One such example is Hugo Ball’s Karawane, the text of which in part reads, ‘hollaka hollala / anlogo bung / blago bung / blago bung.’ From Ball’s perspective, the impulse to stand on stage and address an audience with sounds and gibberish was a reaction to the society that led to World War I. Such a bankrupt society deserved meaningless poetry.
This trade paper volume collects all twelve issues of the third and final Invisibles series. New characters are introduced, and the boundaries between the various conspiracies motivating the action become ever more porous as the eschaton is immanentized.
The closing series of the comic—especially its last issues—suffers from a surfeit of artists. It gets to the point where a single illustrator rarely has contributed more than two or three pages in sequence. In some cases, a shift of artistic style seems to be deliberately communicating a shift of perspective, but these seem to be the minority, and the visual idiolects are so divergent that the reader must struggle to identify characters and settings in panel after panel.
Once in a while, I would pause and try to bring “beginner’s mind” to bear on the dialogue of the book (especially the pronouncements of “expert” protagonists like King Mob and Helga), and I found that it was mostly sesquipedalian gibberish. For better or for worse, though, it’s the sort of gibberish that my conditioned mind understands and enjoys.
These comic books were originally issued in 1999 and 2000, and they are very much a product of their time. No one could or would write this sort of thing today. Even though the essential fears expressed here remain in force, our political context has rather dampened and shifted the corresponding hopes. Another book from the same period that has dated similarly is Hakim Bey’s Millennium. I would contrast Morrsion’s more concentrated and coherent effort in The Filth, which addresses many similar themes. [via]
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