PopMatters is moving to WordPress. We will publish a few essays daily while we develop the new site. We hope the beta will be up sometime late next week.
Books

Graphic Novella 'Stunt' Seeks Escape from Perpetual Entrapment

Like the title letters, the physical format of Michael DeForge's Stunt creates a kind of cage holding the main character inside rigid panels.

Stunt
Michael DeForge

Koyama Press

Sep 2019

Other

Michael DeForge's new graphic novella (Stunt is too short to call a novel) is a compelling combination of excess and restraint. Except for the red letters snaking cage-like around the main character in the cover image, DeForge limits his palette to blue and white on black backgrounds.

The dimensions of the physical book are unusually limited too, about 3" x 8", making each page a small, wide rectangle that DeForge consistently grids into single panels or two equally sized square ones. The book could have been printed in a more standard shape, arranging three rows down each page, but the resulting 24-page comic would be less engaging. Like the title letters, the physical format creates a kind of cage holding the main character inside rigid panels made even more unescapable by the ever-present page edges surrounding the black margins.

DeForge's narrator is a suicidal stunt double trying to escape the confines of his existence. He fantasizes about plunging to his death while shooting a skyscraper scene. He dreams of crashing a car into an exploding oil tanker, but even then he survives due to a filming mishap that placed the actual star at the steering wheel. The stunt double (he goes unnamed except for one severely cropped panel of his imagined "in memory of" death credit at the end of the film) is terrible at dying. Even his actual suicide attempts by razor and pills fail, leaving him still boxed inside DeForge's panels.

While the book's structure coordinates well with its subject matter, DeForge's drawing style deepens those connections further. Like most cartoons, the stunt double's body is impossibly malleable. His rubbery muscles enclose only the vague idea of a skeleton as the lines of his body curve to exaggerate his actions. Sometimes the exaggerations are loosely naturalistic, as when DeForge draws him from extremely foreshortened angles, but the effects run much deeper, altering the fabric of the story reality.

His hair could be a fifth limb. His blue skin sweats blue droplets as if his whole figure were in the process of oozing apart. When he imagines his fatal impact, his body seems to splash across the sidewalk. When he imagines being consumed by blue flames, the lines of the flames are indistinguishable from the lines of his body, as if emerging from him.

Instead of windows into a film-like story world, sometimes the panel edges serve as barriers that his body contorts to fill. When his suicide attempts fail, he imagines exercising himself to death, literally wringing his body out: "Nothing left of me but knotted muscle and pools of sweat." DeForge draws the visual metaphors of a twisted towel and puddle—but are they metaphors? Is this a naturalistic story drawn in a distorted style, or is this an actual cartoon world that obeys different laws of physics? DeForge exploits that ambiguity well.

The world is absurdist. The narrator doubles for an actor named Jo Rear, providing the dreamed death headline joke: "Rear, Ended." Fortunately, DeForge mostly avoids that kind of comic excess, instead emphasizing the surreal plot development of Jo hiring his double to impersonate him in his so-called "real" life.

Starting with innocuous commercial photoshoots, the arrangements escalates to TV interviews and then personal dates. Together the two attempt a kind of career suicide, turning "Jo Rear" into a self-destructive, relationship-ending, contract-breaking, conspiracy-theory-espousing, public-urinating performance piece. The "stunt", however, only makes the persona more popular, spurring a viscous cycle of increasing degradation and humiliation.

But who is declining? Is it the actual Jo giving the look-alike main character his instructions? Is it the double literally embodying the role? Is it some third, technically non-existent entity who exists only in performance? Is it all of the above? None of the above? The interrogation of identity extends to Jo and the narrator even when alone together and so not performing for the public. Their bodies seem not only increasingly interchangeable, but the two figuratively and literally merge as they have sex in the walled privacy of Jo's mansion.

Though homoerotic, DeForge's images are too surreal, too formally abstract to create any prurient effect. These aren't two human bodies having sex. It's barely even cartoon sex, since so many of the curves and blue shapes are indistinguishable. Out of context, the last two panels of the sex scene wouldn't register as representational images.

I won't give away how DeForge concludes his metafictional comics stunt, but it's a fitting ending to both his narrator's personal plot as well as his own visual experimentation. Since Koyama Press is closing down soon too, Stunt may also be a fitting ending to DeForge's multi-book career with the beloved publisher.

7

Please Donate to Help Save PopMatters

PopMatters have been informed by our current technology and hosting provider that we have less than a month, until November 6, to move PopMatters off their service or we will be shut down. We are moving to WordPress and a new host, but we really need your help to save the site.


Music

Books

Film

Recent
Film

The 13 Greatest Horror Directors of All Time

In honor of Halloween, here are 13 fascinating fright mavens who've made scary movies that much more meaningful.

Music

British Jazz and Soul Artists Interpret the Classics on '​Blue Note Re:imagined'

Blue Note Re:imagined provides an entrance for new audiences to hear what's going on in British jazz today as well as to go back to the past and enjoy old glories.

Film

Bill Murray and Rashida Jones Add Another Shot to 'On the Rocks'

Sofia Coppola's domestic malaise comedy On the Rocks doesn't drown in its sorrows -- it simply pours another round, to which we raise our glass.

Music

​Patrick Cowley Remade Funk and Disco on 'Some Funkettes'

Patrick Cowley's Some Funkettes sports instrumental renditions from between 1975-1977 of songs previously made popular by Donna Summer, Herbie Hancock, the Temptations, and others.

Music

The Top 10 Definitive Breakup Albums

When you feel bombarded with overpriced consumerism disguised as love, here are ten albums that look at love's hangover.

Music

Dustin Laurenzi's Natural Language Digs Deep Into the Jazz Quartet Format with 'A Time and a Place'

Restless tenor saxophonist Dustin Laurenzi runs his four-piece combo through some thrilling jazz excursions on a fascinating new album, A Time and a Place.

Television

How 'Watchmen' and 'The Boys' Deconstruct American Fascism

Superhero media has a history of critiquing the dark side of power, hero worship, and vigilantism, but none have done so as radically as Watchmen and The Boys.

Music

Floodlights' 'From a View' Is Classicist Antipodal Indie Guitar Pop

Aussie indie rockers, Floodlights' debut From a View is a very cleanly, crisply-produced and mixed collection of shambolic, do-it-yourself indie guitar music.

Music

CF Watkins Embraces a Cool, Sophisticated Twang on 'Babygirl'

CF Watkins has pulled off the unique trick of creating an album that is imbued with the warmth of the American South as well as the urban sophistication of New York.

Music

Helena Deland Suggests Imagination Is More Rewarding Than Reality on 'Something New'

Canadian singer-songwriter Helena Deland's first full-length release Someone New reveals her considerable creative talents.

Music

While the Sun Shines: An Interview with Composer Joe Wong

Joe Wong, the composer behind Netflix's Russian Doll and Master of None, articulates personal grief and grappling with artistic fulfillment into a sweeping debut album.

Music

Peter Frampton Asks "Do You Feel Like I Do?" in Rock-Solid Book on Storied Career

British rocker Peter Frampton grew up fast before reaching meteoric heights with Frampton Comes Alive! Now the 70-year-old Grammy-winning artist facing a degenerative muscle condition looks back on his life in his new memoir and this revealing interview.

Books

Bishakh Som's 'Spellbound' Is an Innovative Take on the Graphic Memoir

Bishakh's Som's graphic memoir, Spellbound, serves as a reminder that trans memoirs need not hinge on transition narratives, or at least not on the ones we are used to seeing.

Music

Gamblers' Michael McManus Discusses Religion, Addiction, and the Importance of Writing Open-Ended Songs

Seductively approachable, Gamblers' sunny sound masks the tragedy and despair that populate the band's debut album.

Books

Peter Guralnick's 'Looking to Get Lost' Is an Ode to the Pleasures of Writing About Music

Peter Guralnick's homage to writing about music, 'Looking to Get Lost', shows how good music writing gets the music into the readers' head.

Film

In Praise of the Artifice in George Cukor's 'Sylvia Scarlett'

George Cukor's gender-bending Sylvia Scarlett proposes a heroine who learns nothing from her cross-gendered ordeal.

Music

The Cure: Ranking the Albums From 13 to 1

Just about every Cure album is worth picking up, and even those ranked lowest boast worthwhile moments. Here are their albums, spanning 29 years, presented from worst to best.

Television

The 20 Best Episodes of 'Star Trek: The Original Series'

This is a timeless list of 20 thrilling Star Trek episodes that delight, excite, and entertain, all the while exploring the deepest aspects of the human condition and questioning our place in the universe.


Reviews
Collapse Expand Reviews



Features
Collapse Expand Features

PM Picks
Collapse Expand Pm Picks

© 1999-2020 PopMatters.com. All rights reserved.
PopMatters is wholly independent, women-owned and operated.