четверг, 13 августа 2015 г.

CEREBUS. YEAR OF THE AARDVARK. DAY 0

 YEAR OF THE AARDVARK. DAY 0 

ALAN MOORE (WATCHMEN, V FOR VENDETTA): 
Comics in Dave's hands comes closest to music in some respects, in that he's got such a perfect sense of comic timing... What Dave has managed to do with an aardvark barbarian character that started off as a Barry Smith Conan parody, what he's managed to say in the context of that strip is staggering. I could never do that... There's not a lot of people who you can learn from in terms of storytelling, but Dave's always one of them. 

BARRY WINDSOR-SMITH (CONAN):
Dave Sim has created a totally believable scenario and peopled it perfectly; The mark of a very fine story-teller. In my opinion, the best in the field today.

NEIL GAIMAN (SANDMAN, STARDUST, CORALINE):
I think he's a brilliant cartoonist, a spot-on caricaturist, an excellent letterer and a very fine writer-of-comics... easily the best parody of Sandman anyone's ever done, as various members of the Cerebus cast of characters become Snuff, Swoon and the rest of the Clueless. It was wickedly funny, and had the author of Sandman curling his toes when he read it.

BILL SIENKIEWICZ:
I think Cerebus is one of the greatest accomplishments in comics, not only as a work of art, but as a commitment to a vision. 


JERRY SIEGEL (SUPERMAN): 

It's A.R.T., that's what it is! So keep doing your thing in your own unique way. Never mind the off-stage murmurings. Slave away at your drawing desk, you and Gerhard. Tell it all... love, hate, joy, sorrows, comedy. And don't make so many public appearances... your drawing board misses you.

MARK MILLAR (WANTED, KICK-ASS):
I think of Dave Sim existing in a pantheon of God-like creators with Moore, Miller, etc, and too busy with his own ideas to register that mere mortals like myself even EXIST.

J. MICHAEL STRACZYNSKI (BABYLON 5):
He won over the publishing schedules, detractors, critics, people who said it couldn't be done, people who said it shouldn't be done, people who saw misogyny where there was only commentary, who saw indulgence where there was determination, who saw creative control as egocentrism, who saw an individual voice at work and declared it conceit... Year after year, month after (more or less) month, Cerebus made me laugh and think and kept me sane. And it showed me something very important: that you could tell one long story over a period of years, across hundreds of issues, and not only could readers follow it, the subtleties and nuances layered on over the course of those years would add a breathtaking degree of subtext and context to everything that happened.

KEVIN EASTMAN (TEENAGE MUTANT NINJA TURTLES):

Cerebus is a book that I believe every comics fan should read at least once.

EDDIE CAMPBELL (FROM HELL, ALEC, BACCHUS):
...I think he's done books which are among the best books of the graphic novel years. I think Jaka's Story is a wonderful book. It was the actually the first Cerebus book that I read from beginning to end, and I didn't feel that I needed to know anything that went before it, I was happy... 

ED BRUBAKER (GOTHAM CENTRAL, CRIMINAL):
I agree that if it’s about money, I would happily subscribe through Kickstarter or paypal or amazon payments or whatever, to just about any comics Sim wants to write and draw for the rest of his life.

BILL WILLINGHAM (FABLES):

Cerebus is one of the top five most important works in funnybook history, and by setting the number at five, I suspect I'm being quite charitable to at least three entries in any given list. Try to imagine what our comic industry today might be like had Cerebus never existed and you'd have to envision an uncrossable wasteland, lacking hundreds of key oasis's inspired and nurtured by this one monumental work.

PAUL POPE (THB, BATMAN: YEAR 100):
I still think next to Eisner, Dave has some of the strongest use of graphics - as in sound effects and word balloon placements - on a page.

PAUL GRIST (KANE, JACK STAFF, MUDMAN):

Cerebus was the comic that made me want to do my own comic and made me thinking that self publishing was a Very Good Thing... Without Cerebus there probably wouldn't be Bone. Or Strangers in Paradise. It's probably not stretching the point to say there wouldn't even be an Image.

GARY SPENCER-MILLIDGE (STRANGEHAVEN):
...to Dave, for reaching the impossible 300, an astounding achievement which will never be equalled, and for changing the landscape of comics forever, many congratulations... please take your place alongside Kirby, Eisner, Tesuka, Herriman and Moore, the greatest comic creators that ever walked the Earth. 

ALEX ROBINSON (BOX OFFICE POISON): 
He was definitely the biggest influence on me cartooning-wise... I just think at his peak he's a fantastic storyteller... So yeah, I stole everything from Dave Sim.

GAIL SIMONE (BIRDS OF PREY):
...The issues Dave is making available digitally, to my mind, constitute a masterwork of comics. They are so good, there are only a handful of North American comics that can compete with them. When I was a kid, for a long time, I could only afford one comic a month, and that comic was Cerebus. The story being reprinted, High Society, is possibly my favorite single comics story ever... if someone were to ask me what comics to study to learn meaningful sequential storytelling, Cerebus would likely be in the top two or three choices I would recommend.

COLLEEN DORAN (A DISTANT SOIL): 

Cerebus was the most important book of the self publishing movement, and Dave Sim is the single most important person in the history of the creator rights movement. Everybody else who contributed is much appreciated, but no one was a more outspoken - or original - advocate.

DYLAN HORROCKS (HICKSVILLE):
It's the great under-rated masterpiece of comics, imho...for most of it, the strongest, smartest, most interesting characters are the women... Even if nothing else, Sim is one of the greatest formal experimenters in comics. Once he gets warmed up, it's breathtaking...

LARRY MARDER (TALES OF BEANWORLD):
...his premiere place in comic book history is beyond dispute... as businessman, visual artist and lettering visionary.

CHARLES BROWNSTEIN (EXECUTIVE DIRECTOR, COMIC BOOK LEGAL DEFENSE FUND):

Cerebus has affected the way I look at comics, the way I approach interviews, the way I write, even the way I think about the world. I can't think of anything in anymedium that so consistently achieves the same effect.

GARY GROTH (FANTAGRAPHICS CO-PUBLISHER):
...I consider "Mind Games" one of the finest examples of a talking-heads comic I've ever seen. The problem of static was overcome by a keen sense of design and continuity, clever dialogue, and an involving storyline...

KIM THOMPSON (FANTAGRAPHICS CO-PUBLISHER):
It's, on the whole, great work by a brilliant cartoonist, and great work like this should be made accessible to as many readers as possible.

TIM KRIEDER (THE COMICS JOURNAL #301):
Even though Cerebus isn't as good a book as Maus or Fun Home or Persepolis, it's much more interesting than any of them... Frankly, Spiegelman and Bechdel and Satrapi all seem to me to be minor talents who put their limited abilities to the best possible use because they each had one great story to tell. Their draftsmanship gets the job done, but it looks undistinguished and dull compared to Sim's fluid command of expression and gesture, his pyrotechnical talent and inexhaustible visual invention.  

TOM SPURGEON (THE COMICS REPORTER):
...monumental in terms of scope and personal ambition, and is also noteworthy for the craft chops and unique storytelling solutions frequently on display...

HEIDI MacDONALD (THE BEAT):
...I've been reminded just how amazing a cartoonist Dave Sim at his height was. Perhaps no one but Chris Ware has had such a far reaching grasp of how the physical act of reading a comic can be manipulated through time and imagery to create powerful storytelling effects...


CEREBUS – самый лучший комикс из тех, которые вы не читали. Его автор, кандский картунист Дэйв Сим, начал свой эпик как пародию, но, закончил как философско-религиозный трактат. CEREBUS боготворили все значимые авторы в индустрии комиксов за ошеломительное количество инноваций и экспериментов. И те же люди отвернулись от него когда комикс стал для своего автора исповедью.

Сим начал писать свою серию о приключениях трубкозуба Серебаса в двадцать один год. Тогда он был атеистом и мало что знал об издательской деятельности. Спустя почти тридцать лет он завершил самый длинный авторский комикс верующим человеком и в статусе мэтра независимой публикации. По пути он создал 6000-страничный монументальный труд, ставший вехой в истории комиксов. Во время работы над выпусками комикса, требовавших знакомства с религией, Сим заинтересовался святыми текстами. Он создал собственную религию на основе ислама, полностью отмежевался от всех знакомых и друзей и заработал репутацию изгоя. 

Все это (и многое другое) непосредственно отражено в CEREBUS. Это самая масштабная битва автора с собственным безумием, увидевшая публикацию. Возведение невероятно сложного, требующего колоссальных усилий монумента повествованию и фантазии, а затем неминуемое его разрушение собственными руками. 

Ничего похожего на CEREBUS по объему и глубине вы не найдете. Философия, религия, гендерные проблемы, теология, поп-культура, пародия, эзотерика – нет темы, на которую Дэйв Сим не высказывался. До того момента когда Сим перешел черту, отделяющую адекватного автора от фаната религии, комикс мог похвастать несопоставимой ни с чем в жанре утонченностью при оперировании сложными понятиями и темами.  

Но тяжкий труд не самым лучшим образом повлиял на Сима. Последние выпуски комикса представляют собой стены текста (до 20000 слов в одном выпуске), написанные в тщетной попытке понять что такое «Бог». «Серебас» - уникальный пример создания комикса, когда соавтор серии, художник Герхард, отказывался читать последние сценарии Сима. И я его не виню. Разобраться в том, чем стал CEREBUS под конец своего существования не может даже Дэйв Сим. А осилить комикс до конца смогли не так много фанатов. 

И тем не менее, до того как серия бесславно угасла, она была настоящим чудом. CEREBUS был смешным, очень хорошо написанным, равнозначно хорошо нарисованным, экспериментальным, ярким и завораживающим. 

Это единственный комикс подобного масштаба, заслуживающий не просто краткого рассмотрения или скупой рецензии. Вместо этого вас ждет нечто иное. 

NEAR THE WINDOW представляет «Год трубкозуба». 300 ежедневных рецензий всех выпусков серии. Каждый день начиная с 19 октября вы будете следить за приключениями трубкозуба Серебаса, наблюдать за эволюцией серии, своими глазами видеть трансформацию пастиша в классику комикса.  


Путешествие Серебаса начнется уже завтра…

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