ah, well i'm only ever here for the violence really so this, finally fucking purchased on saturday, is one of the best comics of all time. i only wish i could have read it and jla classified on a run but never mind. so i was punching the air with joy at the 'those poor, poor soldiers....killemall!!' (love the sado techie guy) bits, but the pivotal moment came when the rats caught tinker and i actually heard her scream. went into the bedroom where my own personal version of tinker was lying, just to reassure myself she was okay. i stayed for a bit, stroked and patted, and got one of those completely disarming 'what are you doing prick? i'm not hungry y'know!' looks that she's so good at. i also choked at pirate's 'bad dog' bit (because bandit got shot? i doubt it, more likely guilt over the dead hume, but more on the lush ambiguity later) so, emotions good and bad fully stoked to 100% satisfaction.
other points:
fucking seagulls, duncan is correct. you learn to respect them where i live, but today they bhaved abominably - i was feeding the pigeons (a crowd of which is normally enough to deter even the meatiest bastard gulls) on the bit outside the flat, and as normal they gather round the edges looking for what they can. today though, not satisfied with eating the dead man's guts on saturday, started biting each other for the bits of stale baguette, even coming away with beakfuls of each others' feathers: the noise of seagulls fighting is very horrible. (there's a second breed been happening along lately. egrets maybe? more pretty and timid, but without the sheer love to hate balls of their cousins.)
earlier we3 was mentioned not having the linguistic or religiose underpinning of watership down. i'm not sure what the allegorical/other meaning of watership down might be, (it sticks in my mind as an animated 'the good life' with added swearing seagulls and plento ultraviolence), though i can imagine it correlates passably well with exodus -> noah. a link between bandit and puck from a midsummer nights' dream is hugely tempting and obvious to me, but it's not the kind of thing anyone else perhaps wants to make. the linguistic/religious bits here might be to do with lepufology in modern america and 5D squids from sirius, and we might not like that, but that's not to say they're not there.
ambiguity: i read this comic as fast as possible (not very fast given the density on display), and didn't notice any plot-holes. the cat ran out of ammo, the rabbit blew up the train. these may not be 'clear' or claremont-style explicit, but this is one of the reasons that i think this comic is so far ahead, not just of most comics, but books and mainstream movies too. things as they happen outside do so fast, chaotically, without the convenience of being able to see every bit of action at once. does the train blow because of a broken tail, or a poor attempt to stop the train, or the rats? not important, all or none. the bridge blew up, they fell in. the how is obvious, the why (never going to explained to us around the campfire, just as the motives of everyone i've spoken to today aren't) is an evanescent irrelevance to be left to the storytelling prowess inside everyone's individual head, and is not quitely or morrison's responsibility. they just have to present what happens as best they think they can. (that was explained rubbishly. sorry, maybe better later)
dialogue: love the point that BOSSST!NK could mean
'bosses are shit/you're shit, boss' but also 'i'm boss'. i can't be sure, but i reckon most cats think they're boss.
good dog/bad dog - there's no distance between pirate and his world: if the dog is happy and warm he *is* a good dog. if he's killed a man and failed to protect one of the pack he *is* a bad one.
but we're going to see the real bad dog (or anti-dog, the kenneth grant dog) next ish, to compare with the nice rawilson-dog i've come to feel so close to.
oh dear look at that. far overlong. sorry. sure i've missed stuff to. bad gambit |
