Alec Berry & Shawn Starr / couldn’t come up with a title
Originally published at Spandexless.com
Alec Berry: Benjamin Marra is the dude who can’t be
told ‘no’ at the moment. The industry, or the side aware of him, has
latched onto his work, and no matter what genre, content or heinous
thing he draws, the people can’t get enough.
I would place myself in that camp of the faithful. Like most of the
industry, I too was unaware of Marra’s comics up until this year, but
now after having spent time with them, I find his attitude and passion
for creating engrossing, and I feel his comics represent a long
forgotten aspect of the medium. Representing, of course, for the
betterment of comics.
Marra’s books, while lewd, grotesque and absurd, are keeping this
funny book thing on the ground, balancing out the high reaching works of
Craig Thompson, or whatever other clone there may be, celebrating some
of the roots associated with comics while simply presenting an artist
who doesn’t really give a fuck what you think. Marra’s making the shit
he wants to see, and from this I feel it’s appropriate we discuss
Marra’s work after
our previous discussion
which pertained to Rob Liefeld. Because Marra, like Liefeld, celebrates
the trash entertainment value found in comics, but does so with an
energy and charm that cannot be overridden. Yet, as an added bonus,
Marra’s comics juxtapose the trash subject matter by presenting
astounding craft and draftsmanship, making his books into these
bombastic scraps slammed together with staples.
For anyone who spends any time on the comic industry’s side of the
internet, this may not be anything new to chat about as Benjamin Marra
has become a very well covered, and discussed, cartoonist. You can read
just about any interview with the guy and discover what I just wrote,
straight from the man himself. But, this aside, he does have a new book
out titled
Lincoln Washington: Free Man, and I think we would be remiss not to discuss this book because, of all the Marra comics I’ve read, I feel
Lincoln Washington
is his absolute best. It really brings all the ideas of his work home
and houses them under a perfectly illustrated composition.
From the subject matter to the characterization to the humor, this
comic performs in every way. And we can’t forget the six panel grids.
But, fuck, let me stop. You’re the bigger fan than I. What did you find
appealing about
Lincoln Washington?
Shawn Starr: I think what makes Marra important is
that he makes genuinely fun comics. That seems like an odd statement,
but when you examine the landscape of comics in the wake of the 80’s /
90’s
intellectual movement (in both art comics via
RAW and
Art Spiegelman and in the “mainstream” by the likes of Alan Moore and
Frank Miller) everything became serious. Too serious. Every comic, from
superheroes whose only power was to shoot arrows and look like Robin
Hood, to the ‘zine some guy xeroxed on his lunch break about middle-aged
samurai kangaroos, was considered the pinnacle of art.
Everything became graphic-novel-this and graphic-novel-that, and
comics were thrust into the hands of the mainstream under the guise of
“Art”; even the Batman movie was accompanied by a Grant Morrison / Dave
McKean “graphic novel” that would grab the attention of none of the
moviegoers. Seriously, that book is fucking impenetrable.
Intellectualism is what everybody decided made comics acceptable, I
guess. That’s why all those RAW guys live on yachts and pour champagne
on
bitches all day. Except Spiegelman; he just puts his cigarettes out on their inner-thighs and watches them dance real slow.
Real slow.
And now no one looks at the kid reading the new issue of Wolverine on
the bus weird, because everyone knows how serious Wolverine is. Dude’s
got adamantium claws and can’t remember his past. Dostoyevsky, eat your
heart out.
Except, none of that’s true.
The problem is that Spiegelman and his disciples looked at EC Comics and MAD Magazine and saw an air of intellectualism in
Harvey Kurtzman,
and assumed that’s where comics went right, and pumped it up a
thousandfold. They abandoned all the horror and humor that made those
comics popular for an attempt at respectability. They tried to make
comics for the “masses” (those masses being people who hang out at
Cambridge coffee houses and try and pick up Grad-Students with an
insightful critique of China’s economic development they culled from
last year’s
New Yorker) and lost what made comics, you know,
comics. Liefeld and the Image guys recaptured that to a certain degree,
but they were never able to get that underlying intellectualism down. It
was a perfect mix, that everyone took the extremes of and lost what
made it truly great. (The Wally Wood art didn’t hurt either.)
That air of intellectualism and is an important feature of EC and
MAD, no doubt, but its beneath the surface to a large extent, or at
least as beneath the surface as a 1950’s comic could be. Kids didn’t
read EC and MAD to find out about Cuba’s strategic geo-political value
or Soviet Collectivism, they wanted to see poop jokes and ghouls ripping
limbs off unsuspecting college students, and Marra perfectly captures
that feeling.
Gangsta Rap Posse is steeped in the history of
Gangsta Rap, but Marra doesn’t allow that to constrain the book. It’s
all there if you want it, but the book is first and foremost an
exploration of a 12-year old’s perception of NWA and Gangsta Rap. A view
warped by the perception that the band itself put forward and the
media’s further distortion under Reaganomics skewed morality. He makes
comics warped by white suburbia’s fears of the violent, aggressive and
subversive extremes of art and culture. Something Robert Crumb would
have loved, if he hadn’t turned into a old curmudgeon who yells at his
direct (rather than theoretical*) descendants to get off his lawn.
NWA smokes crack, fucks hookers and kills cops. The end. So why not
make a comic about that, and not the 10,000th auto-bio comic about how
you can’t get laid and no one understands you.
Marra makes fun comics first and foremost. That may be why he can do no wrong (currently), and
Lincoln Washington is his best effort yet. It’s the exploitation movie Tarantino wishes he could make
(and may now have)
done in twenty-three expertly crafted pages. Even his use (along with
the current crop of art/alt-comics creators) of the comics pamphlet is
revolutionary; a back to basics approach to comic making in the strain
of the original EC Comics shock aesthetic, reproduced on the disposable
newsprint (
which American Psycho used perfectly)
that created the ideal of the trash culture of comics. No more
multi-arc genre deconstructions based on a Yeats poem the author
misunderstood, just single issue fistfights, with a little something
more if you want it. Straight up comics.
Even Marra’s books that end with a “to be continued…” read more like a threat than a promise of more to come. Maybe Marra has a
Lincoln Washington #2 in mind, but #1 did everything I wanted and more. I’m not sure comics could handle a follow up.
I don’t know. I’ve had enough of intellectualism and pseudo-realism
in my comics. They have their place, i just don’t think that place is at
the forefront anymore. I just want comics to be comics again, and Marra
(and company) captures that aesthetic perfectly.
Also on your point of Marra’s apparent “lewdness” do you actually see
his comics as “lewd” or is it his use of violence and sexuality for
satirical purposes that causes that feeling? I assume that’s his intent,
to create lewd and obscene work, but I don’t think any Marra book is as
violent as anything that DC puts out (just look at an issue of Green
Lantern and you’ll see a female in far skimpier attire than anything
Marra depicts disemboweled for 20 pages at a time) or as sexual. If
anything it’s less, since Marra is depicting a slave ripping out his
“owners” spine purely for laughs (even the slave-owners rape of Lincoln
Washington’s wife, although horrific, is done with the readers knowledge
that he’s going to get what’s coming to him sooner rather than later).
Maybe the problem is that Marra makes the reader complacent, or even
proactive in the violence? I know when I saw what happened to everyone I
was gleeful. I literally rushed out to make my brother read it and
point out panels to him. While when you read the same thing in a Batman
comic you’re kind of disturbed by the whole experience. Batman’s real,
or at least his world is portrayed as real, Marra’s is always firmly
dealing in the fictional.
AB: While the content plays into the humor or
Marra’s fascination with trash entertainment, it is, by nature, still
provocative, and I wouldn’t go as far as to say a DC or Marvel comic is
worse or just as bad. Maybe in terms of the context, yes, a Marvel or DC
can take a lighthearted thing like Green Lantern and pervert it through
violence or an overly serious tone, but the violence, by itself, is
still technically worse and more explicit in a Marra book. But it can
feel lighthearted, as you say, because of association through humor or
knowing exactly what you’re reading from the start. Batman going out and
raping someone or whatever will come at more of a shock and leave more
of an impact (that’s for you, Joey) just because of the expectations
placed on a Batman comic. A Ben Marra comic brings with it a whole other
bag of expectations. So, to a degree, I can agree with your point.
I’m not trying to demean Marra’s subjects or make these comics out to
be offensive. In fact, I find the lewd quality as a definite benefit to
the work because I feel it helps accomplish the mission of what Marra’s
doing, in that, these are w to people.
You should read
Gangsta Rap Posse or
Night Business
alone in your room, and when your mom walks in, tuck it under the bed..
It brings back that idea of hiding shit from your parents. Like, even
now in my own apartment, I stack Marra’s stuff underneath other comics
because I don’t want someone to walk into my room and get any ideas
about the shit I’m into. But again, that’s cool. Like you usually say,
“comics as weapons.” Or comics being the poison which ruins your kids. I
love that concept or perspective on the medium.
I like your thought on Marra’s violence making a reader more
proactive because I do think he uses violence in such a way, as do
stories or entertainment of this sort. Especially for this subject
matter where good and evil are so black and white (no pun intended). You
can’t help but cheer Lincoln Washington on. And that even comes down to
the characterization. Washington is such a set-in-stone hero and the
Klansmen are such vile pieces of shit. Nothing’s grey, and it completely
dodges this current idea of what we see in super hero comics or other
stories in general. Every character has turned into a washboard,
contemplating life’s big questions before acting. Marra’s characters
just do what they do without any further thought. Bad real life
practice, great fictional stance.
But as for participating in that violence, or anticipating it,
banking on it … I do find that an interesting way to read into people.
Trash entertainment, being what it is, speaks to that savage side of us.
That side that’s not really concerned about the consequences but just
wants bloodshed, tits and hard drugs. You could go into a whole debate
about whether it’s a good thing to stir up that side of our psyche or
not, but I feel the point is it’s there. We possess such an instinct,
and storytelling such as this feeds or at least exercises that shit out
in a relatively safe way.
There’s more to say about these types of work than just wish fulfillment or humor. Maybe they help keep us sane?
For
Lincoln Washington, it’s about payback. It’s about
rubbing shit in the white man’s face as well as confronting some of that
white guilt – on top of being about a man ripping another guy’s spine
out. And it all sort of satisfies by the end, no matter the reader’s
skin color, because you feel in a sense justice has been rightfully
served, fictionally. But though fiction, it still hits and means
something. The reaction either is one of they got what they deserved, or
I, being the white man, totally needed my ass kicked.
Maybe that’s an unnecessary reading, but I like the idea of Marra’s
work both being trash as well as well-thought out and intelligent. I
feel much of that resides in
Lincoln Washington, and it builds a
little on what you were saying about the violence inciting a proactive
response. The violence has a purpose. Like all the best stories.
How did you feel about the inking style on this book? It sort of reverted back, in a sense, to what he did before
Gangsta Rap Posse
#2. Does it fit the book for you? I would say so. The bold blacks
certainly give the story more of a defined stance, and the inking really
helps to depict Washington’s character as this bad ass hero type who
appears cut from stone.
SS: He certainly has a lot more spot blacks in Lincoln Washington, a contrast from his last work (
Gangsta Rap Posse #2) which was all line work. I’m not sure if it’s a reversion, though. His early inking style is quite heavy handed, while
Lincoln Washington’s inking seems like more of a continuation from
Gangsta Rap Posse than a reversion
. His
inking here is more restrained than his previous works, and utilized
with greater purpose, something that I wouldn’t generally identify with
Marra. By doing away with all the excess inking, Marra seems to have
figured out when and where it’s absolutely necessary to the story and
leave it out in any other instance.
In
Gangsta Rap Posse #2 Marra choose not to distinguish the
black cast from the white with any additional shading or color, that
probably stems from trying to keep the colors (black & white) in
balance on the page, along with streamlining the process. It works on
that project, and there’s a definite improvement in the art between
issues #1 and #2, but in Lincoln Washington it needed the blacks to
distinguish the character from his surroundings.
Lincoln Washington is the only black character in the book (except
for his wife, who appears for a total of three pages), and he’s entering
an “alien” and hostile place (Post-Civil War South), so his color has
to be at the forefront, requiring a heavy shading/color process to
separate him from the white residence. What could be ignored in
Gangsta Rap Posse really can’t in
Lincoln Washington. Race is a far more prominent detail.
If you look at the first page of
Lincoln Washington, the
only two objects that are completely black are Lincoln Washington and
the title “O’ Sins of Men, What Demon Fathered You” which both
distinguishes Lincoln from his surroundings and connects him with the
title explicitly, the title both works as a comment on the sins of
racism (America’s original sin) and Lincoln Washington, who is a man
empowered by the souls of slaves to avenge the wrong doings perpetrated
by white slaveholders. The colors are used as a way of separating and
defining Lincoln as a character.
I also want to expand on Marra’s use of the six panel grid which you
touched on. His layouts are simple, concise, and have a great 1-2 beat,
while the nine panel grid always seemed too dense (probably due to its
association with Alan Moore and Dave Gibbon’s
Watchmen) and
anything less reads too fast (Widescreen comics and their Three/Four
panel grid for example are closely associated with decompression). The
six panel grid allows Marra to tell a whole story, both between each
panel, and over the course of twenty-three pages, without any sense of
decompression, or limiting his artwork by confining it in an overly
dense panel.
Marra’s ability to keep his pages kinetic has always impressed me,
and I think the six panel grid has a lot to do with it. He has a
particularly stiff line compared to most artists, which he uses to a
great effect in showing his characters body language and adding a subtle
hint of contrast between his characters by playing with their bodies
“stiffness” and “looseness” on the page. But his line’s stiffness never
seems to constrain the action. Everything’s in constant motion on a
Marra page, making it seem that each panel is being pushed into the
next. I think this is where the grids’ simplicity comes into effect. It
allows the action to flow smoothly from one panel to another while still
remaining clear and rhythmic, which Marra uses to offset anything
static about his line work.
AB: This
Matt Seneca interview with Marra is a great read, if you haven’t already.
I’d say you summed it all up nicely, Shawn; therefore, I’m going to let it go at that.
Purchase Lincoln Washington: Free Man
here. That is a demand.
ENDNOTES
*Johnny Ryan and Ben Marra have more in common with Crumb content wise (especially Crumbs early work) than every artist
RAW published
combined, and yet Crumb identifies with the latter instead of the
former. Going so far as to criticize Johnny Ryan for his content. Which
always seemed odd from a man who started out drawing a mixture of racist
and perverted comics meant to offend squares in San Francisco.
Simon Moreton seems like a man who takes a lot of long car rides. Not because he travels a lot or because Grand Gestures is filled with lavish drawings of the english countryside, but because his work is filled with the opposite. The minutia of the every day. Images that are only captured from glancing moments looking outside the car window while on the expressway. It is for this that i suspect Moreton takes a lot of long car drives, even though i don't have the faintest idea about him or his travel plans. Because no man who could revel in such tiny moments while breaking the speed limit. 
Moreton paces Grand Gestures in bursts of motion and moments of stillness. The road, parking lots, overpasses rush by with the intensity of a car driving eighty, until the page becomes transfixed on a single object. Moving closer and closer until it again whisks away in the space of a gutter. The reader moves through Grand Gestures like a driver looking around for miles and miles thinking they're lost until seeing a factory with an odd sign, an old barn, a dilapidated shop and suddenly knowing exactly where they are in space and time. Moreton is looking for that sign to fix his eyes upon and he find it in the migration of geese.
