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On the stroke of midnight
Jul. 10th, 2003 12:01 amSo I may have been reduced to writing Depeche Mode slash, but Neil Gaiman is writing Narnia slash. So... actually, I'm not ahead of the game at that. Darn.
Promethea is amazing. It's Alan Moore I follow, grosso modo off-and-on, but the visuals are just... wow. What they've done with the découpage: those Ancient-Egypt-by-way-of-Art-Deco layouts. The typography alone fills my brain with metatextual buzz. I know the references are intentional, and it'd sound right smart if I could rattle them off, but I'm hard put to translate them into words. It's like all my dad's vintage pop/pulp illustration collections reassembled into one construct.
(When I browse it's images first, thesis of text second, and then I start paying attention to details like names - if at all. ^^; Some weeks ago I was tremenjously amused to run across an article on Sir Ian McKellen's site regarding a celebrated '69 production of Edward II that I'd actually read about in one of the household books. No recollection that it mentioned Ian McKellen in the title role, but then I dug the text up and of course it did. The thing I did remember was that the fella they got to play Gaveston was rather dishy - photo, y'see.
Speaking of which (household books), came across a copy of Chansons de Bilitis the other day, in a locked cabinet in a furuhonya on Saint-Laurent - not Pierre Louys, but David Hamilton. Though there was also an old edition of Louys in the same cabinet; evidently the special bookcase. Briefly calculated how much it would freak out the cute oniisan at the counter if I asked to buy the former for my dad and the latter for me, but lack of ready cash removed that particular temptation. Oh vell.)
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fyredancer has apparently also being reading Cerulean Sins, which inspires me to return to my drabble-delayed gripe.
( cut for reaction-type spoilers )
Promethea is amazing. It's Alan Moore I follow, grosso modo off-and-on, but the visuals are just... wow. What they've done with the découpage: those Ancient-Egypt-by-way-of-Art-Deco layouts. The typography alone fills my brain with metatextual buzz. I know the references are intentional, and it'd sound right smart if I could rattle them off, but I'm hard put to translate them into words. It's like all my dad's vintage pop/pulp illustration collections reassembled into one construct.
(When I browse it's images first, thesis of text second, and then I start paying attention to details like names - if at all. ^^; Some weeks ago I was tremenjously amused to run across an article on Sir Ian McKellen's site regarding a celebrated '69 production of Edward II that I'd actually read about in one of the household books. No recollection that it mentioned Ian McKellen in the title role, but then I dug the text up and of course it did. The thing I did remember was that the fella they got to play Gaveston was rather dishy - photo, y'see.
Speaking of which (household books), came across a copy of Chansons de Bilitis the other day, in a locked cabinet in a furuhonya on Saint-Laurent - not Pierre Louys, but David Hamilton. Though there was also an old edition of Louys in the same cabinet; evidently the special bookcase. Briefly calculated how much it would freak out the cute oniisan at the counter if I asked to buy the former for my dad and the latter for me, but lack of ready cash removed that particular temptation. Oh vell.)
fyredancer has apparently also being reading Cerulean Sins, which inspires me to return to my drabble-delayed gripe.( cut for reaction-type spoilers )
