The Sandman: #2

Art Style

• Soft Places has a very vague style because while it's telling about a character in history, it's telling something that didn't happen to him (or maybe it did). 
• It also has very pretty colors and lines
• Sharp, dark lines and pretty shadows on faces (shadows in comics are so strange)
• a striking page for me: the one with the ghost army outlined in blue and filled with swirling shapes. It was smoky and alluded to the fact that they were indeed dead without saying so. It was a really terrifying moment that was played off as nothing at all. This army is just searching for a way out, and they're clearly dead. 
• The description by Marco Polo's companion of "soft places" story was also interesting because it only used the light blues and scratchy black to describe this indistinct world. 
• Basically, light blue/purple is memory while brown, burgundy, yellow and orange are present things
• It's a clever use of color because it lets the reader know if something is real or not without having to come out and say it.
• Dream is also very striking in this story. He just got out of imprisonment and yet still uses his power to help Marco Polo. He is also all blues and white & black (memory). Pretty intense eyeliner too.
• Orpheus was another detailed description of story, and therefore, the art style is very detailed once more. The hilarious switching from hip to endlessly old in this story is pretty great. 
• They also use certain colors to describe certain realms/journeys. 
• Green/brown --> Earth
• brown/black --> journey to underworld
• purple/pink/navy --> underworld
• purple/green/brown --> furies on Earth
• This was another nice way just to show us what was happening and where we were. 
• Parliament of Rooks has a very pretty page design about Cain and the storyteller Rook Cain is on both sides of the page (once realistic, and once covered in Rooks). In the middle is the story about the Rooks. Clearly, this is Cain telling us the story about the Rooks (Cain + Story = story!Cain).
• Additionally, turning the twins (Death and Dream) into little chibis was hilarious and showed a lot about how Abel is inside the head. 
• Ramadan had intense and vibrant colors for the fantastical world. 
• Not that detailed because it's a fantastical retelling, but it's still a retelling, not historical. 
• All grey/brown/purple once the king makes his deal (dead city --> harkens back to underworld in Orpheus)

Frames

• First intro page of Soft Places interconnects three (then two) panels through motion lines
• This is interesting because it drags you through the sandstorm with Marco Polo, and it also drags you into this other realm (soft places).
• Song of Orpheus likes to have a background and then panels over the top to show action.
• In fact, most every page is like this. 
• Even if the background doesn't cover the entire page, it still contains either scenery or a scene near the bottom of the page. 
• This lets the reader have something other than a white background to stare it. 
• It adds something to the story.
• Parliament of Rooks has, again, the page with Cain and the storyteller Rook.
• Interesting design because it utilizes a lot of different techniques we read about and also it just looks pretty
• Ramadan was all over the place with panels
• So many styles to represent so many fantastical things in this city

Morals

• Soft Places 
•  You shouldn't stray from the group
• You also shouldn't get lost in your own ventures and ignore the world picture
• Always think on a global scale. If you don't, you'll end up in a rut like the ghost army.
• Orpheus
• Always listen to the Gods
• Do not try to defy fate because it will always win
• Parliament of Rooks
• Storytelling is what keeps man glued together
• Some stories are bound to repeat themselves, so you should understand expect them
• Ramadan
• Don't trade away your fantastics for something ordinary. 
• Always strive for better/change

Most vs. Least

I think I liked Soft Places the best because I really loved the art style. The message was also pretty important. Additionally, it was kind of scary. The way that it was told and the way that memories were represented was really neat. I was legitimately scared when the ghost army came up. I think it says something about the comic that it can elicit emotion in that fashion. 

The one I liked the least was maybe...Parliament of Rooks. I liked the premise of storytelling and why it's important. However, I didn't really like the execution that much.

But, I would actually say that I enjoyed all of them. None of them were too terrible, and I think that picking a least favorite was pretty hard.

Overall Thoughts on The Sandman

The Sandman deserved any awards it has received. It is a work of art in fiction and in comics. The people that worked on this deserve so much credit because it has turned out very well. Also, I believe that reading this one volume has persuaded me to read more of them. The only thing I have to get past is the cost of each volume. 

In all, I think this was a good pick for the class. 

Sandman #1

Historical Elements

I think that the historical elements bring an extra touch of depth to the story. While it may still be interesting without the characters being specific figures, it's a little more interesting when you have the added back story or information on the historical figure. For example, it's interesting to think that there could have been more behind the decisions that some of these people made. Specifically, it would be interesting to think that behind Emperor Augustus's actions were a driving motive that he didn't want anyone else to be an emperor because of the immense power that came with it. It let people think they could do whatever they wanted without consequences. Was this really what he thought, or is this just Gaiman's interpretation? Did so much happen behind the scenes, and that was why the country came to its eventual collapse? It's pretty cool to look at things in that light.

Others, such as Mark Twain, being introduced was kind of just a fun thing. It's like in movies when you see a cameo of a really famous star. You're just reading along and then BAM Mark Twain all up in your face. It was comical and also added, again, a little bit of, I-wonder-if-anything-like-this-could've-happened and well-that's-a-fun-interpretation to it.

Messages and Connections

So what do all these stories have in common? Obviously they're all very different, and they all have a different message. Hm.

I believe these stories are kind of like a version of Aesop's fables. They all tell a different moral message whether in the frame of the storyteller or in the actual story. For example, the message for "The Hunt" within the story was that sometimes the best person isn't the one you've imagined, but the one that was right in front of you the whole time. Also if you're a werewolf...just...keep being a werewolf. And for the storytelling frame, the message was to listen to what your elders tell you because they may have valuable information. Each story gives a valuable lesson to the reader, just as Aesop's fables gave to its readers. 

In addition to that, the stories are vaguely connected by their titles or what happens in them. Three of the titles we've read so far relate to months (Three Septembers and a January, Thermidor, and August), and the other two seem to be related too. They each have a narrator telling the story and somehow the story is related to them. While these may seem like little nuances, they might be important to the story. 

I also think that there's probably an overlying (depressing) message that everything you do is kind of meaningless in comparison to these seven. Humans are kind of like toys to them, and they have been around forever. Humans are just a tiny flicker in time. How depressing. 

Other than that, I don't see a ton of connection between the stories at this point. Perhaps the rest of the novel will shed more light on the subject. 

Visual Aspects

(before we begin, I'd like to note that I don't have page numbers)

I thought that all of the stories did well with closure between the panels. There wasn't enough change to make you go "what" but there was enough for you to imagine what you thought should happen. This is especially apparent for me in "The Hunt" when the boy kills the innkeeper. You are never told that that's what happened, but it does say he took back his coin. I'm pretty sure the innkeeper wouldn't have let that happen if he was alive. 

I also thought the flashbacks/forwards were handled pretty well. This was used mostly if the story had a narrator. I thought the transitions were smooth and that it was well utilized instead of confusing. An example of this could be in August when the Emperor flashes back to when he was 16. These panels were darker shades of blue and black and usually took place solely at night. The rest of the story was made up of tans and whites. This is a clear way to show the reader that they are in a different time.

Another example of this is when they switch to Dream's world. Usually, everything switches to how you would expect a dream to look. It's all very exaggerated with lots of colors and shapes. This is in contrast to the pretty much entirely well put together stories. 

One page that I thought used color and action especially well was in "Thermidor" when Johanna falls asleep and Dream visits her and tells her to let Orpheus sing. There was a lot of action and movement, but it still felt really clean. There were also motion lines pulling Johanna out of the dream world and back into the real world which I thought was clever. 

Style of Artist

I think that, as you were saying in class, the way each artist portrays the different scenes is very important. We begin with lots of muted shades of forest greens, mud brown, and very dark outlines of characters. As we progress into the first story, we see a shift into what we may think of comics to be (bright colors, striking word bubbles, and vaguely detailed characters). Then we move more and more into shadows and less detail until we get to August where we are distinctly separated from the Emperor and Lycius by the lumps all over their skin. I think the way that all of these stories are drawn makes them either accessible or inaccessible to the reader. You are either able to imagine yourself as the character or you are told to look at them and see what they did with their life.

The intro gives us a blank slate to throw ourselves into and imagine, and then we move into the man with mustache and the bright colors of comic books. I think these two served as great introductions because they weren't too shocking, and they were a style that most people are used to. After that, we moved into Thermidor and a style that was sometimes crazy. Thermidor seems to like shadows and deep colors and lots of panels. I think this made sense for the story because it was about confusion and turmoil and fear.

The Hunt brings us back to a character we can be, and the simplicity of the colors and lines makes it easy to read. I think this was to let us down from the high of Thermidor. The organization of the stories is done really well.

Lastly, we go to August which is bringing us back to a time in history. It doesn't have to be relatable, and therefore, the two main characters have lumps and bumps on their faces. This is to, as previously stated, distance them from us. We are to learn from them, not to be them.

Overall, the art style is really complementary to each story, and the organization was done very well.

Most vs. Least

The story I liked the most was probably "The Hunt." It had striking colors and the characters were people you could place yourself into. I tend to like that more. I also thought that the story was interesting. It reeled you in, and then introduced classic fantasy elements and even supernatural beings. It was all very subtle, and it may even have been hard to catch some of it. I also liked the overall message of the story.

The story I liked the least was, I think, "Thermidor." This is because I thought it was kind of confusing, and I also didn't really understand why she was taking this head places. I think that if I would have read any of the other novels that I would understand it a little better. Otherwise, it just doesn't make sense why Dream comes down and asks her to get Orpheus. First, why her? Second, why did Orpheus want to go there? Fourth, where is she from? I mean, if I have this many questions after reading something this short, it just seems a little strange. Additionally, I didn't like the parts where they had her writing in a diary?? The writing was hard to read and I felt it detracted from the story that you had to concentrate that hard on reading a word.

Other Stuff

• The ways that different artists portray death in each story is really interesting. Sometimes he's super creepy and spindly and sharp as in the introduction. But other times he's kind of soft and '80s and like Jareth from Labyrinth as in "The Hunt." I wonder why they portray him so differently in each, and if that's just his style as time goes by.
• I want to learn more about the little librarian dude who lost the copy of the book. In addition to that, I'd like to learn more about the library?? I know this probably isn't in this volume, but it makes me want to read the rest.
• Lastly, I've heard that "Ramadan" is pretty much the best story in this volume. So I hope it lives up to expectations. 

Comic Book Intro

Chapter One

• single frame w/ no sequence is not comics unless it is included in a large sequence
• "Each successive frame of a movie is projected on exactly the same space--the screen--while each frame of comics must occupy a different space. Space does for comics what time does for film." p. 7
• comics - (noun) plural in form, used w/ singular verb. 1. juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer.
• comics - medium - "vessel"
• glyphs represent sounds instead of a subject being portrayed, and therefore, are not classified as inside our definition.
• Not a clue when comics originated, but they gained some sort of accessibility with the invention (or at least use) of printing
• The father or modern day comics is Rodolphe Topffer, but he thought it was just a silly hobby.
• "comics" has negative connotations and their low self-esteem is self-perpetuating
• May have a lack of conventional story, but there's no mistake of sequence (read instead of browse)
• cartoons are an approach to picture making while comics is a medium which often employs that approach
• the definition of comics is very broad and changing and encompasses many things

Chapter Two

• "icon" - any image used to represent a person, place, thing, or idea
• "symbols" - images we use to represent concepts, ideas, and philosophies
• "picture" - image designed to actually resemble their subject
• cartoon - simplified reality - form of amplification through simplification
• when you abstract an image in cartooning you are not eliminating, but focusing on specific details
• cartooning isn't just a way of drawing, it's a way of seeing
• when you talk to someone, you see their face in sharp detail, but you also have a vague image of your own face
• realistic = someone else
• cartoon = place yourself in story
• tells you to not be aware of messenger
• Two Worlds
• realm of concept - idea
• realm of senses - physical
• cross over (physical extension of yourself)
• can't be too realistic if you want to stay an idea/concept (character)
• backgrounds are more realistic because you don't identify with a brick wall
• "one set of lines to see (background), another set of lines to be (character)." pg. 43
• however, you can use realism to separate characters (show "otherness") as Japanese artists do
• COMPLEX-->SIMPLE
• REALISTIC-->ICONIC
• OBJECTIVE-->SUBJECTIVE
• SPECIFIC-->UNIVERSAL
• the boldness of words makes them easier/faster to read
• But pics abstracted from reality are more like words
• PICTURES = RECEIVED
• WRITING = PERCEIVED

Chapter Three

• "closure" - mentally completing that which is incomplete based on past experience
• "the gutter" - space between the panels (limbo). human imagination takes the two separate panels around it and transforms them into a single idea. 
• the reader decides how the act happens in the gutter. closure is similar to how books (words) work (decision made by reader).
• SIX TYPES
• moment-to-moment
• less interpretation
• action-to-action
• more
• subject-to-subject
• most interpretation
• scene-to-scene
• time and space
• aspect-to-aspect
• look around at place
• non-sequitar
• no relationship
• arrangement of panels is hard
• if the reader is particularly aware of art, closure is harder to come by

Chapter Four

• words introduce time by representing that which can only exist in time--sound
• however, alternatively, captions can let it be one moment
• panel acts as general indicator that time or space is being divided. the duration is defined by the content.
• however, panel shape does matter. whether it is long/short or borderless effect time.
• show motion in comics through lines moving in that direction
• "motion line" - "zip ribbons"
• path of motion imposed over scene
• Japanese artists adopted "subjective motion" which puts readers "in the driver's seat"
• the interaction of time and comics generally leads to one of two subjects: sound or motion
• sound: word balloons and sound effects
• motion: 
• panel-to-panel closure
• motion within panels
• multiple images
• streaking
• lines of motion (zip ribbons)
• moving with

JUXTAPOSED PICTORIAL AND OTHER IMAGES IN DELIBERATE SEQUENCE

Comic Book Readthrough

Title: Captain America: The First Avenger #1: First Vengeance

Writer: Fred Van Lente

Illustrator: Luke Ross

'cause why not

Characters

1. Steve Rogers - Steve is selfless and is always doing good things for others. He will always stand up to bullies, and he will never surrender. His dad fought in WWI, was reckless, and got killed. However, he did get a purple heart. Steve wants to be just like him. 
2. James Buchanan "Bucky" Barnes - Bucky shows up about halfway through and takes on the bullies that are beating up Steve. He says that he'd never thought of standing up to them until Steve did it. He's always kind of sarcastic and messes with Steve. For example, when Steve says that "I woulda worn them down eventually" and Bucky says dryly "Yeah, when they died of old age."

Description

We begin with Captain America (Steve Rogers) about to jump out of plane to make an attack on Hydra. As he's falling, he has a flashback to his childhood. He played with little figurines and we learn a little about how his father fought in WWI and his mother is sick. She tells him that he could fight, but that he should be careful. We then see some more Nazi butt-kicking. Then another flashback to when Steve was a little older. This time he's being beaten up in Hell's Kitchen (NY). The rowdy kids are beating him up pretty bad and it seems like Steve doesn't know when he should quit. Out of nowhere, another kid shows up and fights off the attacking kids. He introduces himself to Steve as James Buchanan Barnes, but his friends call him Bucky. We then flash forward again. This time it is to Hydra members discussing Steve (Captain America). They say some ominous stuff and then we wait for the next issue to find out what it means. 

Visual vs. Text

I think if this had just had the text and none of the visual cues, it wouldn't have made sense. You wouldn't have caught many of the small details. For example, they never say that Steve's dad served in WWI or that he had a purple heart, but they do show us a picture of his dad and some army buddies and a purple heart beside it. Additionally, we wouldn't have known that Steve's mom was sick because we only see it, we don't hear anyone ever say specifically that she is. 

Also, if this was a book, it probably wouldn't have been able to switch back and forth so effectively between each time frame. It would have probably been confusing, while in the comic it didn't feel like it. 

Pages that Stood Out

I liked this set of pages the most. While the panel placement is a little uninteresting, I liked the art and the action that was expressed. The use of light/dark in these two pages in really nice. I liked the attention to shadowing and especially the silhouetted frame on the left. I thought it displayed the beginnings of a friendship really nicely. I also liked the closeup on Bucky's face at the bottom left because it was a little gimmicky but it was also nice to learn more. The action was also nice because you could really feel them performing the actions and the closure was easy between, and even in, panels. 

I think these pages further the story in a unique way because 1) we meet Bucky, and 2) they show more of Steve's characterization. We see that even as Steve keeps growing, he still realizes that being selfless and standing up for yourself is the right thing to do. We also meet Bucky who is later Steve's best friend. It's just a nice little origin story that every superhero/villain deserves. 

Other Thoughts

I thought that this comic was a nice way to display most of the things that we read earlier. The only thing I was kind of surprised about, being that it was a Marvel comic, was that there were only a few, if any at all, motion lines. I expected there to be a lot more. Maybe it's just because this was the first issue.

Otherwise, nothing was really confusing and it was an easy read. I figured it was appropriate given the recent Captain America: The Winter Soldier movie.

Achebe Response

Wow. 

After reading this response to Heart of Darkness, it really throws a new light onto the book and how we as readers should look at it. We may realize that it is intensely racist in small ways or some parts, but the comparisons Achebe makes are somewhat frightening. By this I mean it's frightening that I did not pick up on some of them. 

Perhaps the idea of racism is so ingrained into our (white people) brain's that it's actually hard to distinguish when things are and are not racist. Being the discriminated against group is always a struggle, but to have it so blatantly ignored (while unintentionally) is appalling. While I do realize that we are all racist to some extent, I tend to wonder why. 

Achebe made the point that he wondered how this man, Conrad, could be considered an artist if he was so completely and utterly terrible in his intentions. He makes a comparison to the Nazi "great minds" that were eventually considered bad enough to not be considered great minds anymore. Perhaps what needs to happen in the literature sphere is a rethinking and new approach to "classic literature." If we look at many classic books we may find blatant racism that we refuse to acknowledge or that we know is there and yet still teach it. Is teaching these novels spreading racism or at least affirming that it is okay in people? I'm not sure, but it does leave one wondering if these novels can really be considered classic if they are so problematic. 

It seems in Conrad's novel he dehumanizes Africans to the point of them 1) not having language except to show how brutish they are, 2) use them as a foil to another planned white character, a point of comparison and nothing else, and 3) purposefully forgetting history and glorifying Europeans. This novel kind of reminds me of the white kid trying to go into the black neighborhood and make everything better because "I understand your struggles." Appropriation is disgusting, and yet here we are given a novel of it. 

Additionally, when Achebe described Conrad's apparent obsession with the black skin color and his overuse of disgusting words, the reader has to find themselves going back to the novel and wondering when they missed these moments of glorification of skin. 

Overall, this article was really enlightening and also terrifying in that I didn't even realize that some of this abuse of a culture was happening. It would be easy to say that this article will change how I look at literature in general, but I think this is a long process of looking at why we even choose the literature that we do as classics. Or rather, if the literature that we choose is really a classic if it is also dripping with cultural appropriation and racism.