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Segway óbvio da entrada anterior aproveitando a deixa do TCJ de hoje a propósito do fim do "Octopus Pie" da Meredith Gran. Como nós, destacam a importância da autenticidade:

Octopus Pie is sincere as hell. That formalist stranglehold on the tone of the comic, the clarity of the characters’ voices and states of mind, the complex but still centered exploration of each of these characters’ trials and obstacles and love lives, they were all lucid, focused. Meredith was sharing a meditation, a reflection in real time, and delivered it unclouded by any extraneous detail that would water down the experience or make it narratively cleaner or more comfortable. It was pared down to the essentials, took brief meandering breaks and comedic breathers when needed, exactly how good writing should be. I feel like once you accept the terms of engagement, its unchecked sincerity and playfulness (something I feel like is missing with readers today and understandably so), it truly is a deeply moving reading experience.
in "'Anything That Ever Meant a Damn Took a While': A Tribute to Octopus Pie" 29 jun 2017

Continuando das homenagens ao OP e em tópico à crítica feita recordamos e destacamos um texto anterior de Kate Beaton, webcomics alike, com um excerto que nos parte o coração.

Maybe I don’t like CWBYH because it implies that you should shrug your shoulders and not ask for better every time, that a short end of some kind of stick is expected even.
I don’t really like that phrase "comics will break your heart". You see it all the time, mostly when people are reckoning with the fact that they work in an unforgiving medium. Maybe it’s because we all know that comics are hard work, we all know that you might put your life and blood and heart into something and you might get nothing back. There are no surprises to be found there — it’s not a bad day you had, it’s a life you’re well aware of living, if you do. But we love the perserverers in comics. The people who live the phrase are the ones who inspire us the most.
in "Long Live Octopus Pie" 19 jun 2017

Subentende-se a ligação feita e mais não nos alongaremos. Aqueles que nos leem também já perceberam que estamos a enredar o OP em ramificações tentaculares às nossas teses. Reforçamo-las, sempre na mesma base. Webcomics:

In my mind, nothing tops the ten year run of Octopus Pie. And in the lifespan of what we call Webcomics, 2007-2017 is a granddaddy of a run, worthy of names like "pioneering," "influential" and "groundbreaking" because in the space of those years, in this new medium, there was room to be those things without any hyperbole.
in "Long Live Octopus Pie" 19 jun 2017

E os praises pela sua excelência no formato digital repetem-se:

First off: Octopus Pie by Meredith Gran is unequivocally a modern masterpiece of the medium.
[Meredith] fearlessly experimented with page size, rigorously pushing each format until it felt like she’d expended its potential and then tried something new. The last few arcs of OP are sprawling and all-encompassing on the screen, letting the scroll pull you through decompressed character moments or jump through a non-linear sequence of memories.
in "'Anything That Ever Meant a Damn Took a While': A Tribute to Octopus Pie" 29 jun 2017
"Octopus Pie"

...e repetem-se:

Every once in a while, you get a comic that just couldn’t be done on paper, and Meredith Gran delivered one to wrap up the latest Octopus Pie story arc (*)Aqui. The act of scrolling through the very tall image and the fact that there’s more and more space between the panels to control your sense of the passage of time are giving Chapter Four of Understanding Comics a boner without falling into an infinite canvas-for-the-sake-of-infinite canvas circle jerk. Even if you’ve never read Octopus Pie before, click through that header image, scroll on down, read the (nearly wordless!) story, and tell me you don’t know exactly what’s going on. I double dog dare you.
in "Fleen: The Awkward Christmas Dinner Of Our Obligation To Existence » Scroll Waaaaay Down" 8 jan 2015

E de boners por canvas infinitos lá mais à frente nas nossas teses. Antes, de segway em segway, entrada que se segue. De uma entrevista à Meredith, e da sua opinião do uso das redes sociais alheias em detrimento do espaço próprio — a lembrar alguma coisa?

I teach a webcomics course.

I think as the internet has gotten more accessible you’ve seen a more diverse grouping of artists coming up. Part of it is we’ve got social media, so there are new methods of distribution for these things. (...) The part to me that’s disconcerting, because I entered from such an early place and a tech savvy place, is that cartoonists aren’t as protective of their own domain as they used to be. Social media has kind of discouraged artists from having your own home base. Having their own website is not necessarily something people are good at doing at this point, especially if that social media presence is there and the instant gratification of that presence is there. I think that cartoonists are both in a better place and a slightly more vulnerable place, now.

I come from a place where I want to have my own little backyard for my comic, control who can say what on my website, and control the exact way it looks and behaves. I think a lot of people give that control up for the built-in network of Tumblr.
in "Interview with Meredith Gran of Octopus Pie" 25 maio 2016

E a ironia? A própria fonte de citação: o sítio esteve offline quase todo o dia, sem recurso a arquivos digitais não restaria nada para a história — e já perdemos a conta a quantos tópicos recorrentes dOS POSITIVOS matámos só com considerações em torno de uma peça. Tudo se enreda, e claro está não temos intenções de parar. Continuando — OP, Meredith, webcomics, infinite canvas? Digital, e aquilo do papel.

The book is by no means dead—thank god. And there will forever be printed media that simply cannot be done justice when translated into a digital form. But webcomics are proving that the opposite may also be true, and that not every digital comic must come secondary to its own print reproduction.
in "Pushing the Boundaries of the Digital Canvas" 08 mar 2016

Pausa? Tréguas. Continuaremos a martelar a tecla dos webcomics por vir enquanto os nossos artistas tratam o digital online como cidadão de segunda e parasitam as redes sociais por preguiça e desconhecimento de causa, mas terminamos com uma para o papel: não é só no digital que podemos complicar. De Jason Shigan, webcomics kung-fu master supreme, de quem admirávamos o seu "DEMON" há um ano atrás, o teaser do seu mais recente projecto que faz do "Building Stories" de Chris Ware parecer uma banalidade.

E a propósito do Chris Ware, os menos distraídos também já terão notado que este expoente máximo de paginação e layout on paper se desdobra em projectos digitais. Finalmente assim chegados ao fim do nosso segway-supreme: a guerra dos formatos.

The book is by no means dead — thank god.

Não, não foi deus: muito mais complicado do que isso. Comin' next.