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"How to Read Donald Trump?"

" the militarization of society"

A propósito do "Para Leer al Pato Donald" de Ariel Dorfman e Armand Matellart, que, se a memória -e o search interno- não nos falha, mencionámos pela primeira e única vez aqui. BD e politics, capitalism style, continuação.

From exile, I witness how our country became a laboratory for the shock-therapy treatments of the Chicago boys, a group of economists mentored by Milton Friedman who were eager to apply the economic strategies of a brutal laissez-fare capitalism

More than four decades have since passed and only now, eerily enough in this Trumpian moment, is the text of How To Read Donald Duck finally being published in the land of Disney. Our scorched book has snuck into the United States at the very moment when its citizens, animated by the sort of nativism and xenophobia I remember from my own Chile when General Pinochet reigned, have elected to the presidency another Donald -- albeit one more akin to Uncle Scrooge McDuck than his once well-known nephew. It intrigues me that our ideas, forged in the heat and hope of the Chilean revolution, have finally arrived here just as some Americans are picking up torches like the ones that once consumed our book, while millions of others are asking themselves about the conditions that put Donald Trump in the Oval Office where he could fan the flames of hatred. I wonder whether there’s anything those who are now my fellow citizens could learn from our ancient assessment of this country’s deep ideology. Can we today read a second Donald into How to Read Donald Duck?
in "Ariel Dorfman, A Tale of Two Donalds" 14 set 2017

O autor apresenta algumas possibilidades, das quais retiramos dois excertos com overlapp às teses. Primeiro, Estados unidos da amnésia.

Perhaps more crucial today is the cardinal, still largely unexamined, all-American sin at the heart of those Disney comics: a belief in an essential American innocence, in the utter exceptionality, the ethical singularity and manifest destiny of the United States. Back then, this meant (as it still largely does today) the inability of the country Walt was exporting in such a pristine state to recognize its own history. Bring to an end the erasure of, and recurring amnesia about, its past transgressions and violence and the immaculate Disney worldview crumbles, opening space for quite another country to makean appearance.
in "Ariel Dorfman, A Tale of Two Donalds" 14 set 2017

E um segundo aspecto.

It is that joy in liberation, that alegría, that spirit of resistance that I would love to share with Americans now it finally finds its way into the very land that invented both Donald Duck and Donald Trump.

There is, however, an aspect of How to Read Donald Duck that might offer a contribution of another sort.

What stirs me as I reread that document of ours today is its tone -- the insolence, outrage, and humor that flow through every page. It’s a book that makes fun of itself even as it mocks Donald, his nephews, and his pals. It pushes the envelope of language and, behind its language, I can still hear the chants of a pueblo on the march. It brings back to me the imaginative enormity that every true demand for radical change insists upon. It catches a missing feeling of our age: the belief that alternative worlds are possible, that they are within reach if we’re courageous enough, and smart enough, and daring enough to take control of our own lives. Para Leer Al Pato Donald was and still is a celebration of such imaginative joy that was its own best reward and that could never be turned into ashes.
in "Ariel Dorfman, A Tale of Two Donalds" 14 set 2017

Hum... falta-nos um terceiro, estas coisas vêm sempre em três.


gettin' closer

"funny and/or rude drawings of the guy you don’t like"

Académicos-por-vir de estudos culturais que se ocupam de cultura popular na vertente politizada: segue-se um ponto de situação para análise futura de BD e militâncias radicais em mais um recap de diferentes tópicos em aparente dissociação que, por passe de magia –voilá!- surgem enredados num único fio condutor. OS POSITIVOS: for tha peeps.

Cómicos e punks: vale igualmente a vossa atenção. Sabemos que as nossas intervenções são duplamente desperdiçadas entre aqueles que regressam a este espaço -os cómicos não partilham dos nossos fins, os punks suspeitam dos nossos meios- mas também cremos que cada vez mais essa distância se esbate no actual momento. Perdidos no deserto há apenas uns anos – aqui brandávamos aos céus"where are my grown folks at?!" + "make war, not cómicos!", a razão de ser da nossa militância tornou-se entretanto tão mainstream que mesmo entre donas de casa numa dieta de tv à base da programação matinal se discute o putedo nazi e relacionados – e o Trumpas keeps on givin’.

E as big tech keep on takin’, nacionalismos keep on dividin’ e o big $$$ keeps on subtracting, de modo cada vez mais descarado e conflituoso. O lado positivo? Diz-nos a História que podemos avançar a causa da Humanidade quando se consegue espreitar pelas fissuras do sistema que a reprime, uma call-to-action (*) que um pouco por todo o lado se faz ouvir.

* Micro-mini sermão paternalista aos punx, os cómicos podem saltar este.

Podemos e devemos recolher-nos a um espaço só nosso e celebrar a nossa própria cultura quando pouco nos importam os outros e esses pouco se importam connosco –é muitas vezes difícil de decidir qual das premissas é a original e claramente reforçam-se uma à outra. Mas essa zona de conforto não se deve tornar um limite que nos – uh- limita. Não podemos derrubar a sociedade sem a defrontar, qualquer que seja a tua estratégia: a revolução ou a reforma, construir melhores alternativas num futuro possível ou fazer ruir de podre a realidade que te oprime hoje. É ao underground que chamamos de casa, mas já várias vezes vos incitámos a sair desta e okupar as ruas: é no mainstream que se fará a luta.

É um bom dia para sair de casa e ir à rua – aproveita, adivinha-se mau tempo lá mais para a noite.

Exemplo, banda desenhada.

O Matt Seneca publicou ontem uma peça no TCJ que iremos replicar generosamente - e na nota de coincidências que se sucedem não deixa de ser irónico que apesar de deixarmos de fora nesta volta a imprensa e os media, começamos com um artigo que se intitula "PayWall".

Deste, cruzado a todas as frentes que nos conhecem, boas leituras:

Here we all are smack in the middle of the most interesting times I’ve been alive for, but you sure wouldn’t know it going off the view from the comic store. In comics, this year looks the same as the last year – that is to say, a great time to indulge in some escapist entertainment of whatever very particularized flavor you want, true believer! Meh! Don’t worry about it! For a medium that can make a serious claim to be currently in the process of expanding its worth and scope, comics too often seems blinkered to the world outside the panels. Where are the books with the revolutionary, uncompromising engagement with politics that our times demand?
in "PayWall" 19 set 2017

Do mainstream e do alternativo.

There are a few reasons it’s such a tough search. Heading up the list is that mainstream action comics’ "nerd culture" (gag) has always been one of the biggest apologists for and believers in market capitalism as a justification unto itself. Expecting huge corporations with billion dollar investments in fictional squads of militarized fascists wearing costumes goofier than anything this side of Charlottesville to manifest a relevant political viewpoint is optimistic to say the least.

Not as obvious but equally pernicious is the fact that a less diseased branch of comics rides the same boat. Those nicely designed "graphic memoirs" from big book-trade publishers smell a little less like Taco Bell CrunchWrap Supremes and Mountain Dew Code Red, get written up in your favorite liberal media organ, and sometimes even manage to "engage" with "politicized topics". But they too originate from corporate America just like the superheroes do, and go through editors who learned all the wrong lessons from Persepolis and get paid to watch out for dollars and sense, not provoke the retail account holders in white supremacist country.
in "PayWall" 19 set 2017

Enter os que rejeitam o Sistema.

And so it falls as always to small press and self-published comics to do anything of worth for American comics when they need it.
in "PayWall" 19 set 2017

Mas como é habitual também às vezes ficamos short das intenções. Isso, e aquilo que vos notámos em ocasiões passadas - de onde julgamos que vem o principal potencial de luta:

Which is fine! But these times ask for more.

But here too, we are vastly underserved. My read on the inability of alternative comics to deliver anything that feels politically trenchant goes back to milieu. An overwhelming amount of the time alternative comics reject engagement with consensus reality and build a castle of the mind. Even the most resolutely reality-based entries in the idiom (Bechdel, Derf, Crumb) restrict themselves to deep dives into the individual selfhood of the artist or a chosen subject, so much so that close relations like parents, friends, and significant others emerge as the major antagonistic forces in their works. The majority of what passes for political engagement in alternative comics is imported from newspaper cartoons: funny and/or rude drawings of the guy you don’t like.
in "PayWall" 19 set 2017

E neste ponto introduzimos à vossa atenção o complemento da segunda peça, publicado no dia anterior, justamente debruçado sobre os indies: Small Press Expo 2017, "the Premiere Event for Indie Comics, Cartooning & Graphic Novels". Desta, um outro tom predomina - basta-se o título: "SPX 2017: The year of getting woke".

This was going to be a different SPX, I suspected right then and there. The indie comics world that SPX came from has traditionally been – like indie rock – a bastion of white male shoegazing. Woman came storming in a decade ago. The last few years saw the LGBTQIA community embraced with joy. And this time, creators of color were speaking out, getting the spotlight and telling their own stories for a change. That this came at a time of rising hatred and the revelation of attitudes naively thought vanquished was not lost on anyone.
in "SPX 2017: The year of getting woke" 18 set 2017

Entre outras considerações, como uma menção a Ben Passmore, vencedor do Outstanding Story dos inácios com "Your Black Friend," -

One of the most powerful comics of the year or any year. It was a call to action, because, frankly, inaction can mean death.
in "SPX 2017: The year of getting woke" 18 set 2017

- salientamos outra que nos é próxima às teses. Próxima, como em completamente central.

This year’s SPX attendees were really into webcomics, really into online, really into work that reflects, for lack of a better word, the community of comics. This is a very different world than the one where people line up to hear what events Marvel or DC are rolling out, or even what’s happening at Image or Black Mask. We’re seeing the fruits of the participatory world and this world calls for evolving rules.
in "SPX 2017: The year of getting woke" 18 set 2017

Curiosidades, a peça é retirada do Comics Beat, escrito pela já nossa conhecida Heidi MacDonald. No dia que o TCJ lança a sua, Heidi e o também habitual Calvin Reid colocam no Publishers Weekly um reforço, que reforçamos. Título, não tivessemos já sido bastante óbvios com esta selecção:

"Politics Take Center Stage at the Small Press Expo 2017"

This year’s Small Press Expo, an annual festival of indie and self-published comics and graphic novels seemed influenced more than ever by the current political climate and the comics community's reaction to it.
in "Politics Take Center Stage at the Small Press Expo 2017" 19 set 2017

E, novamente aqueles dois eixos anteriores que não queremos deixar passar em branco: cartoons, tech, politics.

In the wake of Trump’s election (and the resistance to it) there were more than few panels focused on cartooning and the influence of issues of race, diversity and the LGBTQ community and gender identity.

CXC executive director Tom Spurgeon moderated a panel on “The Free Press” featuring cartoonists Keith Knight, Ben Passmore, and Ann Telnaes; while a panel entitled "Genderfluidity, Technology and Futurism," featured artists Jeremy Sorese, Kevin Cazp and Rio Audry Taylor.
in "Politics Take Center Stage at the Small Press Expo 2017" 19 set 2017

Mas não nos era necessário os inserts acima, a própria peça do TCJ apresenta um desses casos de bd afecta ao presente social, o homónimo "PayWall" de Joseph P. Kelly.

The little things here add up to a much bigger, richer picture.

It’s this kind of approach, a commitment to observational realism and not the comic book style of it we’ve all become accustomed to, that makes for such a bracing read. It’s as if Kelly is holding every element of his book up to the light and searching for the most direct way to put it. If that breaks the previously established rules of comics, well, he credits his audience with enough brain power to keep up.

Within the Trojan horse of escapist action entertainment is a sophisticated and brutal allegory for the political drama outside our windows – and a warning about what might be lurking inside our phone plans, our employment contracts, our future. The escape on offer here leads not into fantasy, but through the mirror into an attainable reality, one where a mask and a gun and a plan of action is all you need to take on the bad guys.
in "PayWall" 19 set 2017

Uma obra que contextualiza com exemplos de uma cultura igualmente interventiva: comics UK, e a nota fica apenas como rebuçado nosso já que as nossas leituras nessas frentes estão ultimamente quase todas dependentes de filósofos dessa mesma ilhota em modo de engenharia social pré-apocalipse.

Maybe it’s because they all grow up reading Judge Dredd, the long-running hero serials that makes its fascistic subtext into text

Alternative comics in the UK have been better and more interesting. The country’s two leading anthologies, Mould Map and Decadence. Both wear geopolitics on their sleeve as a main motivating principle, and both have solved the age-old comics problem of how to make themed anthologies at all interesting by simply directing their artists to look up from their drawing tables and out at the nightmarish hellscape that corporations and politicians are steering us toward with ever-increasing speed.
in "PayWall" 19 set 2017

Spandex, comics, punx, a resistência et al:

Rather than create his hero as a slightly more ridiculously costumed version of a police officer, though, Kelly looks for inspiration at the real heroes of today’s world: the scared, angry young people pulling on masks and taking to the streets to put their bodies on the line against governmental and societal oppression.
in "PayWall" 19 set 2017

Mesmo se por vezes os heróis de mundo de hoje possam até ser ligeiramente ridículos.

Lembram-se da nossa entrada anterior? Compara com a t-shirt que o Ben Passmore está a usar no SPX. Aquilo das coincidências.

Fim, mas tempo para um segundo riddle:

Everyone agreed you had to know the rules before you broke them, otherwise known as the anticipatory tension of the panel grid.
in "SPX 2017: The year of getting woke" 18 set 2017

No cite anterior muda os conceitos comedianos pelos que se aplicam às competências entre punx? Magia.


uma guerra de classes

De narrativas, e autenticidade - mesmo onde menos se suspeita dela. Revisitamos sobre o mesmo tema: antifas, class war... em funny style?

That one of the most ridiculed music fandoms could become progressive protagonists in a serious political battle does, admittedly, sound like the punch line to a bad joke - in a year that has so consistently challenged the boundary between satire and reality.
in "Class Clowns" 15 set 2017

Juggalos. Da primeira vez que lhes demos a atenção -merecida, não a descartável- foi por uma peça de março que por coincidência é repescada aqui hoje via um outro artigo que a cita, e sabem como processamos coincidências: sobem pelo radar like a muthafucka. A base do artigo: Juggalos e Insane Clown Posse como identidade de classe.

Classificados de gang criminoso voltam a ser notícia por - por coincidência, outra vez - manifestarem-se nas Américas no mesmo dia e local que os nazis escolheram para a sua manifestação a acabar com todas as manifestações. Uma que, diga-se, ficará para a história como flop monumental: ponto juggalos - da sobreposição das manifestações podem ler em mais detalhe seguindo as ligações na página do evento. Antes mais uma entrada às teses, estudos culturais:

The Insane Clown Posse’s horrific imagery evokes the wretchedness of life in postindustrial landscapes, where ugliness and decay exist alongside hopelessness and alienation. Juggalos affirm that these broader structures of exploitation - and not any personal inadequacies - determined their failures, and ICP’s music replaces ugly desperation with acceptance and camaraderie.

The figure of the Juggalo, in other words, turns the shame of a damaged life into power.
in "Class Clowns" 15 set 2017

Da manifestação, e luta de classes:

The Juggalos’ day of action nevertheless represents a demand for recognition and equality. A mostly impoverished community will gather in the nation’s capital to wave their middle fingers at a system of power that has pushed them to the margins of society, then targeted them for managing to survive. The demonstration’s participants come into view as a community worth defending - and perhaps even an exemplar, however unlikely, of class solidarity. If we bracket their hatchet-wielding, face-painting, Faygo-spraying theatrics  -  and any other cultural trappings that allow so many outsiders to feel smugly superior to ICP’s acolytes  - we are left with a working-class community acutely aware of, and actively resisting, its profound alienation and social rejection. The Juggalo community shows how effectively class can bring people together. Its members have constructed theatrical identities as ninjas and hatchet-wielding clowns determined to fight oppression - and have a good time in the process. Such playful imagery expresses the frustration any poor or marginalized person feels when attempting to resist the indifference and quiet violence of those in power.
in "Class Clowns" 15 set 2017

Dos manifestantes:

Their followers were the outcasts, misfits, and fuckups in high school, considered too ugly or freakish to sit at the cool kids’ table. They are the cashiers at Walmart and the servers at McDonald’s, spectacles of misfortune either ignored or blithely exploited for cheap laughs. They live a life of menial labor that elite ideology insists they deserve.
in "Class Clowns" 15 set 2017

Da peça de março -

In a sense, they should be viewed as part of a larger wave of hyper-regional DIY hip-hop scenes that were occurring in [early 90s]

The point of all of this is that ICP represents a very real socioeconomic viewpoint within the downtrodden, post-industrial milieu that city, there was (and remains) real economic pain. In turn, that leads to social pain, which then leads to Insane Clown Posse. So, now that we've established that ICP is worth vaguely respecting from an abstract standpoint, let's go back to the issue of taste, or ICP's non-relation to it. Getting into Insane Clown Posse is incredibly difficult. This is not because Insane Clown Posse is "bad," per se; it's just that Insane Clown Posse does not conform to the conventional notions of taste as you or I understand them.
in "I Decided It's Time to Seriously Get into Insane Clown Posse" 16 mar 2017

De uma minoria espezinhada a apropriar-se de uma identidade e consolidar a sua cultura.

Classist discrimination by law enforcement, which has harassed self-described Juggalos for seemingly no reason besides their cultural taste

That mockery is deeply bound up in who Juggalos are: largely lower-class whites, particularly in the Midwest and South. Juggalos tend to be poor and uneducated, from economically depressed small towns and broken homes. To use an inelegant term, proper folks tend to find Juggalos gross, disturbing on a biological level.
in "The Insane Clown Posse’s Juggalo March on Washington, explained" 15 set 2017

Aware of society’s opinion of them, Juggalos see themselves as part of a family that must look out for itself because no one else will. It’s a genuine community that accepts those who would otherwise be cast aside and allows the marginalized to express themselves without fear of ridicule. It’s sutured itself together through members’ shared understanding of their status as the dregs of society, a genuine example of class-consciousness that any socialist should admire.

Whereas many contemporary musicians fake class consciousness by dressing the part and aestheticizing poverty, ICP have constructed an elaborate narrative that embraces horror, fantasy, and sexual deviance to articulate the ugliness of class exploitation.

The Juggalo March on Washington presents the Left with an opportunity to start building [uma] coalition that exchanges the battle of cultural authenticity for the battle against oppression.
in "Class Clowns" 15 set 2017

Essa coligação já parece existir, com os suspeitos do costume - antifas. Do passeio desse dia:

The lyrics found within ICP songs resonate with the working class, so although you will find Juggalos from all walks of life, the vast majority are highly class-conscious proletarians. There are numerous Juggalo Antifa who we were keen to support this action. We promoted the Juggalo March extensively on our networks and organized to attend the event in solidarity - we offer our support to those targeted disproportionately by law enforcement using these unjust tactics.
in "The Struggalo Continues: Great Lakes Antifa Stands in Solidarity with Juggalo March" 18 set 2017

De uniões e solidariedade face à adversidade:

This type of government overreach can easily be applied to other groups

It is this potentially low socio-economic status which makes them easily targeted by law enforcement for exploitation. The police and F. B. I. overreach and targeting of Juggalos is a classic example of fascism. Something we can certainly relate to in the wake of news that Antifa are being illegitimately targeted as a gang and as a terrorist organization by the federal government.
in "The Struggalo Continues: Great Lakes Antifa Stands in Solidarity with Juggalo March" 18 set 2017

Do resumo de executivo a transportar para próximas reflexões:

You don’t have to like ICP’s music but you can recognize that these young men and women have found themselves, after generations of structural inequality, at the margins of an economic system that has intentionally pushed them aside in order to maximize profit. They did not turn on each other but instead came together, recognizing their shared interests. They have used this knowledge not just to throw a raucous yearly festival, but also to organize a march against a federal agency that stands for state violence.

Of course, the Juggalo community suffers from its share of racism, sexism, and homophobia. But regardless of its foibles, the mythology the Juggalos have embraced captures, and facilitates resistance to, the exploitation that structures the lives of poor and working-class people.

If the idea of socialists linking arms with Juggalos still sounds absurd, perhaps a little ridiculousness  -  a clownish embrace  -  is exactly what we need in the age of Trump.
in "Class Clowns" 15 set 2017

In a way, ICP and the Juggalos are the perfect group to challenge Trumpism. They’re a fiercely anti-racist movement based in working-class, mostly white communities. That gives them a legitimacy and credibility in combatting racist sentiment that more traditional political actors lack.
in "The Insane Clown Posse’s Juggalo March on Washington, explained" 15 set 2017

getting closer


"The lesson journalists should take away from Spicer’s rebranding"

Outras narrativas de empatia. Nestas lições, recordamos que o Spicer está para o jornalismo como os jornalistas estão para as pessoas. Mas continuando: it's show business. O registo que importa fazer.

Journalists are feeling queasy about Spicer’s second act fueled by entertainers and academics

Jornalistas, os media de entretenimento e académicos numa só frase. I call "Bingo!" up on this bitch.

people tv...
Last week was a triumph for the rehabilitation of Sean Spicer’s image.

The smiling, happy-go-lucky Sean Spicer of last week was a long way from the combative, condescending, and "less and less available" Spicer of earlier this year. And some journalists were appalled by the transformation. On Twitter, Slate’s Jamelle Bouie wrote, "The degree to which Sean Spicer has faced no consequences is a glimpse into the post-Trump future," and Fast Company’s Joe Berkowitz wrote, "Let’s not let people like Spicer and Mooch become Cute Things. They were lying mouthpieces, utter disgraces. They should be shunned forever." On Facebook, Dan Rather added, "It is not funny that the American people were lied to. It is not funny that the press was attacked for doing its job. It is not funny that the norms of our democracy have been trampled…To have Sean Spicer now lead us in laughter about all this makes me uneasy."

Spicer’s recent star turn is also a reminder that holding the powerful to account doesn’t end the moment they step down. If Spicer is appearing on national TV and speaking in Ivy League lecture halls, he’s still wielding significant influence. Reporters should remember this. Spicer is an American celebrity now; that much is indisputable. But when we cover him, journalists owe it to our readers—and to history—to explain the far-from-comedic way he became one. Anything less is active participation in what Gore Vidal called the "United States of Amnesia."
in "The lesson journalists should take away from Spicer’s rebranding" 18 set 2027

narrativas self-made


novelas gráficas

Perdoem-nos a confissão.

O debate que o Público conseguiu (inadvertidamente) causar entre a comunidade de interessados, quando optou pela designação de "novela gráfica" para a sua colecção de BD iniciada há dois anos, passou-nos ao lado: o termo era-nos tão decalcado de uma tradução literal estrangeira como as que encontramos diversas vezes naquela outra língua irmã –o brasileiro -, que arrumámos o tópico numa gaveta mental a que chamamos de "preciosismos dos cómicos" - esta é, afinal, uma comunidade muito dada a discussões de hermenêutica.

Há data vários textos fizeram o seu caminho ora defendendo, ora contradizendo a opção feita, e recomendamos a leitura das justificações dadas pelos autores que em um momento ou outro foram convidados a prefaciar a coleção: são fáceis de encontrar online e mesmo se fazemos depender a importância dos seus dizeres exclusivamente dessa associação, é um critério de selecção que pelo menos possui uma relação directa ao objecto e exclui as milhentas opiniões do Facebook – as quais, por razões técnicas, não rezará a História (*).

* Azar.

Pessoalmente, tornou-se uma expressão muda –"invisível" ?- para nós: por força do hábito – e somos criatura de hábitos vincados – o graphic novel precede a novel novela gráfica a ponto de nunca termos feito uso dessa última: quando a lemos ocorre um qualquer automatismo que a reverte à designação original antes mesmo de a processarmos. Somando a esse auto-correct o viver numa bolha pessoal – vide criatura de hábitos –, qualquer interação com terceiros sobre o tópico faz-se sobre a designação geral de "bd", ou quando muito, excepcionalmente, de "ban-da-de-se-nha-da" – assim, alongada e a desfalecer de cansaço pelo final pelo que raramente nos merece o esforço. "BD" para os amigos, momentos constrangedores exigem um "banda desenhada" desnecessariamente mais categórico, simplesmente "o livro" se a intimidade o permite: e desse modo vivemos os últimos dois anos protegidos do uso daquela expressão.

Até hoje.

Não seguimos a coleção assiduamente: a primeira série é talvez a mais completa mas longe de o ser, da segunda série devemos ter talvez dois volumes se tanto, desta terceira vamos no nosso quarto – contabilidade não confirmada mas é como a sentimos. Temos pois o hábito –isso- de pedir a dedo o livro –tu que nos lês: somos íntimos- que queremos, e no acto de o fazer ouvimos hoje pela primeira vez alguém nos replicar em alta voz a famigerada tradução.

Até um "banda desenhada" com um longo "aaaaaaaa" a morrer no fim de uma língua desmaiada no canto da boca e baba langorosamente a escorrer, os olhos revirados e a merecer um chapadão na cara para lhe sacudir o torpor teria sido menos estranho.

Por um lado, notamos o aspecto positivo da clarificação que se sentiram na necessidade de fazer: porque o Público publica tanta banda desenhada (*), é agora preciso ser explícito na peça que queremos.

(*) Aparentemente, o Público também publica uma série de super-heróis em collans mas não poderemos precisar: se a conjugação "novela gráfica" nos é invisível, imaginem a nossa capacidade de retenção da existência de uma série dedicada ao spandex.

Um bom momento para a bd na frente livreira - contrariamente a elitismos como os que descobrimos por via do Isabelinho, achamos que há espaço para todos, desde que não se confundam 14 sep 2017. Se o povo quer fantasias homo-eróticas, há que dar.

Por outro lado, para se evitar a confusão anterior, perguntam-nos se queríamos o spandex-em-collans, ou, "a novela gráfica".


Anjos morreram no Céu, e se não morreram, deviam. Hell, dêem-me uma machine-gun e vejam-me a metralhá-los numa orgia de violência: este já não é um mundo que mereça seres graciosos.

"Que caralho ‘tá-me este gaijo a falar...?!" Milésimos de segundos que pareceram uma eternidade –vide: mentalmente, estava no Céu a massacrar seres alados entre gargalhadas maliciosas de quem nitidamente acabara de ceder a uma espiral de demência. Havia ouvido pela primeira vez em uso corrente esse novo termo, destinado a criar barreiras entre mim e qualquer interlocutor que nos fale de BD nesses modos.

É de conhecimento geral a razão de ser por detrás da origem dos graphic novels, uma associação de ideias se perdeu na tradução – porque esta não se perdeu no caminho.

São novelas, e os gráficos parecem-nos evidentes. Wha-?!

Nesse tópico, outra designação que nos é "muda" e já tivemos oportunidade de o estranhar no passado é, estranhamente, "OS POSITIVOS" (*).

* ou P+, ambas sequências de caracteres que por hábito interpretamos como símbolos visuais sem som associável, não como palavras a ler.

Nunca os chamamos pelo nome, e nas conversas são simplesmente denominados de "a tua cena". Os poucos que os enunciam denotam uma certa distância no fabrico espaço-temporal, e os que notam a hesitação no olhar enquanto tento perceber a que se referem rapidamente acrescentam "a tua bd".

Também aqui queremos declarar uma nova distinção – questões de hermenêutica, compreendam.

OS POSITIVOS não são mais "bd".

Os cómicos tiveram a sua oportunidade de os incluir na bagagem nacional de banda desenhada – e podem dizê-lo em alta voz assim mesmo, por extenso.

  A "cena" é agora o zine. Repetimos: OS POSITIVOS na sua encarnação actual não são uma banda desenhada, são um zine de banda desenhada, um zine com banda desenhada, um zine sobre banda desenhada, e sobretudo, um zine de-com-sobre bd e outras merdas – e esse "e" é parte constituinte a merecer imensa consideração.

Fuck me se vamos viver num mesmo mundo que se confunde com novelas gráficas.