Some good observations. HM went through such distinct phases, with one of the recent ones (after Eastman sold out, so ~2020’s) one of the most awful from every viewpoint imaginable.
As a late-bloomer to relationships, I gotta say I was as titillated as anyone else by the T&A stuff in the 80’s and 90’s, but just as an incidental. It could also be annoying and a signal that the story was lacking. Where it went over the line for me was in stuff like Druuna, where abuse & borderline-slavery was involved. (I posted a couple times about that here)
Too bad the economy wasn’t there to make it work all the way.
Truly. HM was such a great gateway to fairly serious and creative BD. As I see it, that’s something critically needed in the States.
i haven’t read much post-Morrison issues so i guess i’m not missing out. It is baffling that anthology format is not doing great these days because from my perspective (and i guess it is rather widely accepted) - it is a gateway to a lot of stuff at once. I guess it is one of the casualties of digital economy.
Druuna is such a weird comic. Serpieri definitely got skills and his world-building is very consistent but goddamn is he overdoing the sex part ten times over. I think there is some kind of point hidden in there but i haven’t read much of his stuff past the original couple of chapters so can’t tell.
It is baffling that anthology format is not doing great these days because from my perspective (and i guess it is rather widely accepted) - it is a gateway to a lot of stuff at once.
The essay / article I have pinned in my community does a great job digging in to the ins and outs of all that when in it comes to Europe. As for the States, I suspect a good bit of that still applies. Less trade of weeklies and kiosk-based & anthology content, more concentration on discrete graphic novels and niche content. Something like that, anyway. I’d be curious to hear what you thought of that article, though. It’s super-comprehensive.
I think there is some kind of point hidden in there…
I agree with that, but I tend to think that Serpieri, given his audience (Italian and otherwise), never quite needs to get to any clear conclusions. In other words, he has the luxury of waffling around endlessly with his plots and themes, all the while satisfying his readers with the riveting, mostly-naked figure of his ‘heroine.’ Not unlike another genius artist like Juan Gimenez, I really wish these guys had spent more time working with excellent writers of BD, like Jean Dufaux, Fabien Nury, Hubert, Vehlmann, etc.
Some good observations. HM went through such distinct phases, with one of the recent ones (after Eastman sold out, so ~2020’s) one of the most awful from every viewpoint imaginable.
As a late-bloomer to relationships, I gotta say I was as titillated as anyone else by the T&A stuff in the 80’s and 90’s, but just as an incidental. It could also be annoying and a signal that the story was lacking. Where it went over the line for me was in stuff like Druuna, where abuse & borderline-slavery was involved. (I posted a couple times about that here)
Truly. HM was such a great gateway to fairly serious and creative BD. As I see it, that’s something critically needed in the States.
i haven’t read much post-Morrison issues so i guess i’m not missing out. It is baffling that anthology format is not doing great these days because from my perspective (and i guess it is rather widely accepted) - it is a gateway to a lot of stuff at once. I guess it is one of the casualties of digital economy.
Druuna is such a weird comic. Serpieri definitely got skills and his world-building is very consistent but goddamn is he overdoing the sex part ten times over. I think there is some kind of point hidden in there but i haven’t read much of his stuff past the original couple of chapters so can’t tell.
The essay / article I have pinned in my community does a great job digging in to the ins and outs of all that when in it comes to Europe. As for the States, I suspect a good bit of that still applies. Less trade of weeklies and kiosk-based & anthology content, more concentration on discrete graphic novels and niche content. Something like that, anyway. I’d be curious to hear what you thought of that article, though. It’s super-comprehensive.
I agree with that, but I tend to think that Serpieri, given his audience (Italian and otherwise), never quite needs to get to any clear conclusions. In other words, he has the luxury of waffling around endlessly with his plots and themes, all the while satisfying his readers with the riveting, mostly-naked figure of his ‘heroine.’ Not unlike another genius artist like Juan Gimenez, I really wish these guys had spent more time working with excellent writers of BD, like Jean Dufaux, Fabien Nury, Hubert, Vehlmann, etc.