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by shathley Q

14 Jul 2009

A long, cold dark.

In a moment spent with his recuperating girlfriend, Flash Wally West is reminded of his own limitations. In a panel interrupted by falling snow and the blue sheen of a hospital window, Wally and Linda are afforded a degree of privacy as readers are kept at a distance. Artist Paul Ryan offers an elegant counterpoint to paparazzi-invaded private lives lived in public view.

But as romantic as this panel appears, the dark and the snow form the central conflict of ‘Pray for the Dawn’. This is not a cherished moment of affection shared with a loved one. What Wally and Linda face in this panel is a moment of consequence, a moment of indecision before action is taken.

This panel’s elegance lies in Ryan’s skilful melding of a number of Flash- and comics-genre with the visual metaphor of layers apparent with the use of snow and glass. In the first sense, Ryan offers an inversion of the classic Editor’s Notes. Editor Paul Kupperberg’s footnote appears, visually distinct from other word-art in the panel. Yet nothing of the dialogue in the panel is actually linked to this footnote. In this way the act of reading itself becomes part of the story being told. Textually, the Editor’s Note functions in the same way as the snow and glass that interfere with the panel’s central image.

As the Note suggests, the threat of a new Ice Age is something that has already been confronted in earlier issues. Ryan not only references previous issues’ stories, but a specific storyarc that involves the classic Flash-genre of time-travel. Hurtling through the future and unable to return home, Wally learns of an impending global climate disaster (already history in the future). Armed with this knowledge Wally races back in time to confront Abra Kadabra, a 64th century stage magician who hopes to profit from this catastrophe. Again the visual layers of snow and glass elegantly remind the reader of the complexity of Wally and Linda’s story.

What remains at the heart of the panel though, is the romantic private life, kept at a safe distance from public view.

by Thomas Hauner

14 Jul 2009

Perhaps no individual musician better captures the spirit and attitude of James Spooner’s Afro-Punk Festival than Saul Williams. Though the evolving sounds of Brooklyn rockers TV on the Radio are routinely cited as the Afro-Punk movement’s musical vanguard, Williams’ idiosyncratic mixture of hip-hop, electronica, grime, spoken word and poetry, all delivered with a potent punk ethos, proved an exemplary cross-section of Afro-Punk. Earlier in the evening Janelle Monae delivered a lively—though verbatim—set of her space-age meets rockabilly music, complete with an interpretive painting. A free skate park, bmx demos, and graffiti murals were seamlessly incorporated into the musical portion of the festival, demonstrating the scope and vitality of the Afro-Punk scene. 

by Chris Conaton

14 Jul 2009

This time around, the very funny Gregory Brothers give us Congress debating climate change, reaction to Michael Jackson’s death, and of course, more of the amazing Autotuned vocal stylings of Katie Couric. As always, it’s the catchy, catchy music that makes the comedy really work.

by Bill Gibron

14 Jul 2009

Certain subjects lend themselves to specific sonic approaches. It’s part of the cinematic standard. When you hear that a movie is going to cover the formative years of a boy wizard, follow a group of novices into a dangerous wilderness situation, or deal with a daring aerial rescue of a group of hostages, clichéd aural answers start playing out inside your own personal product jukebox. You instantly imagine what the fantasy will sound like, suggest the sounds of a jungle primeval or a stunt-laced bit of derring-do. Of course, part of the magic inherent in motion pictures is the way said conventions are embraced, thwarted, or dismissed completely. There are occasions however when the unusual or downright odd tactic taken by a composer completely loses the meaning of the movie it is supporting. When that happens, the aforementioned magic turns middling, and then mediocre.

Luckily, that doesn’t happen within any of the three scores we are covering in this issue of Surround Sound. In fact, aside from a lackluster entry in a long running series, we have a couple of real compositional curiosities. Indeed, it always seems that the independent or outsider artists working in film today (or as part of the fraternity of the past) come up with a far more intriguing sonic display than someone hemmed in by the needs of a multi-entry big screen blockbuster franchise. Perhaps that’s why The Interior and Sky Riders feel so satisfying and why a certain Harry Potter has a hard time leaving an indelible aural mark. In any case, we can easily see where a certain sixth entry fails to fulfill its promise and how a couple of unknown quantities step up and deliver something unusual and quite memorable. Let’s begin with the most well known entry this time around:

by L.B. Jeffries

14 Jul 2009

From girlgamers.co.uk

From girlgamers.co.uk

The usual BPM for this week got posted a bit earlier than usual, but you can check back here if you missed it.

As a substitute though, I thought I’d aggregate a few links to the growing discussion about video games that specifically target female gamers. An excellent post at Wired highlights some of the top contenders for most awkward thing to teach a young girl.

The games listed in the article vary in subject matter from using clothes and behavior to be accepted by the “Pretty Committee” to revolving around trying to get a boyfriend. Other titles only allow the female character to advance by purchasing clothes and jewelry. A similar post at Brainy Gamer summarizes the issue nicely:

Most video games for girls send a steady flow of narrow images and self-limiting notions about how to succeed in today’s culture. They reinforce all the worn-out essentialist tropes: be beautiful, be fashionable, be popular. If parents want to worry about the messages kids receive from video games, they should pay more attention to these.

Other than the inherent nature of the media a person playing these games are exposed to, it is hard to say what kind of effect these games may have. Craig A. Anderson, who is one of the psychologists arguing in favor of a connection between violence and video games, points out in a FAQ, “all games teach something, and that ‘something’ depends on what they require the player to practice.” Anderson is outlining how both positive and negative behavior is taught through games in that quote, but the potential for negative behavior outside of just the violence that he addresses is very real. A child who constantly acts out, achieving success through purchasing clothes and behaving how their friends want them to might be, absorbs some strange lessons.

These question are further complicated by the fact that these types of games aren’t even considered particularly popular in their target demographic. A post at Feminist Gamers points out that a survey at the Institute of Adolescent Health found that girls ranked Grand Theft Auto as their favorite game. It was followed closely by The Sims, which allows female characters to be or do just about anything. Considering that even the most violent games are just empowerment fantasies, it isn’t surprising that these can be enjoyed by anyone regardless of gender.

One of the ideas that Ian Bogost outlines in Unit Operations is that our relationship with games work as a sort of response to the game’s world. That is, we look at how the game is depicting reality and contrast that with our own perspective. The things that we can do in the game that conflict with how we believe the world works generates an emotional reaction. In a game like Grand Theft Auto, my reaction to stealing a car is one of excitement because I personally could never do that. There are moral reasons for this but also social concerns that intervene like law, friends, and concern for hurting another person by taking their car. It’s fun to do it in the game because of the conflict that the activity has with my perception that what I’m doing is not possible normally.

The issue with a child playing one of these games revolves around the question of which misconception about reality is easier to correct. An adult would reasonably be able to correct a twelve year old child’s misconceptions about violence seen in a video game. But a young girl believing that the best way to make friends is through buying clothes and being pretty might be more impactful.

Put another way, you might be better off with your kid playing Grand Theft Auto after all.

//Mixed media
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// Notes from the Road

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