The pace of the strip really seems to be kicking off here! It is getting quite good, and again strengthens my ongoing thesis to this point! I think I may really have my finger on the pulse of the cartoonist here!
Here again we have two prongs out of three, and the introduction of a ‘wild card’ that I have not yet seen in any of the previous strips.
The first prong, of course carried over from the last strip most significantly, is the confrontation of the singular male ideal and the female ‘multitude’ and the her inability to comprehend the Male Genius. This is a different female character from the previous two we have seen and the reaction is still the same (the reaction being of intellectual horror (or lack of intelligence)! Instead though we see a variation of the physical reaction by the female: instead of a physical reaction in defeat to the male genius, this young blond woman goes off to fetch a strong, more authoritarian male who she has twisted around her finger to do her bidding.
The police character (an obvious reference to Dick Tracy) who has probably never heard of Klein is invincible to Ryan’s defense and pursues him for threatening the ‘soft heart and mind’ of the delicate female flower. When the feminine fails against the masculine, she will seek out another male to do her dirty work! Yes, this is a classic image seen throughout all of the ‘crime noir’ genre in media. It is interesting how Wong has cast against type and made his ‘femme fatale’ blond instead of the stereotypical brunette, lowering our defenses, just like in real life.
The second prong to this work is again the ongoing criticism of the French intelligensia. Here, the French artist Yves Klein is evoked to prove a point. The ‘blue paint’ is in reference to Klein International Blue which Klein made famous, in a most derivative way. Of course, neither female or the Authoritarian understand this
It oculd be perceived that the Dick Tracy/Urban American image appears again to ‘straighten out’ the ‘Frenchie’. The battle field to the US/Frenchdom conflict begins to spill out once again. I really think though that Wong might be biting off more than he can handle by tackling two subjects at once as both are prevalanet here but neither strongly developed without a strong reliance on previous material. A weaker strip, all round, a sacrifice made for a quick read. Perhaps the cartoonist should sell blank pieces of paper as well for gold and cast said gold into the Sienne!!!!! HAW!
indeed. indeed. HILARIOUS. is his face supposed to be cubist?
— Riva Nov 13, 00:35 #No, he’s wearing a monocle. You can see it pop off sometimes.
— DW Nov 13, 01:16 #hmmm… may I suggest jumping out a window?
— McTrowe Nov 16, 00:10 #I wouldn’t mind seeing Rienne’s views on Adorno, perhaps.
The bald guy in the first strip is the Adorno character (or at least his name is Theo)...I haven’t figured out a way to develop him yet.
— DW Nov 16, 03:06 #The pace of the strip really seems to be kicking off here! It is getting quite good, and again strengthens my ongoing thesis to this point! I think I may really have my finger on the pulse of the cartoonist here!
Here again we have two prongs out of three, and the introduction of a ‘wild card’ that I have not yet seen in any of the previous strips.
The first prong, of course carried over from the last strip most significantly, is the confrontation of the singular male ideal and the female ‘multitude’ and the her inability to comprehend the Male Genius. This is a different female character from the previous two we have seen and the reaction is still the same (the reaction being of intellectual horror (or lack of intelligence)! Instead though we see a variation of the physical reaction by the female: instead of a physical reaction in defeat to the male genius, this young blond woman goes off to fetch a strong, more authoritarian male who she has twisted around her finger to do her bidding.
The police character (an obvious reference to Dick Tracy) who has probably never heard of Klein is invincible to Ryan’s defense and pursues him for threatening the ‘soft heart and mind’ of the delicate female flower. When the feminine fails against the masculine, she will seek out another male to do her dirty work! Yes, this is a classic image seen throughout all of the ‘crime noir’ genre in media. It is interesting how Wong has cast against type and made his ‘femme fatale’ blond instead of the stereotypical brunette, lowering our defenses, just like in real life.
The second prong to this work is again the ongoing criticism of the French intelligensia. Here, the French artist Yves Klein is evoked to prove a point. The ‘blue paint’ is in reference to Klein International Blue which Klein made famous, in a most derivative way. Of course, neither female or the Authoritarian understand this
It oculd be perceived that the Dick Tracy/Urban American image appears again to ‘straighten out’ the ‘Frenchie’. The battle field to the US/Frenchdom conflict begins to spill out once again. I really think though that Wong might be biting off more than he can handle by tackling two subjects at once as both are prevalanet here but neither strongly developed without a strong reliance on previous material. A weaker strip, all round, a sacrifice made for a quick read. Perhaps the cartoonist should sell blank pieces of paper as well for gold and cast said gold into the Sienne!!!!! HAW!
— Olaf Demeanor Dec 18, 12:07 #