'...the most wonderful mess i've ever run into'

Delusion's a drug and I'm on it

Delusion's a drug and I'm on it

Happy new year! Here's the end of the 1953 EC Comics adaptation of Ray Bradbury's "There Will Come Soft Rains," first published in Weird Fantasy #17.

e.g. I keep seeing people talk about 'purple prose' when they actually mean 'the writer uses vivid and/or metaphorical descriptive language'. I've seen people who present themselves as educators offer some of the best genre writing in western canon as examples of 'purple prose' because it engages strategically in prose-poetry to evoke mood and I guess that's sheer decadence when you could instead say "it was dark and scary outside". But that's not what purple prose means. Purple means the construction of the prose itself gets in the way of conveying meaning. mid-00s horse RPers know what I'm talking about. Cerulean orbs flash'd fire as they turn'd 'pon rollforth land, yonder horizonways. <= if I had to read this when I was 12, you don't get to call Ray Bradbury's prose 'purple'.

I griped on here recently about the prepossession with fictional characters in fictional narratives behaving 'rationally' and 'realistically' as if the sole purpose of a made-up story is to convince you it could have happened. No wonder the epistolary form is having a tumblr renaissance. One million billion arguments and thought experiments about The Ones Who Walk Away From Omelas that almost all evade the point of the story: that you can't wriggle out of it. The narrator is telling you how it was, is and will be, and you must confront the dissonances it evokes and digest your discomfort. 'Realistic' begins on the author's terms, that's what gives them the power to reach into your brain and fiddle about until sparks happen. You kind of have to trust the process a little bit.

This ultra-orthodox attitude to writing shares a lot of common ground with the tight, tight commodification of art in online spaces. And I mean commodification in the truest sense - the reconstruction of the thing to maximise its capacity to interface with markets. Form and function are overwhelmingly privileged over cloudy ideas like meaning, intent and possibility, because you can apply a sliding value scale to the material aspects of a work. But you can't charge extra for 'more challenging conceptual response to the milieu' in a commission drive. So that shit becomes vestigial. It isn't valued, it isn't taught, so eventually it isn't sought out. At best it's mystified as part of a given writer/artist's 'talent', but either way it grows incumbent on the individual to care enough about that kind of skill to cultivate it.

Audio: A recording of Leonard Nimoy reading it on Internet Archive.

Text: A PDF version.

It's JLI karaoke night!

Here's a quartet of little drawings I did of my favourite idiots at karaoke. I considered maybe adding in a few others like Oberon or Max but I settled happily with the 8 I did. There's definitely parts I'm not too happy with, but ultimately I just wanted to do some fun, more simple stuff. I also had varying ideas for the songs, but settled on a few I felt fit well:

Booster & Beetle - Gold by Spandau Ballet

Bea & Tora - Hot N Cold by Katy Perry

J'Onn (sort of) & Scott - Life On Mars by David Bowie

Guy & Dmitri - Sweet Caroline by Neil Diamond