#he can bring such an unique dimension and perspective as a hero- i relate to him a lot as the more “othering” alien yknow
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I’m curious since the two of you are such big Martian Manhunter fans, what was y’all’s first exposure to the character and what got you so interested in him?
OOH YEA MY MARTIAN ORIGIN STORY TIME!!
So we both grew up with the DCAU's version of J'onn- Carl Lumbly did such an endearing performance as the character that I always look back on Martian Manhunter fondly. But it wasn't until we were assigned in class to reimagine DC characters as if we were hired by DC that we really started liking the character. We were tasked with making a Justice League short comic, with rebooted designs and origin stories. The story naturally gravitated to being about Batman and Martian Manhunter.
When reimagining J'onn, we looked at his origin and were surprised to learn he had a twin brother! Reading Ma'alefa'ak's backstory our response was "oh, so he's a disabled martian?" and changed the Martians' backstory to be about the two of them escaping Mars together. That only got to show up in one panel in the Justice League comic, but long after the assignment was done we kept thinking about that origin story. We read up on more Martian Manhunter comics and were frustrated that something that felt like such an obvious way to improve both characters hadn't been done before.
Years later as I'm wrapping up my graphic novel projects I ended up back on tumblr after the many twidder-apocalypses and was touched to find people still asking about our version of J'onn in our asks. It reignited our dormant fixation to what you see now! We finally got to draw the Sons of Mars origin story, and now it's sprawled into this whole jl remix AU. Drawing all this stuff is such a nice break from the capitalism grind of work and just lets me go loose haha. Much of my love for Martian Manhunter is his untapped potential! How to write J'onn in a way that stands out from Superman, Batman and the Justice League, acknowledge and play into the unique aspects of his character, all that jazz. It's become the Professional Comic Artist's version of playing with action figures.
#askjesncin#martian manhunter is interesting to me in how you can take the character in an incredible direction if you're brave enough#to break away from staple parts of his lore that are keeping the character from reaching his potential#he can bring such an unique dimension and perspective as a hero- i relate to him a lot as the more “othering” alien yknow#genuinely believe he's worthy of 4th pillar status if more effort was put into him
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Some Thoughts on the Hōgyoku
I initially talked this out with @mysteriousshopkeeper and then wrote it up for @sphaeraa to look at. It’s been somewhat edited since then. It mostly concerns my thoughts on what was going on between Kisuke, Aizen, and their two Hōgyokus. While that isn’t exactly Yoruichi’s wheelhouse, it has some bearing on her thoughts on what happened later, so, that’s why I wrote it out. I know the former is working on some extended meta regarding it, so I thought I’d put it up.
People seem to tend to want to think of ‘early’ Bleach (the first 70%, up to Aizen’s defeat and the timeskip) like it’s Death Note: this grand game between Aizen and Kisuke like they’re Light and L. I don’t think that’s really the case. I think they were the grandest pawns of the Hōgyoku. This all started from a link on the nature of the Hōgyoku as it relates to the Soul King, and it got me thinking...
So, what does the Soul King want? Just bring reunified is a rather transitory objective. What does it want after that? Revenge on the Shinigami? Freedom? Nirvana? I think after a million years (or 70,000 in my HCs) of torment, its foremost goal would just be ending its own suffering, whether that be through death or departure. So, it should follow that the parts of it want the same thing.
If that's the case, then the easiest way to free itself, most certainly, is to be free of the need for it to exist as it does: i.e., to reformat the universe to not require it. The current arrangement of the cosmos broadly follows that of Buddhism:
God’s Realm: Soul Society (inc. Soul King’s Palace)
Human Realm: Earth
Demigod Realm: ??? Quincy Realm?
Animal Realm: ??? Not a place but a state?
Hungry Ghost Realm: Hueco Mundo
Hell Realm: Hell
(The Soul King’s Palace seems less like a separate dimension from Soul Society than a part of the same dimension, whatever the wiki says. You can’t skydive from Hueco Mundo to Hell, for example.)
(It also seems to me that the Quincy occupy the same position with regard to the Shinigami as the Asura who inhabit the Demigod Realm do to the Gods. It also seems notable that there is no one in European history a thousand years ago who really matches Yhwach, which implies his conquests weren’t taking place on Earth. The simplest answer, to my mind, is that there is a sort of Quincy realm. And what happened to that in canon? Well... it probably became Soul Society Western Branch. It’s either that or the analogy with Buddhism is only partial, as there seems to be a repeated emphasis in CFYOW on ‘the three realms’.)
This organization is maintained by the Soul King. If it goes, the whole thing falls apart... seemingly. But to maintain it is to suffer. As it is, to escape the Soul King would have to kill all the Shinigami or be rebound. Even Yhwach, its supposed ‘son’, simply absorbed its powers. Even he didn’t offer escape, as he failed and was cut down into the new Soul King; and even if he’d succeeded, the remnants of the Soul King would’ve been bound to his vision, not the Soul King’s own.
So what does the Soul King want, and what were the Hōgyokus and later The Hōgyoku trying to do? Well, if the goal was to escape, then here’s my theory:
Kisuke develops Hoagie 1, uses it on the Vizard, and doesn’t quite know what it does exactly but decides it’s dangerous.
Unbeknownst to him, Aizen is developing Hoagie 2, and using it for nefarious things like absorbing people’s souls in part or wholesale.
Kisuke decides to hide Hoagie 1 in Rukia on her first mission to the human world that she can’t recall. This is rather early on in her career as a Shinigami, either before or after Kaien’s death, so it’s inside her soul for 40–50 years. Why her? Maybe she was just there, maybe he saw there was something unique about her, who knows.
Hoagie 1 either therefore sees what happens with Kaien (as a result of Aizen’s continued experiments), or knows of it from her memories (or future timeline, depending!). Either way, it spends far more time with her than anyone else, and is likely soaking in her thoughts and desires. Rukia rather plainly loved Kaien and was quite influenced by his philosophy.
Rukia’s rather unique in terms of her ethical perspective. I found this piece on it. So maybe Hoagie 1 can sense that within her philosophy is a means for the Soul King to be free. However, she doesn’t have enough power to do it on her own. (Though it’s notable that Rukia [and Renji] manage to achieve bankai in very short order despite being nobodies from Rukongai when even the Great Noble Clans only yield up someone who can do bankai every few generations, isn’t it?)
Hoagie 1 starts talking to Hoagie 2, because they’re entangled, and they begin to put in motion a plan to produce the power needed for this, which also coincides with a scenario to unite them so they will be one complete and delicious sandwich. (This is remarkably similar to the plot of Neuromancer, wherein two AIs that are designed to fit together into a single super-AI, maneuver humans around to achieve that end.)
Hoagie 1 and Hoagie 2 gradually contrive a situation which draws in Isshin, uncle of Kaien, along with Aizen and his prototype White, and Kisuke, along with Masaki. The result is eventually Ichigo, a being who fuses all the major powers into one package and who also just happens to look and act a lot like Kaien. (Whether Ichigo is “patterned upon” Kaien, or is some kind of nexus event the Hoagies saw in the future timelines, or is “destined” and Kaien is merely his foreshadowing... and indeed if Rukia had Hoagie 1 while Kaien was alive... are all interesting questions but a bit beside the point.)
Eventually, Ichigo and Rukia meet. Aizen will later claim this is his doing, but he takes credit for everything and for some reason seems to believe that he’s immune to the effects of the Hoagies because he knows what they really do, as though that’s any defense. More than likely, he is simply doing what is necessary and thinking it’s his own will (especially because he’s self-betraying and doesn’t really want to be Soul King himself). Kisuke, meanwhile, already has objectives that broadly align with that of the Soul King and the Hoagies (the destruction/replacement of the current cosmology) so he doesn’t need much coaxing.
Aizen attributes Rukia’s loss of powers to her guilt, but it’s likely just as much that Ichigo always desired the power to protect and took her powers as much as she gave them. Probably an equal push-pull thing. Either way, Ichigo and Rukia begin an upward power spiral which will continue throughout the series, giving them more and more power.
Hoagie 1 also creates ‘lancers’ and proxies to accompany and support them, by empowering Chad, Orihime, and Tatsuki with spiritual abilities despite being ‘sealed’ in Rukia. (This alone is evidence that such ‘sealing’ doesn’t prevent its actions whatsoever.) Not much will come of Tatsuki but you don’t always land every hit. (Aside: this means that Ichigo, Rukia, Chad, Orihime, and by association Uryū might be called... Hoagie’s Heroes.)
Hoagie 2 meanwhile ensures that Aizen finds the means to safely remove Hoagie 1 from Rukia’s soul as a “backup.”
Hoagie 1 and Hoagie 2 are eventually reunited into The Hoagie, the Ultimate Sandwich. Aizen eats it.
Aizen’s behavior in Karakura is very strange, erratic, and arrogant, enabling Ichigo to show up and beat him, especially when The Hoagie begins to reject him. It basically causes Aizen to fail, because his role is essentially over.
Although The Hoagie is stuck with Aizen, its plan continues on inertia. Ichigo and Rukia go onward, having become the linchpin of Kisuke’s own efforts to (unknowingly) continue the plan. (Hence: “Kurosaki, Kuchiki, I leave it to you.”)
All of this gets messed up with Yhwach’s own timeline selection nonsense, which causes this plan to fail at the 11th hour, and results in him being chopped up and imprisoned as the new Soul King instead.
But the game is still afoot. If Ichigo and Rukia during TYBW are the equivalent of Paul Atreides in Dune, then perhaps there is still a Leto II (or Duncan Idaho) waiting in the wings to complete the plan and take everyone onto the Golden Path. It could be that Ichika and Kazui have a kid together, or it could be in the thousands of years of the rest of their lives that Ichigo and Rukia do, or it could be someone that they aren’t actually related to but have influenced will try and change things, or all of the above, or something else entirely. The particulars don’t really matter too greatly. Because if nothing else, Kisuke is still out there, dissatisfied with the shape of things. And so too is Aizen.
So, my view is that Kisuke, and thus the Urahara Shōten (to include Yoruichi) are thus likely still aligned with this goal of destroying the existing cosmology through basically rebooting the universe (initially in Ichigo and Rukia’s hands), operating off a plan set in motion by the Hōgyoku to free the Soul King.
Although that plan has clearly fallen apart, it thus stands to reason that this remains the overall goal of the Urahara Shōten, as both Kisuke and Yoruichi seem very dissatisfied with the cosmological setup for their own reasons. This means that they’re basically the Team Rocket of Bleach. (Is Tessai their Meowth?)
Also, just as an aside... the Japanese maple, Acer palmatum, has a common Japanese name of “Hogyoku” (1, 2) It’s also called “Benihime”. And the names Shihouin and Kuchiki mean “Four Maple Court”, and “Rotten Wood”, respectively. Just a strange but interesting pattern...
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Review: Spider-Man: Into the Spider-verse
Theatrical Showing
Spider-Man has had a good year. While I can’t speak from a comic perspective, as a multimedia star he’s had quite the run. Many people are in love with Tom Holland’s portrayal of him in the MCU and his starring role in Avengers: Infinity War. Marvel’s Spider-Man for the PS4 is (allegedly) fantastic and even got a game of the year nomination. So here we are, last month of 2018 with one more Spider-Man. I’ve heard many people complain about Spider-Man movie fatigue, so is yet another new Spider-Man worth it? Let’s Rock. STORY: Peter Parker’s career as Spider-Man is at its peak. You know the stories, we all do. This isn’t Peter Parker’s story however. Miles Morales is moving to a new elite high school, the son of a cop and a nurse, he lives in a New York where Spider-Man is swinging up and down the roads. However an incident with a mysterious spider bite pulls him into the world of heroes, a world shaken up by the Kingpin trying to break down the walls between dimensions. Thrown into chaos, Miles must work with those brought in from other dimensions to try to restore order and figure out what it means to be Spider-Man. This shouldn’t and probably won’t be your first Spider-Man movie. It references a lot of Spider-Man culture and is a fanservice romp for long time fans, yet is still a refreshing tale. The plot isn’t particularly deep or complex, but it doesn’t have to be. It’s simple, yet effective. Going through the logical order of a superhero story, yet packing some surprises along the way. I want to give bonus points for the story being told in a way that’s aware of the trailers and intentionally tries to subvert some preconceptions established by the trailers. While I may not be able to give this much credit on originality or freshness, I can compliment the ability of the story to deliver the emotional payoffs it needs. Some of the harder hitting moments are done fantastically and work within the simplicity of the tale. Story-wise I think my only real complaint was the climax being a bit too straightforward. The way the story is told shines brightly though, especially in its use of spider-man tropes and parallels. Since my format doesn’t have a spot for it, I’ll go ahead and discuss the humor and comedy here. The movie can be damn funny when it wants to be, not only in simple jokes, but in twisting expectations, pop culture comedy, and a lot of inside jokes for spider-man fans. The gag character of Spider-Ham manages to stay amusing throughout the whole film and never gets grating.
8/10. Simple yet effectively told. Also funi movie make me laugh.
CHARACTERS: Let’s start with Miles himself. He’s discontent with his new high school, trying to flunk out so he can move back in with the people. He’s got some issues with his family, mostly looking up to his Uncle Aaron, who’s not always on the good side of the law. While like Peter Parker he’s got a good brain and some social troubles, he’s less of a nerd wish fulfillment type. His dynamic with his Dad and Uncle is unique from Parker and is a strong point throughout the movie. While not shockingly new or interesting, Miles is a strong central character. The other spiders are also strong. Peter B. Parker is a late career Spider-Man, one movies never show us. He’s arguably washed up and the constant life toll of Spider-Man has clearly gotten to him. I found this take to be rather unique, and also relatable as we see the youths around him reminding him of what he once was. While some people may not like his negativity, I found him to be rather engaging as the group senior. Gwen Stacy brings the main cast into an effective trio. Being slightly older than Miles, she’s got a good dynamic of banter with him despite her claim to not keeping friends. She’s pretty prominent in action scenes and in general has a strong energy that puts her in the movie spotlight. While I can’t claim she has too much interesting going on, I think in large part that’s simply because it isn’t her movie. As for the other 3 spiders, they feel like a lower tier in prominence. While there, they don’t have much individual bits outside of their backstories (which get told together.) Peni and Noir were quite interesting, and I honestly felt like we really just didn’t get enough of them. If I can claim any problem here, it’s a utilization issue, but that’s something to be expected out of a one off movie. You can’t give every character the full spotlight they could use. As far as villains go the only one I can really discuss is the Kingpin. While maybe not needed, the movie did go the extra mile to give him a borderline sympathetic backstory. I was a fan of how his story kind of paralleled miles with his downfall being his inability to learn from his mistakes. All in all a pretty strong cape movie villain even if he’s not my favorite Kingpin. I also want to give a shout-out to this movie’s Aunt May. Being a spider-veteran she’s just freaking awesome in this film.
7/10. Some nice ideas and strong characters. Any real complaints are kinda inherent to the medium.
VISUALS: Oh boy is this a treat. I feel like the real appeal of the movie is the frankly amazing art direction. Pretty much every aspect is spot-on. The framing, design, movement, colors, etc. I can just keep singing the praises of this film. Miles’ street art is taken full advantage of. The use of the dimension clashing is rendered in some gorgeous design. The City at Night is rendered in some gorgeous neon colors and the costumes pop. I love how some of the characters from other timelines come in their own distinct art styles. The visual storytelling here is also amazingly done. The scene where Miles leaps from the skyscraper as a full Spider-Man, yet glass sticking to his fingers is an amazing scene. The comic book aesthetic of displaying internal thoughts and backstories is also super nice. I could keep going on but basically it all boils down to YES! YES! YES! The only real complaint I can muster is I noticed when the frame rate would change and that was kind of jarring.
10/10, Why would you do something in animation when live action is more accessible? Because you can get art design like this!
SOUND: I went in expecting the movie to look as good as it did, I didn’t expect it to sound this good. The music track is full of bops, and not just the non-diegetic tracks but the diegetic ones too. This movie makes near perfect use of both diegetic and non-diegetic music for some absolutely amazing effect. I want this soundtrack! The voice acting was also on point. Everyone sounded great and it all came together nicely. Specific shout-out to John Mulaney as Spider-Ham for sounding the Loony Tunes part. The sound effects flowed perfectly, this isn’t a movie to just see, but to listen to.
9/10, the only faults I could really come up with are things that I’d have to set aside for an album review of the OST, and that’s one hell of a compliment.
FINAL SCORE: 9/10
This isn’t just another Spider-Man movie. It’s a Spider-Man movie for those who’ve seen too many Spider-Man movies. It’s one of the best comic book movies in a world too full of them. Not only that it’s a case study in aesthetic utilization, the art and sound design are beyond on point. It takes full advantage of the animated medium to be as visually unique as it can be in the best of ways. It’s a full recommendation not only for superhero and animation fans, but for any fan of film. While this could be your first spider-man film, I’d definitely recommend watching it with more familiarity of the character and his lore. All in all one of the best animated films in the west, and one hell of an entry in the repertoire of a character dominating the media world. PS: This movie wishes you a Merry Christmas!
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#spiderman#spiderverse#movie#animation#spidergwen#spider-man#spider-man: into the spider-verse#review#marvel#comic movies#capeshit#super hero#superhero#spider-parker
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Spider-man: Into the Spider-verse (2018)
Film review #353
SYNOPSIS: Miles Morales is a typical teenager who is starting at a prestigious new school. While hanging out with his uncle Aaron, he is bitten by a radioactive spider and finds he has developed similar powers to Spider-man himself. He runs into Spider-man, who is trying to stop Kingpin from opening up a portal to other dimensions in order to bring back his family. This fight results in Spider-man being killed, and Miles is left as the only one who can stop Kingpin’s schemes. However, he soon finds out that he is, in fact, not alone, as various others who have inherited the powers of Spider-man have found themselves in Miles’ dimension when Kingpin activated his machine, and they must all team up to stop Kingpin and find their way back home...
THOUGHTS/ANALYSIS: Spider-man: Into the Spider-verse is a 2018 animated film. The film starts of by introducing Spider-man, or Peter Parker, as he has become the well known superhero everybody loves. The opening provides a quick recap of who Spider-man is, his origin story, and so on. If you’re watching the film, then you probably have a good idea of the various facets of Spider-man lore, but it helps set the scene nicely without spending too much time retreading the same well-worn ground of the origin story we all know. There are a few sly references thrown in to previous iterations of the Spider-man franchise, which offer something new to those who are familiar with it. The film starts properly by introducing Miles Morales, a teenager who is starting a prestigious new school thanks to winning a lottery and has to leave all his old friends behind to find he doesn’t quite fit in at his new school. While the film started off briefly introducing Peter Parker as Spider-Man, Miles Morales’ story is much less known, so the film takes a while to get going by introducing his character, his family and so on. His origin story isn’t so different from Peter’s (he gets bitten by a radioactive spider much the same), so the beginning does re-tread ground a little, but tries to intersperse the story with Miles’ unique position and as a character most people are unfamiliar with.
While trying to come to terms with his new powers, Miles encounters Spider-man, who is attempting to stop villain Kingpin from turning on a large machine which will open up a portal to other dimensions and cause catastrophic damage to New York City. Miles is entrusted with a memory drive that can shut down the machine, but before Spider-man can escape, he is caught and killed by Kingpin. This is quite a turn in the film, and it delves into the aftermath of Spider-man’s death and the effect on the people of the city. Miles also finds himself personally without anyone to teach him how to use and control his new powers, which adds to his problems. However, he soon runs into Peter Parker, or Spider-man: not the one that he saw killed, but one that was pulled from another dimension when Kingpin’s machine was activated. This Peter Parker is older and more jaded than the one Miles familiar with, and is set up as one that has lived through a large number of troubles, including breaking up with his wife/childhood sweetheart Mary Jane, which has left him a bit of a wreck. The Parker/Morales relationship that develops between the two is a cross between a father-son relationship and a ‘buddy cop’ kind of movie, where the experienced partner reluctantly takes on a rookie, and eventually learns to trust people again and so on. The film also plays around with Morales’ troubled relationship with his Dad and his more friendly relationship with his uncle, which all leads to developing a very complex web (pun intended) of relations and interactions. We are perhaps so familiar with superhero origin stories that they are rendered a little sterile and without impact, and Into the Spider-verse does a good job of playing with that. It also does it with a diverse cast and characters who you don’t see as much in superhero stories, which will also appeal to a different type of audience, while also providing enough substance for veterans of the franchise. Spider-man is often shown as a hero who works alone, with no side-kick or partners, so the film’s attempt to provide something new and also true to the formula provides a good variety of content and delves deep into the Spider-man mythology without it becoming too overwhelming.
The highlights of the film are numerous, but I’ll try and focus on the important ones. The Parker/Morales relationship as mentioned is portrayed very well, and while not the most original dynamic, it projects it into a superhero story that is usually told with only one hero. Praise definitely should also be given to the composition of the scenes as the dynamic perspectives and interspersed comic book effects really portray the kind of energy of a comic book come to life. The animation too is like nothing else attempted before, and captures high speed, action-packed scenes with a high amount of intensity and vibrant colours achieved through a technical expertise I can’t really fathom. Each character also has their own unique figure or animation style, and that helps contribute to the diversity of the film. Not only do a whole cast of Spider-man’s from various dimensions, but there’s also a number of different villains for them to face off against, and plenty of twists and turns in the story keep the energy flowing throughout the entire film.
There are a few negative points, but they are pretty minor, and don’t detract very much from the positives. While the Parker/Morales partnership is well developed, the other Spider-man characters aren’t explored and developed anywhere as near as much. They provide some variety, but most of their screen time is providing grounds for a specific joke or a bit of dialogue you would expect them to say, which flattens their character somewhat. There are also one or two times when the dialogue isn’t clear over the songs they play, but these are all minor moments and not a huge problem. The soundtrack itself is not particularly appealing to me (not a criticism because it is not aimed at me), but some of the songs are a bit more wide appeal.
Overall, Spider-Man: Into the Spider-Verse tells a familiar story in the Spider-Man universe, but does it with new characters and old, cramming in references to all other iterations of the franchise while providing a fresh take on some of those familiar elements. The animation and composition is strong and displays a technical competency while also putting it to good use developing a colourful and vibrant aesthetic. The action is fast and intense, the humour is silly, appealing, and the serious moments have distinct impact. There are some elements of the film that are underdeveloped somewhat, but because the film is so filled with characters and content that is to be expected. Into the Spider-Verse is a film that will appeal to and entertain those who are familiar with all the Spider-Man iterations and those who are new to the franchise.
Also; this film probably has the best post-credits scene ever.
#movie#movie review#spiderman: into the spider-verse#spider-man#spiderman#marvel#film#film review#2018 film
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Saving one world from destruction or the schemes of would be world conquerors is a herculean task, but rescuing the countless worlds of Marvel Comics’ multiverse from is an even bigger challenge. The super strong, dimension hopping America Chavez knows this to be true. Inspired by her parents heroic sacrifice, Chavez spent her formative years traversing the multiverse using her super abilities to help people and worlds in need.
Service like that is incredibly inspiring, but taking so much time to help others often means not taking care of yourself. This March, America Chavez tackles that problem by going on a journey of self-discovery across time and multiple realities.
RELATED: Ms. America: 15 Awesome Facts About America Chavez
Writer Gabby Rivera and artist Joe Quinones will begin documenting Chavez’s personal and academic journey this March in their new ongoing series, “America.” CBR spoke with both creators about their take on their title character, what college will mean to her, and which Marvel characters she’ll encounter as she navigates her heroic and collegiate responsibilities.
CBR: Gabby, travel broadens the mind, and in America Chavez you have a protagonist who’s a veteran traveler of a variety of other dimensions and realities thanks to one of her super abilities. What’s your sense of how that’s affected her perspective?
Gabby Rivera: I mean, that’s a deep question, right? Cuz you’re talking about a character that left paradise to dive into worlds riddled with humanity, chaos, and the need for super heroes. So, right out the gate, America has always been someone thirsting for a challenge and looking for ways to serve the people.
America doesn’t seem to have time or energy for the things that regular folks get wrapped up in, like petty interpersonal dramas or agonizing over the smallest details or logistics. For her, whatever current reality or place/time that she’s in exists in the middle of every other world too. It’s dangerous sometimes because it lends itself to that “punch first, ask questions later” type of vibe that she has but also, it helps when situations need to be de-escalated.
I think all the worlds both blend for her and remain distinct. And that’s why America’s real loyalties are to herself, why she holds her feelings so close to her chest. Why let out things when people can hurt you like they do in every other world at any given place and time?
This series will show her finally releasing some of that apprehension and really investigating her own motives and abilities. And maybe even finding a home of sorts.
Joe, as an artist, what do you find most interesting about America Chavez? Which of her qualities do you really want to make sure you capture and bring forth in your depictions of her?
Joe Quinones: I think America hides a big heart behind a veneer of scowls and clenched fists. She’s guarded, as Gabby alluded to, and quick to throw the first punch, but clearly wants to share her love. Illustrating the nuances of that internal conflict (while she still throws some hard punches) is very interesting to me. That, and she just looks so damn cool. It’s been great fun designing new looks for her along the way.
Comic fans probably know America best through her interactions with super teams like the Ultimates and the Young Avengers, but we’ve not see a lot of her on her own.
Rivera: Listen, sometimes it’s like we’re all pressured to go from high school to college and be straight and get married and make some babies and put our pics on Facebook and buy a house and go on vacation and pay taxes and die. It’s all mapped out. There’s a system of support for people who follow that road, which can include easier relationships with relatives, tax breaks etc. Give or take a few random acts of the universe, you’ll be fine.
That’s not the life America has ever known. She grew up with two moms and then, boom — they were snatched because of ultimate sacrifices and whatnot. Then she spent a long time saving other people… and now she’s feeling like something is missing. Missing in the realest way, you know? Who are her people? What is she really capable of as a superhero?
Higher education can also be a radical act of self care. America is choosing to dive deeper into herself, to step away from the life that she knows, the life she already kicks ass at to start anew. America is taking inventory of her super hero abilities and wants to upgrade all around. What else is possible? If she can punch into other dimensions and fly and have super strength, then what is America capable of when she intentionally taps into her core? Could she stop the world?
What are some of the things we’ll see in the early issues of “America?” It sounds like this is a series that lends itself to a variety of stories.
Rivera: We’re definitely bringing in some heavy hitters from the Marvel Universe to offer support and guidance to America. Much of what this series is about is personal growth, building one’s power, and just listening to what your heart and mind want you to do. But also, it’s about playing with someone who’s full of fire and wants to just punch her way through life. We’re going to see where America’s impetuousness lands her and how she gets herself out of the chaos.
Also, be ready for lots of radical women fighting for their people and their right to own what’s theirs. Be ready for characters who love themselves, land the best one-liners, and show up bringing the magic. You’re probably going to fall in love with all of them.
I’ve had to remember along the way that America isn’t me. Like whenever things get too sappy or too serious, I gotta hit that delete button and write the brash things I’d never say and let America climb the walls and be free. So it’s going to be a little goofy, and fun-sexy, and everyone is still going to learn life lessons.
Joe, you’re coming off a run on “Howard the Duck” where you drew a variety of fun and strange stories and characters. So what’s it like moving from “Howard” to “America?”
Quinones: No differences, whatsoever. Next question.
Just kidding. Beyond the obvious “Chavez don’t got a duck bill” distinction, the books certainly have their similarities and differences. The focus has shifted, of course – “America” won’t center on jokes as “Howard” did, but the two both have their fair share of melodrama mixed with bombastic action. Chip and I tackled some moments of sincere emotion in “Howard,” and I think Gabby and I are set up to do the same with “America.” No comment on how sexy or not sexy Howard is. You do you.
[Laughs] What else can you tell us about the initial supporting cast of “America?” Will her girlfriend Lisa Halloran, play a role in the book?Rivera: We’ve got some fun folks lined up for this series, but everyone’s asking about Lisa Halloran and Kate Bishop. So, let’s be real — I can’t give away too many of the goods. But I will say this: you will catch Lisa and Kate in some intense moments throughout this series. Might not be how folks want or expect, I mean are relationships ever how we expect them to be? But they’ll be there.
And we have a wild crew of new faces ready to roll out and join the Marvel Universe. I mean, we’ve got some robotic sorority girls, some unexpected family members, and an entire college bursting with surprises. Be on the lookout for tough, ready to rumble women of color, and some of our favorite high profile superheroes that you know and love from Marvel. Maybe even some X-Men if you’re lucky…
Also, at some point, Joe’s dog is going to make a cameo in America. First one to find it gets an autographed picture of Joe’s dog signed by Joe. He might not know this but it’s happening.
Quinones: It’s my sister’s dog, actually. But he’s great, I tell you. Great. My cat Biggs showed up in “Howard the Duck,” becoming Howard’s cyborg cat. I love the idea of making this a tradition where I bring my favorite animals into the books I draw. It makes me happy.
What hints or teases can you offer up about the enemies America will be up against in your initial stories?
Rivera: We’re going to have fun with villains. Some will be plucked from Marvel’s history of creating some of the greatest villains ever. Others, we’re making up. We’re definitely going to play with the idea of jealousy and how that can turn someone with huge powers into an intergalactic threat. America’s building up her strength and some folks won’t like that. Some folks will feel like the power they’ve built up along the way is being threatened by this Latina lesbian so and so and they’re not gonna like that one bit.
But when does institutionalized power ever appreciate strength from beyond their ranks? This series will also be about resistance and rallying behind your people, things America already does so well. Watch what happens when something big really comes for her…
Joe what can you tell us about the overall look you want “America” to have? How does it compare to some of your most recent work?
Quinones: I didn’t have a label for it until Gabby mentioned it to me recently, but America’s overall look represents a “hard femme” aesthetic. Hard, tough and feminine. She won’t have just one look in our book, but several, ranging from super casual dorm-wear to rough and tumble, superhero duds. I’m trying to carry on the aesthetic tradition established by Jamie McKelvie on “Young Avengers,” but with some new twists. America is very much tuned into fashion, with a unique personal style that permeates her wardrobe. Doing my best to tap into that with Gabby’s help.
Gabby, what’s it like working with Joe on “America?” Which elements of his style do you enjoy the most? And Joe, what’s it like working with Gabby? Which elements of her scripts have really excited you so far?
Rivera: Joe’s artwork is astonishing. He brings America to life in this way where I feel like I could reach out and high five her or hug her. And…it’s fun! Joe’s got this goofy side that I really like and that works well with me. I can send Joe some pics of Selena or some donuts for inspiration and then bam, he kicks back some work that capture the essence of each of those things and applies them perfectly to the characters. Also, Joe’s an expert and he treats me, someone so new, with much respect and is down for all my ideas. I’m thankful to be working with him on this project.
Quinones: Oh, you. Gabby has just been great to work with thus far. She’s got a amazing sense of the character, her personality oozing off the page. And she’s already deftly given me both thrilling action to draw and quiet, nuanced, personal scenes. It’s been really fun to tackle on either end.
Finally, Gabby, “America” is your first comic and likely to be some readers first exposure to your work. What’s it like moving from prose to comic scripts? And readers who are interested in what you’re doing in “America” might be curious about your novel “Juliet Takes a Breath.” What would you like them to know about the book?
Rivera: Seriously, this is the coolest writing gig ever! I’m someone who’s just like a goofy nerdburger, daydreaming all the time. And now I’ve got this opportunity to create stories with folks who are daydreamers too. I can explore real life problems in fantasy worlds where all the things are possible. Damn, do you know what that’s like for a queer brown weirdo? It’s something that humbles and excites me to my core. When there aren’t any barriers in your way like racism or poverty, when you can afford to live and be free, damn, that world world gets to be all yours. That world can be anything and writing that story is a gift.
Also, the actual process is helping me hone my writing skills in a major way. This type of on-the-job education is invaluable. With comic writing, I get to practice being concise, (although you might not be able to tell) and still impactful with my storytelling. I work with skilled editors who also have grand imaginations and use them to guide me in the best ways. It’s really a gift to be here.
As for my first novel, “Juliet Takes a Breath,” that’s my baby. It’s just this sweet little goofy novel that I got to share with the world. It actually made it out of my laptop and into the hands of people. And yeah, it’s about a young lesbian Latina from the Bronx trying to figure out feminism while navigating LGBTQ things and her relationship with her mom. Those are all important elements about Juliet, especially when it comes to the importance of diversity in literature.
It’s also the story of some kid trying to be 19, make out with cute people, and question authority. Those are some of the most quintessential elements in American storytelling. Juliet is one of those hometown kids looking to see the world and grow up. And she also tells a mean one-liner while rocking the latest Jordans, so give her a chance, y’all.
“America” #1, by Gabby Rivera and Joe Quinones, arrives in stores March 1.
#interview#preview#article#America Chavez#Miss America#Marvel#Comics#Earth-616#interdimensional kicker of butt#Gabby Rivera#Joe Quinones
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INTERVIEW: Exploring The Many Dimensions of Marvel’s America
Saving one world from destruction or the schemes of would be world conquerors is a herculean task, but rescuing the countless worlds of Marvel Comics’ multiverse from is an even bigger challenge. The super strong, dimension hopping America Chavez knows this to be true. Inspired by her parents heroic sacrifice, Chavez spent her formative years traversing the multiverse using her super abilities to help people and worlds in need.
Service like that is incredibly inspiring, but taking so much time to help others often means not taking care of yourself. This March, America Chavez tackles that problem by going on a journey of self-discovery across time and multiple realities.
RELATED: Ms. America: 15 Awesome Facts About America Chavez
Writer Gabby Rivera and artist Joe Quinones will begin documenting Chavez’s personal and academic journey this March in their new ongoing series, “America.” CBR spoke with both creators about their take on their title character, what college will mean to her, and which Marvel characters she’ll encounter as she navigates her heroic and collegiate responsibilities.
CBR: Gabby, travel broadens the mind, and in America Chavez you have a protagonist who’s a veteran traveler of a variety of other dimensions and realities thanks to one of her super abilities. What’s your sense of how that’s affected her perspective?
Gabby Rivera: I mean, that’s a deep question, right? Cuz you’re talking about a character that left paradise to dive into worlds riddled with humanity, chaos, and the need for super heroes. So, right out the gate, America has always been someone thirsting for a challenge and looking for ways to serve the people.
EXCLUSIVE: A page from “America” #1 by Joe Quinones
America doesn’t seem to have time or energy for the things that regular folks get wrapped up in, like petty interpersonal dramas or agonizing over the smallest details or logistics. For her, whatever current reality or place/time that she’s in exists in the middle of every other world too. It’s dangerous sometimes because it lends itself to that “punch first, ask questions later” type of vibe that she has but also, it helps when situations need to be de-escalated.
I think all the worlds both blend for her and remain distinct. And that’s why America’s real loyalties are to herself, why she holds her feelings so close to her chest. Why let out things when people can hurt you like they do in every other world at any given place and time?
This series will show her finally releasing some of that apprehension and really investigating her own motives and abilities. And maybe even finding a home of sorts.
Joe, as an artist, what do you find most interesting about America Chavez? Which of her qualities do you really want to make sure you capture and bring forth in your depictions of her?
Joe Quinones: I think America hides a big heart behind a veneer of scowls and clenched fists. She’s guarded, as Gabby alluded to, and quick to throw the first punch, but clearly wants to share her love. Illustrating the nuances of that internal conflict (while she still throws some hard punches) is very interesting to me. That, and she just looks so damn cool. It’s been great fun designing new looks for her along the way.
Comic fans probably know America best through her interactions with super teams like the Ultimates and the Young Avengers, but we’ve not see a lot of her on her own.
Rivera: Listen, sometimes it’s like we’re all pressured to go from high school to college and be straight and get married and make some babies and put our pics on Facebook and buy a house and go on vacation and pay taxes and die. It’s all mapped out. There’s a system of support for people who follow that road, which can include easier relationships with relatives, tax breaks etc. Give or take a few random acts of the universe, you’ll be fine.
That’s not the life America has ever known. She grew up with two moms and then, boom — they were snatched because of ultimate sacrifices and whatnot. Then she spent a long time saving other people… and now she’s feeling like something is missing. Missing in the realest way, you know? Who are her people? What is she really capable of as a superhero?
Higher education can also be a radical act of self care. America is choosing to dive deeper into herself, to step away from the life that she knows, the life she already kicks ass at to start anew. America is taking inventory of her super hero abilities and wants to upgrade all around. What else is possible? If she can punch into other dimensions and fly and have super strength, then what is America capable of when she intentionally taps into her core? Could she stop the world?
What are some of the things we’ll see in the early issues of “America?” It sounds like this is a series that lends itself to a variety of stories.
Rivera: We’re definitely bringing in some heavy hitters from the Marvel Universe to offer support and guidance to America. Much of what this series is about is personal growth, building one’s power, and just listening to what your heart and mind want you to do. But also, it’s about playing with someone who’s full of fire and wants to just punch her way through life. We’re going to see where America’s impetuousness lands her and how she gets herself out of the chaos.
EXCLUSIVE: A page from “America” #1 by Joe Quinones
Also, be ready for lots of radical women fighting for their people and their right to own what’s theirs. Be ready for characters who love themselves, land the best one-liners, and show up bringing the magic. You’re probably going to fall in love with all of them.
I’ve had to remember along the way that America isn’t me. Like whenever things get too sappy or too serious, I gotta hit that delete button and write the brash things I’d never say and let America climb the walls and be free. So it’s going to be a little goofy, and fun-sexy, and everyone is still going to learn life lessons.
Joe, you’re coming off a run on “Howard the Duck” where you drew a variety of fun and strange stories and characters. So what’s it like moving from “Howard” to “America?”
Quinones: No differences, whatsoever. Next question.
Just kidding. Beyond the obvious “Chavez don’t got a duck bill” distinction, the books certainly have their similarities and differences. The focus has shifted, of course – “America” won’t center on jokes as “Howard” did, but the two both have their fair share of melodrama mixed with bombastic action. Chip and I tackled some moments of sincere emotion in “Howard,” and I think Gabby and I are set up to do the same with “America.” No comment on how sexy or not sexy Howard is. You do you.
[Laughs] What else can you tell us about the initial supporting cast of “America?” Will her girlfriend Lisa Halloran, play a role in the book?Rivera: We’ve got some fun folks lined up for this series, but everyone’s asking about Lisa Halloran and Kate Bishop. So, let’s be real — I can’t give away too many of the goods. But I will say this: you will catch Lisa and Kate in some intense moments throughout this series. Might not be how folks want or expect, I mean are relationships ever how we expect them to be? But they’ll be there.
And we have a wild crew of new faces ready to roll out and join the Marvel Universe. I mean, we’ve got some robotic sorority girls, some unexpected family members, and an entire college bursting with surprises. Be on the lookout for tough, ready to rumble women of color, and some of our favorite high profile superheroes that you know and love from Marvel. Maybe even some X-Men if you’re lucky…
Also, at some point, Joe’s dog is going to make a cameo in America. First one to find it gets an autographed picture of Joe’s dog signed by Joe. He might not know this but it’s happening.
Quinones: It’s my sister’s dog, actually. But he’s great, I tell you. Great. My cat Biggs showed up in “Howard the Duck,” becoming Howard’s cyborg cat. I love the idea of making this a tradition where I bring my favorite animals into the books I draw. It makes me happy.
What hints or teases can you offer up about the enemies America will be up against in your initial stories?
Rivera: We’re going to have fun with villains. Some will be plucked from Marvel’s history of creating some of the greatest villains ever. Others, we’re making up. We’re definitely going to play with the idea of jealousy and how that can turn someone with huge powers into an intergalactic threat. America’s building up her strength and some folks won’t like that. Some folks will feel like the power they’ve built up along the way is being threatened by this Latina lesbian so and so and they’re not gonna like that one bit.
But when does institutionalized power ever appreciate strength from beyond their ranks? This series will also be about resistance and rallying behind your people, things America already does so well. Watch what happens when something big really comes for her…
Joe what can you tell us about the overall look you want “America” to have? How does it compare to some of your most recent work?
Quinones: I didn’t have a label for it until Gabby mentioned it to me recently, but America’s overall look represents a “hard femme” aesthetic. Hard, tough and feminine. She won’t have just one look in our book, but several, ranging from super casual dorm-wear to rough and tumble, superhero duds. I’m trying to carry on the aesthetic tradition established by Jamie McKelvie on “Young Avengers,” but with some new twists. America is very much tuned into fashion, with a unique personal style that permeates her wardrobe. Doing my best to tap into that with Gabby’s help.
Gabby, what’s it like working with Joe on “America?” Which elements of his style do you enjoy the most? And Joe, what’s it like working with Gabby? Which elements of her scripts have really excited you so far?
Rivera: Joe’s artwork is astonishing. He brings America to life in this way where I feel like I could reach out and high five her or hug her. And…it’s fun! Joe’s got this goofy side that I really like and that works well with me. I can send Joe some pics of Selena or some donuts for inspiration and then bam, he kicks back some work that capture the essence of each of those things and applies them perfectly to the characters. Also, Joe’s an expert and he treats me, someone so new, with much respect and is down for all my ideas. I’m thankful to be working with him on this project.
Quinones: Oh, you. Gabby has just been great to work with thus far. She’s got a amazing sense of the character, her personality oozing off the page. And she’s already deftly given me both thrilling action to draw and quiet, nuanced, personal scenes. It’s been really fun to tackle on either end.
Finally, Gabby, “America” is your first comic and likely to be some readers first exposure to your work. What’s it like moving from prose to comic scripts? And readers who are interested in what you’re doing in “America” might be curious about your novel “Juliet Takes a Breath.” What would you like them to know about the book?
Rivera: Seriously, this is the coolest writing gig ever! I’m someone who’s just like a goofy nerdburger, daydreaming all the time. And now I’ve got this opportunity to create stories with folks who are daydreamers too. I can explore real life problems in fantasy worlds where all the things are possible. Damn, do you know what that’s like for a queer brown weirdo? It’s something that humbles and excites me to my core. When there aren’t any barriers in your way like racism or poverty, when you can afford to live and be free, damn, that world world gets to be all yours. That world can be anything and writing that story is a gift.
Also, the actual process is helping me hone my writing skills in a major way. This type of on-the-job education is invaluable. With comic writing, I get to practice being concise, (although you might not be able to tell) and still impactful with my storytelling. I work with skilled editors who also have grand imaginations and use them to guide me in the best ways. It’s really a gift to be here.
As for my first novel, “Juliet Takes a Breath,” that’s my baby. It’s just this sweet little goofy novel that I got to share with the world. It actually made it out of my laptop and into the hands of people. And yeah, it’s about a young lesbian Latina from the Bronx trying to figure out feminism while navigating LGBTQ things and her relationship with her mom. Those are all important elements about Juliet, especially when it comes to the importance of diversity in literature.
It’s also the story of some kid trying to be 19, make out with cute people, and question authority. Those are some of the most quintessential elements in American storytelling. Juliet is one of those hometown kids looking to see the world and grow up. And she also tells a mean one-liner while rocking the latest Jordans, so give her a chance, y’all.
“America” #1, by Gabby Rivera and Joe Quinones, arrives in stores March 1.
The post INTERVIEW: Exploring The Many Dimensions of Marvel’s America appeared first on CBR.com.
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This month the comic book world was dealt a heavy blow when we lost a legend, the "Godfather of Superheroes", Mr. Stan Lee. He created so many incredible characters that have endeared and changed over time. I can think of no more fitting tribute to his legacy than Marvel Studios' latest animated feature, Spider-Man: Into the Spider-verse. After seeing this movie, I can only imagine the film is one Lee would have been proud of to serve as a vision of what he set out to accomplish all those years ago. This Spider-Man blends the past with the present and gives a peek at the future allowing the audience to fondly remember what came before while offering a view of what is yet to be.
Miles Morales (Shameik Moore; Dope) is an average teenager living in New York City. He leaves home Monday morning and returns Friday night to attend a Science and Engineering High School and lives in a small dorm room during the week. He idolizes Spider-Man much to his police officer father's chagrin, who regards the webbed superhero as a menace. Miles sneaks out of his dorm room sometimes to visit his Uncle Aaron (Mahershala Ali; Moonlight). Pretty much your normal, everyday kind of stuff.
However, on one of his unauthorized visits to his Uncle, he sees Spider-Man pursuing bad guy Wilson Fisk (Live Schreiber; Spotlight) who has created a Super Collider that Spider-Man knows will destroy the world. As Spider-Man attempts to stop Fisk he ends up dying and Miles is crushed. At the same time, Miles seems to have been bitten by a radioactive spider and wakes up the next morning to find he has new "powers". Meanwhile, this Collider had opened different dimensions and now various iterations of the superhero are trapped in Miles' world. He and the rest of the "spider-people" have to figure out a way for them to all get back to their own dimensions and destroy the collider so Fisk can't harm anyone.
The vocal talent in this film is one part of what makes it great. Moore offers a streetwise sentiment that makes Miles real. Jake Johnson (New Girl) voices Peter Parker from another dimension while Chris Pine (Star Trek Beyond) has a small cameo as the Spider-Man Miles watches die. Schreiber excels as the evil villain (isn't that redundant?) and Ali offers his deep voice as the uncle Miles looks up to. Rounding out the cast is Hailee Steinfeld (Pitch Perfect II), Lily Tomlin (I Heart Huckabees) and Zoe Kravitz (Divergent).
The animation is unlike anything you have probably seen before. Much of it is in the same vein as old newsprint and it is incredible how they blended various types of drawing ranging from the traditional to anime to graffiti and everything in between. The colors jump off the screen at you and move by so quickly sometimes that you hardly realize you are seeing varying shades and hues. However, these shadings are what give the picture its depth and definition.
The story is also one of the gems of the movie as it is unique and interesting without being to cliché. The viewer can hardly be bored as the plot moves along nicely. It is great the way the writers include different versions of Spider-Man, allowing those of us that are a little older to appreciate how far the webbed hero has come and how long he has been around. It is also terrific the way they incorporate modern themes and ideas into the movie offering young adults a different perspective on the character. Spider-Man: Into the Spider-verse does for comic books and superheroes what Hamilton: The Musical does for Broadway. They both bring in a new audience that would otherwise probably not be exposed to superheroes or musical theater and give them a character they can relate to.
R.I.P Stan Lee and be comforted in the knowledge that your legions of fans and your works of art will endure for a long time to come. I can't think of a better way to honor Mr. Lee as this film embodies everything we could want.
Grade: A
About Allison Hazlett-Rose Mrs. Hazlett-Rose attended Hofstra University where she earned her bachelor's degree in communications and is Vice Chair of the Florida Film Critics Circle and a member of the Society of Professional Journalists. She can be found in print, online, and on talk radio, WENG 107.5 FM.
Read more reviews and content by Allison Hazlett-Rose.
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Week 3: Who is my hero?
Tara Donovan
Born 1969, New York
Donovan is an artist known for her large-scale installations that she assembles using common materials. The unique material properties of a particular material drive the composition of her sculptures which often are reflections of natural or molecular structures. She uses objects such as styrofoam cups, buttons, paper plates and pencils as key elements. The objects begin to transcend their everyday uses because of the way Donovan is able to “discover the inherent physical characteristics of an object and transform it into art”.
3/29 - detail of Untitled, 2008. polyester film, installation dimensions variable.
Donovan is also known for her commitment to process, which she defines as “experimental” and even more “clinical” in it’s comparison to how a “scientist allows research and findings to build into a hypothetical proposal”. She explains how it has taken her years to refine her process, through the way she categorises and guides the process but is also open to spontaneous discoveries because she has learnt that;
“fleeting moments of observation often yield the most substantive approaches.”
Donovan’s technique is minimal in its physical manipulation. She doesn’t destroy the object in any way or form but constructs and rearranges the object so it becomes unrecognisable. She believes that her work is site-specific or “site-responsive” because the works are reassembled and rearranged for each space so that the audience’s interaction with the sculpture is taken into account. Donovan breaks her process into 2 distinct stages; the beginning is very personal and intuitive and then very calculated and collaborative at the end. Once she decides upon how a material will transform, “the process becomes entirely directed toward outcome” which is explored in the interview below.
youtube
What stuck out from this video was her perspective on inspiration.
“I think inspiration is a joke. I think real artists sit down and get to work.”
I think this stuck out like a sore thumb because I have always been an artist who thinks a lot before I do and I think this can hold me back when it comes to completing a work.
On another note, Donovan studio is organised as a “factory” which is a direct reflection of her production process as she is required to do an immense amount of repetitive labour.
I found Donovan’s process quite similar to Olafur Eliasson’s because of their approach to their constant research and testing of theory. They are inspired by curiosity but not influenced by their attachment to the work. I think Donovan’s installations directly link with Eliasson’s statement that an “object produces reality” because it can’t be merely described but can only be experienced in the moment.
Donovan has been put in relation to Minimalist artists such as Sol Lewitt and Eva Hesse because of her adherence to rule based systems and use of solitary materials. It’s no surprise that she was awarded the MacArthus Foundation “Genius” Award in 2008 and the first annual Calder Prize in 2005. It was hard to find any failures of Donovan’s but I do know that she was only able to quit her waitressing job of 6 years after her first big break with her 2003 exhibition which was made possible by Chuck Close who spoke big of her work. Hes says:
“At this particular moment in the art world, invention and personal vision have been demoted in favour of appropriation, of raiding the cultural icebox. For somebody to go out and try make something that doesn;t remind you of anybody else’s work and is really, truly innovative - and I think tara’s work is - that’s very much against the grain of the moment. To me, it represents a gutsy move.”
When asked to define my hero I struggled to bring it down to a person that directly connects with my field I am going into today because my heroes have inspired me in many other ways. After moving through the workshop this week I realised that augmented reality is my tool that I use to explore my practice and not entirely my field of practice. Through research and reflection, I feel that my direction is heading toward moving image installation and I want to use augmented reality to explore the way humans interact with computers (HCI).
This decision was motivated by teamLab’s work Universe of Water Particle on Bunkanomori Park which is an interactive digital installation that reproduces the Bunkanormi Park building in a virtual three-dimensional space. Tara Donovan is a part of teamLab and her process as an installation artist inspired me to push the boundaries of water is expected from a medium.
Universe of Water Particles on Bunkanomori Park 2017, Interactive Digital Installation
What interested me the most was the simulation of water that flows over the shape of the building and the relationship that it creates with the audience in the space. The waterfall is projection mapped, calculating the interaction between the water particles so when a person stands on the waterfall they become an obstruction, transforming the flow around them due to their interaction and making each moment unique. I thought this idea was beautiful because it brought something so mesmerising and natural into a context where its technicalities can be forgotten. Your first thought wouldn’t be to think about how the work functions or that you’re interacting with a computer but the experience would completely immerse you in its simplicity and familiarity.
References:
http://www.pacegallery.com/artists/111/tara-donovan
https://www.artsy.net/artist/tara-donovan
http://www.pacegallery.com/artists/111/tara-donovan
http://www.nytimes.com/2008/09/28/arts/design/28kino.html
http://www.wmagazine.com/story/tara-donovan
http://magazine.art21.org/2010/04/08/prelude-a-discussion-with-tara-donovan/#.WM4cshKGPjA
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