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There’s something magical about being young, broke, full of dreams and there at the beginning of something.
in "Comics Vs. Hitler: An Interview with Mark Fertig" 17 maio 2017

Inbetween a dualidade esquerda-direita e o autor cujas teorias abordaremos na próxima, uma daquelas notas a combinar comics e nazis, vox-pop(i) e media, passado-presente, economias narrativas, mercados e cultura - ao qual não nos podíamos escusar. Do TCJ, à pergunta "why Hitler and Nazis in general became such pervasive comic book villains", diz-nos o autor do compêndio:

Nazis are great fodder for pop culture entertainments because they offer such narrative economy. As soon as we see that swastika we know everything we need to know—no wasted panels, paragraphs or minutes of running time. There’s also no risk of readers or viewers gaining sympathy for the Nazis and switching over to their side; it’s one less thing writers have to worry about.
in "Comics Vs. Hitler: An Interview with Mark Fertig" 17 maio 2017

Tempos de maior inocência. Hoje essa identificação é mais problemática, toda uma constelação de nazis literais por lulz provocam uma confusão -intencional por vezes, hilariante quando acidental- de personagens e desígnios que põem em cheque esse velho recurso estilístico/narrativo da BD. Da Wired, dessa mescla:

In practice, that looks a lot like racism and xenophobia, but hey, semantics.

Some days the movement—built in large part on racism and xenophobia—is white nationalism; others it’s white supremacy or just plain old far-right extremism. The Pepe the Frog-obsessed wing goes by either the "alt-right" or the "so-called alt-right" (or the "alt-lite"), and people get worked up over which phrasing you use. Some media outlets have given up trying to put a name to its members at all.
in "Your Handy Field Guide to the Many Factions of the Far Right, From the Proud Boys to Identity Evropa" 22 maio 2017

De clássicos como os "national socialists" e "klansmen" aos mais recentes "identitarians" todos se consideram "realists", palavra-chave quando voltamos ao Mark Fisher. Por contraponto, e em complemento ao seu realismo, do mesmo set de puff-pieces fica a nota da dificuldade de definir o povo à esquerda, justamente por falta de identidade deste.

Since many antifascists are also anarchists, they’re not big on hierarchy.
Extreme left groups seem to pop up only when white nationalists do, and their uniform is intentionally nondescript, [so] it’s hard to keep track of who they are.
The factions of the far left tend to be smaller, looser affairs makes categorization difficult; that antifa activists are encouraged to maintain anonymity makes it nearly impossible.
in "Your Handy Field Guide to the Surprisingly Few Factions of the Far Left, From Pastel Bloc to BAMN" 23 maio 2017

Combinando comunistas, anarquistas, SHARPs -well that brings back tha 90s!- um sentimento que se estende pela peça cruza as nossas teses:

The far-left’s online footprint is significantly smaller than the far-right’s.
in "Your Handy Field Guide to the Surprisingly Few Factions of the Far Left, From Pastel Bloc to BAMN" 23 maio 2017

Ainda que assinale a excepção no "doxing", vemo-nos obrigados a registar o óbvio:

To many netizens right and center, the language of the far-left is ponderous and dour, while the alt-right’s memes and slogans, with their mix of chaos and mockery, are recruitment gold: if the internet is where hearts and minds are won, then the antifa’s online ringleaders need a cardiologist and a therapist on their team.
in "Your Handy Field Guide to the Surprisingly Few Factions of the Far Left, From Pastel Bloc to BAMN" 23 maio 2017

Que os nossos punx se escusem à Web não é novidade, é a nossa mágoa. Uma a qual fazemos paralelismos a outras escusas: a nossa aos comics. Voltemos ao TCJ:

For a while it looked like superheroes would be remembered as a fad of the 1940s.
Guys in tights suddenly seemed childish and silly. The rise of the superhero comic had been so bound up in the war that once the fighting ended, nobody knew what else to do with the characters. The world at the end of the war had grown up; superheroes comics needed to grow up too, but the writers and artists who had been banging out the stories as fast as they could since the late 1930s weren’t ready to do it. So, readers moved on. Only Donald Duck was as bulletproof as ever.
in "Comics Vs. Hitler: An Interview with Mark Fertig" 17 maio 2017

à procura da originalidade mas a perder a esperança

Os comics parecem-nos perdidos por estes dias. Continuamos desiludidos com eles -aquilo do "childish and silly" (*)- e fazemos uma interpretação muito pessoal de um comentário feito nessa entrevista:

Comic books now occupy a markedly different place in world popular culture

* Para Isabelinho também, mas por outras razões :)

Felizmente, há esperança para wee-ones se a história ensina alguma coisa:

Then the generation that fought the war started having kids—tons of kids—and remembered how important the superhero comics had once been to them. Their nostalgia for comics, coupled with a surging youth-oriented consumer culture, reignited an interest in superheroes. They may have moved on from comics, but they didn’t hesitate to encourage their children to start reading them.
in "Comics Vs. Hitler: An Interview with Mark Fertig" 17 maio 2017

Para nós pode ser tarde de mais, mas há que preparar o futuro. Citamos do sujeito a quem apontamos baterias a seguir: reinventar passado-presente-futuro.

The new defines itself in response to what is already establised; at the same time, the established has to reconfigure itself in response to the new. How long can a culture pesist without the new? What happens if the young are no longer capable of producing surprises?
in "Capitalist Realism"

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