was arresting and very effective at conveying the aesthetic message, I thought. I particularly enjoyed the skull and cross that formed the maskfaces of the soldiers. Talk about anti-religion! Overall, while the story gave a good framework for the art’s scope, I didn’t feel like each carried the other to its full potential or to a true marriage.

I did fully enjoy the alternate universe aspects of the novel, however, as science fiction works best when it is scarily plausible. McCain and the eminent domain struck a chord in me, as some have pointed out in their posts, but I still don’t see what the solution to fight back against the Evil Oppresors is. I suppose we should all become vloggers and keep information flowing constantly?

“In the Shadow of No Towers,” on the other hand, was very charming and effective. I was a bit taken aback by the extreme leftist views of the text. No matter if I share those views, it’s disorienting and strange when literature and propaganda/advertising explicitly overlap. Of course I was charmed by his references to his own work when the mouse appeared. I liked the image of his family running away from the disaster paralleling his own running away temporally to the old comics. It’s strange how influential these comics were but how we don’t typically read them either as part of the canon or as popular ad-packaged entertainment. The traces of their influence on pop culture and literature is all that’s left, so that’s one reason that I was excited to see some of the original works (especially Little Nemo and Upside-Downs).

The Frequency is Courage!

Anthony Lappe and Dan Goldman’s Shooting War was humorous, entertaining, but also informative and politically charged.  The graphic novel seems to revolve around the issue of media manipulation.  At the center, Jimmy Burns finds himself blogging politically charged journalism,  field reporting, and dodging rocket-propelled grenades all at once.  Initially seen as a maverick of sorts capable of penetrating the political agendas, Jimmy Burns and his camera become tools of manipulation for various ‘parties’: terrorists and the sensationalist American media.  Shooting War seems to be commenting on the dangerous powers of instant media outlets.  The graphic novel brings to mind Don DeLillo’s Mao II and the manipulative power of images.  It is suggested that Brita’s photography might be turned into a political tool used by Bill Gray (or at least he initially intended to use his photograph) and Abu Rashid, but Brita demonstrates that the image can be used by any person or party (she ‘claims’ the child terrorist by removing of his hood and taking his picture).  In Shooting War, we see a similar trend: Jimmy Burns is used by both terrorists and media outlets like CNN.

Visually, Shooting War is equally intriguing, mixing drawings and real photography.  I think one of the most interesting illustrations done by Dan Goldman is the convoy ambush scene (sorry, no page numbers).  We enter the point-of-view of an American soldier through his tactical mask.  If you have ever played a ‘first-person shooter’ video game, the layout is very similar.  Later, we see another connection between video games and warfare with the mobile robot guns controlled by ‘gamers’ of the ’10th Infantry Division, Remote Battlefield Operations’.

Side Note:

I thought the inclusion of Dan Rather was hilarious, and apparently, “The frequency is courage” is a reference to a 1986 mugging of Rather by a man who said to him “Kenneth, what is the frequency?” which has become somewhat of an inside joke for pop culture.

On a completely unrelated note, I was watching an episode of “Star Trek: The Next Generation” [#2.18, Up the Long Ladder] (…Yes, I’m a dork…), and I found quite a postmodern twist in the episode: Picard and his crew come across a planet with two near-extinct societies (Bringloidi and Mariposan).  The Bringloidi are a pre-modern, agricultural community, and the Mariposans are a technologically superior society who have stricken sexual reproduction from their way of life; they have survived only through generational cloning.  They are nearing extinction, however, due to ‘replicative fading’, which reminded me of the essay we read from Jean Baudrillard (‘Simulacra and Simulation’) earlier this semester.  The colony’s clonal replication has become reductive: each subsequent copy of a copy becoming less defined, more incomplete, and eventually fatal.  The solution was to merge the pre-modern Bringloidi with the Mariposans to ‘replenish’ the DNA pool.