Pois é, e por falar em Frank Miller, ele veio com um papo de uma terceira parte para sua obra-prima com o Batman, Cavaleiro das Trevas. A primeira reinventou os super-heróis para o fim do século e a segunda, ridicularizada em seu lançamento, tem várias boas sacadas e o humor mais bizarro do autor, além de seus desenhos mais feios, e nãõ chega aos pés do original. Agora vem a DC e anuncia essa terceira parte que não só não vai ser desenhada por Miller (os artistas ainda serão anunciados) como será coescrita pelo Brian Azzarello, o do 100 Balas. Mas só reforça a teoria que Miller está bem mal de saúde e talvez esteja vivendo seus últimos dias… :-/
Ao voltar-se para a sétima arte, o mestre dos quadrinhos confirma a má fase e mostra seu lado mais brega possível. O que era possibilidade em Sin City e virou tragédia em Spirit, agora virou um mero comercial de TV bem palha.
Que ainda rendeu uma versão do Friendly Fires para o maior hit do Depeche Mode, “Strangelove”.
Ficou bem mais ou menos – mas ficou melhor que o comercial. A versão da Bat for Lashes, pra mesma música e campanha, ficou melhor que a do Friendly Fires:
Na mesma entrevista à Honest, o mago aproveita para desancar os resmungos fascistas de Frank Miller contra o movimento Occupy:
“Well, Frank Miller is someone whose work I’ve barely looked at for the past twenty years. I thought the Sin City stuff was unreconstructed misogyny, 300 appeared to be wildly ahistoric, homophobic and just completely misguided. I think that there has probably been a rather unpleasant sensibility apparent in Frank Miller’s work for quite a long time. Since I don’t have anything to do with the comics industry, I don’t have anything to do with the people in it. I heard about the latest outpourings regarding the Occupy movement. It’s about what I’d expect from him. It’s always seemed to me that the majority of the comics field, if you had to place them politically, you’d have to say centre-right. That would be as far towards the liberal end of the spectrum as they would go. I’ve never been in any way, I don’t even know if I’m centre-left. I’ve been outspoken about that since the beginning of my career. So yes I think it would be fair to say that me and Frank Miller have diametrically opposing views upon all sorts of things, but certainly upon the Occupy movement.
“As far as I can see, the Occupy movement is just ordinary people reclaiming rights which should always have been theirs. I can’t think of any reason why as a population we should be expected to stand by and see a gross reduction in the living standards of ourselves and our kids, possibly for generations, when the people who have got us into this have been rewarded for it; they’ve certainly not been punished in any way because they’re too big to fail. I think that the Occupy movement is, in one sense, the public saying that they should be the ones to decide who’s too big to fail. It’s a completely justified howl of moral outrage and it seems to be handled in a very intelligent, non-violent way, which is probably another reason why Frank Miller would be less than pleased with it. I’m sure if it had been a bunch of young, sociopathic vigilantes with Batman make-up on their faces, he’d be more in favour of it. We would definitely have to agree to differ on that one.”
Meu autor de quadrinhos favorito em ação (Alan Moore já foi pra outra camada de percepção, né), Mark Millar aproveita as baboseiras que o Frank Miller falou sobre o OccupyWallStreet para lembrar pra gente que é bom separar a obra do autor e comentar a forte reação que aconteceu depois que o autor do Cavaleiro das Trevas e de Sin City foi virtualmente linchado por boa parte de seus colegas de profissão:
It’s strange to watch your favourite writer getting strips torn off him for a couple of days.
Politically, I disagree with his analysis, but that’s besides the point. I wasn’t shocked by his comments because they’re no different from a lot of commentators I’ve seen discussing the subject. What shocked me was the vitriol against him, the big bucket of shit poured over the head by even fellow comic-book creators for saying what was on his mind.
Obviously, it’s within their rights to exercise the First Amendment as much as it was within Frank’s to make the original point. But there’s something so distasteful about that cyber-mob mentality that revolts me. It’s not just that I like the guy, that his body of work is among the best the industry has ever seen. It’s the GLEE I’m seeing from some people and, worse, the calls I’ve seen to boycott his work because his perspective on a point differs from yours and mine.
I’m reminded of the time, in the heated period leading up to the Gulf War, when over a thousand people signed a cyber-petition to have me fired from Marvel because I disagreed with the war in Iraq as a response to 9/11. Bill Jemas, quite bravely, bounced this back saying that one of the things he liked about America is that you can say what you like without fear that you’re going to lose your job. Liberalism doesn’t mean throwing guys in jail who DISAGREE with your liberalism. It means accepting that society is richer when everybody has a voice. Starting economic sanctions against a writer until they shut up and agree with you is horrific.
I dunno. I just hate a mob. I think it demeans us. I also hate a bandwagon and would urge my fellow left-wing readers to boycott Miller no less than HP Lovecraft, Steve Ditko, David Mamet or any other writer who might not share my personal philosophy, but who’s work I’m happy to have on my shelves.
Ele mesmo começou a discussão em seu fórum oficial, que continua por lá.
E por uns motivos reaças nada a ver, olha o que ele escreveu em seu blog…
Everybody’s been too damn polite about this nonsense:
The “Occupy” movement, whether displaying itself on Wall Street or in the streets of Oakland (which has, with unspeakable cowardice, embraced it) is anything but an exercise of our blessed First Amendment. “Occupy” is nothing but a pack of louts, thieves, and rapists, an unruly mob, fed by Woodstock-era nostalgia and putrid false righteousness. These clowns can do nothing but harm America.
“Occupy” is nothing short of a clumsy, poorly-expressed attempt at anarchy, to the extent that the “movement” – HAH! Some “movement”, except if the word “bowel” is attached – is anything more than an ugly fashion statement by a bunch of iPhone, iPad wielding spoiled brats who should stop getting in the way of working people and find jobs for themselves.
This is no popular uprising. This is garbage. And goodness knows they’re spewing their garbage – both politically and physically – every which way they can find.
Wake up, pond scum. America is at war against a ruthless enemy.
Maybe, between bouts of self-pity and all the other tasty tidbits of narcissism you’ve been served up in your sheltered, comfy little worlds, you’ve heard terms like al-Qaeda and Islamicism.
And this enemy of mine — not of yours, apparently – must be getting a dark chuckle, if not an outright horselaugh – out of your vain, childish, self-destructive spectacle.
In the name of decency, go home to your parents, you losers. Go back to your mommas’ basements and play with your Lords Of Warcraft.
Or better yet, enlist for the real thing. Maybe our military could whip some of you into shape.
They might not let you babies keep your iPhones, though. Try to soldier on.
Paranóia pouca é bobagem. E isso tudo dito pelo cara que fez essa cena abaixo, como lembrou o Bleeding Cool.
But golly, it sure seems prescient now, huh? Here we are, in the post-electroclash, post-Neptunes, post-DFA era. The hot indie-rock microgenre is glo-fi, which sounds like playing a cassette of your favorite shiny happy pop song when you were three years old after it’s sat in the sun-cooked tape deck of your mom’s Buick for about 20 years. And my single favorite musical moment of last year, as harrowing as those songs are soothing, was the part of the universally acclaimed Portishead comeback album that sounded exactly like something from a John Carpenter film score.
É quando ele aponta para ouvirmos o seguinte trecho de “Machine Gun”, do Portishead, aos 4 minutos do vídeo abaixo:
É um ponto, realmente. Perceba como as trilhas de Carpenter (compostas pelo próprio diretor, diga-se de passagem), têm a ver com artistas atuais tão diferentes quanto Daft Punk, Chromeo, Midnight Juggernauts, Kanye West, Cut Copy, Mystery Tapes, Washed Out, Justice ou o revival da space disco.
É como se os anos 80, no finzinho de seu revival, finalmente pudesse ser visto como uma época de estética específica, sem juízo de valor, que pode ser definida como uma espécie de vintage 80s, sem canções infantis, tecnopop, hits românticos. Houve um momento, entre o cyberpunk e Doom, que havia uma espécie de psicodelia robô, uma mistura de design futurista com cores neon, como se o Hans Donner ou o design de um Gol GTi pudessem ser apreciados artisticamente. Bem bom.
O curta Ashes to Ashes é claramente inspirado no estilo de direção de Frank Miller. Faz sentido..
Na mesma linha, se liga nessa versão dos Peanuts caso eles habitassem o universo de Sin City.