Random theory

“Some panels and pages [of some erotic comics, like the work of Molly Kiely and Colleen Coover] unfold like snapshots, gesturing at a larger hole that is unrepresented and perhaps unrepresentable.”    -Lyndsay Brown, ‘Pornographic space-time and the potential of fantasy in comics and fan art’

My own question, then, isn’t whether unrepresentability is possible in the ways we communicate our narratives–especially our fictions–but how.

Random Theory

The real, in a Lacanian sense, is bigger than the sum total of human knowledge, if only by mass; we can at least know that what we don’t yet know is bigger than what we know, if only because we can see so many places, out in space, that we haven’t yet been able to visit.  But language–human reality–gets the upper hand and becomes the predator, the master and quantifier of even the unknown, through that one little word, articulated whenever necessary: ‘yet’.  Even if there is an infinitude that we don’t know, even that infinitude only ever gets smaller, since what we know generally only ever gets bigger.

Random Theory

Ce ne sont pas Mark Gruenwald

Mark Greunwald (1953-1996) was a writer and editor of numerous Marvel titles, including Captain America, What If?, and most relevantly here, a number of editions of The Official Handbook of the Marvel Universe.

Mark Greunwald is the [psychoanalytic figure of] The Father of the Marvel Universe.

Grueny: Keepin’ it firmly away from The Real since at least ’78.

 
cest-le-darkhold

 

 

The Trouble with Naming

What have we already named?  What do we not yet have a ‘proper name’ for?  In English, we tend to rely on ‘thing’ as a placeholder until we’ve come to consensus on a better term–or, at least, until various parties have submitted their respective names for the subject and one or a few have shaken out in regular discourse.

Here, then, maybe the start of that process.  What do/should we call those media products that are made to appear within a narrative?  Products that, at some level, are still made for us–the real-world audience–yet which don’t directly acknowledge any intended audience but that of the narrative in which they appear?  Should we be calling them full-fledged ‘media products’ in the first place, or does their contingency on the larger narrative somehow negate the fact that they were yet produced and can be independently viewed, at least sometimes?  For example, see the comic book that appears in the trailer for Logan, a page of which was released via Tumblr, as well as the newscast that serves as the trailer for Stranger Things‘ second season.

Are these ‘inward facing’? ‘Narrative-bound’? ‘Viewer-blind’?  None seems entirely accurate for the unusual position of this type, though I’m not yet sure that the two examples cited above are even the same animal themselves.  Specifically, the end of the Stranger Things newscast, in which we see only an empty chair, might be the point at which that product specifically stops being for its own narrative realm and starts being only for us.

Suggestions for tagging this phenomenon would be welcome.

 

Random Theory

So, I was just minding my own business, transcribing some of my notes, when *BAM!*:

creeperhegel

And then, the next moment, he’s so close you can see the brushstrokes…

‘Because, even if the bystander becomes important, independently popular within their own narrative realm, aren’t they then just put on a path to somehow interact with that realm’s superhero as a kind of Hegelian recognition?’
 
Hegel really is there, at the end, waiting around so he can pop out and tell us he’s been there the whole time.
 
He’s kind of a dick that way.