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Edith Rock & Hilda Roll vs. The Scary Pop Babies

 
 
Nelson Evergreen
10:12 / 27.11.04


Good lord. All alone on the stage...

Much as I'd love for this absurdist musical satire with arse gags to be universally adored by everyone ever, I do grudgingly accept that constructive criticism might have to rear its miserable head at some point, so don't hold back, kids.

It's 20 pages, black and white, soon to be printed up and sent off to a bunch of comic publishers in the US who I want to make friends with... if I still like it by then and it goes down well with you discerning folk...
 
 
Regrettable Juvenilia
11:07 / 27.11.04
You utter bastard.

I say this for two reasons:

1) It is very good.

2) It is horrid and distrubing.
 
 
Regrettable Juvenilia
11:08 / 27.11.04
Yes, DISTRUBING.
 
 
Suedey! SHOT FOR MEAT!
12:21 / 27.11.04
And you hit me with this when I've only just woken up!? I feel a bit flabbergasted, I'm not sure I fitted my head round it just yet.

But gosh. I feel like painting the village mauve... top stuff, Nelson.

TOP. Also: MAD.

And: FUNNY.
 
 
Bed Head
21:56 / 27.11.04
Oh. My. God.

Utterly fantastic stuff, Nelson. So stylish.

What can I say? ...the pop babies themselves are magnificent. That page alone, where the door is opened, made me squeee with glee at the sheer brilliance of it. The way they radiate lyrics. Beautiful.

And the language is bloody glorious throughout : ‘...pump some urgency into that there gander of yours, and sharpish, lest you wish to feel the full lash of them spinstery tongues’. It’s great to read, even better to share.

Yes, funny. And evocative. And that makes me feel all weird inside.
 
 
8===>Q: alyn
22:40 / 27.11.04
Nelson, you fucking lunatic, where did you meet my grandmother?
 
 
8===>Q: alyn
22:58 / 27.11.04
Awesome fucking lunatic, I should say. Tongue-swallowingly awesome.
 
 
Suedey! SHOT FOR MEAT!
11:17 / 29.11.04


I keep wanting to say things, but thinking about it makes me want to try and draw.

Like a demented cartoon version of the League of Gentleman doing musical satire. No, no! A mix of animation and live action. I love the mix in the art, some of the backgrounds in the village are just gorgeous, and only made better by the bizarre spindly grannies of your imagination.
 
 
Nelson Evergreen
12:10 / 29.11.04
Thanks everyone. I was riddled with nerves about posting this, but your kind comments have put my brain at ease.

You know, I'd clean forgotten how queasy some of these ideas made me feel when it was being written. Having spent long enough on the technical (structural and visual) side of the strip to have become pretty much immunised to its overall effect, it's been a giddy surprise hearing words like 'twisted', 'lunatic' and 'distrubing' bandied about to describe it.

It reads like a gentle, whimsical little comedy to me, damn it.
 
 
Suedey! SHOT FOR MEAT!
12:25 / 29.11.04
I really was surprised at how creepy it felt, at first. Obviously, I came to relish it. It very much suits your drawing style, with all the chunky blacks and spots of darkness (plus somewhat manic figures) - but still with a lightness of touch from the kind of verbose flowery wordplay Bed Head mentioned.

I think my favourite moment has to come from the sequence with the low gate. Lot's of different comic touches and senses of timing!

*giddy*

Are you going to shun writers, now? Have you got more planned? eh? eh?
 
 
Jack Fear
12:35 / 29.11.04
Well, consider my trubes removed...

One teeny tiny nitpick (nits are, in fact, louse eggs—did you ever wonder?)—the ending. Having rolled forth at a suitably leisurely pace for 19 pages, we suddenly end in a flurry of second-hand infodump and a rather unconvincing return to the (admittedly fucked-up) status quo.

Of course this isn't a classically structured story—the characters are grotesques, no one is going to change over the course of these events, in fact it's not an Event Story at all, nor even a Character Story, but a Milieu Story (although seen entirely from within, not from the mediating standpoint of an Outsider character)—but the storyteller part of me still balks at the flouting of one of our deepest-held tenets: Do not take the climax of your story away from your protagonist(s).

Different means to different ends, I know. But the pacing was so perfect in those first 19 pages thagt I was left with the impression that the coda came about either with a cry of (a) "Fuck! I've written myself into a corner! How am I gonna resolve this one!" or (b) "Fuck! I meant to wrap this up in 20 pages, and here I am at page eighteen already! Truncate, man, truncate!"

Neither of which is really the impression that you want to give, y'know?

Please note that any misgivings about the denouement are solely prompted by how fucking good the rest of it is.

Yours trubeless,

J. Fear
 
 
Nelson Evergreen
09:16 / 30.11.04
You've got me there, Jack.

In my own head, I've tried validating the closing page by imagining it as waking up from a bad dream and everything being 'okay' again, in that classic hokey kind of way. And I'm kind of happy with that, but it's still a projection of hindsight onto what I know full well was the original intent: to employ deliberately abrupt, cavalier storytelling because one couldn't think of another finale and wanted to get on with drawing the fucker.

Next time, Mr Fear, you'll be 100% satisfied, even if I have to resign myself to, oh, a whole extra day of plotting. Thanks for the splendid critique; a learned kick up the arse.
 
 
Regrettable Juvenilia
10:49 / 30.11.04
Surely the climax is the snapping bones, though...

I think my favourite moment has to come from the sequence with the low gate.

I found this unbelievably, knuckle-eatingly annoying, in the best possible sense - you want to scream at the characters, AAARRGGGH.
 
 
wembley can change in 28 days
11:19 / 30.11.04
Yes, and to add to that, I'm flipping coins to decide which one of those sweaters to knit first...
 
 
iamus
01:58 / 01.12.04
This is absolutely splendid.

I find it hard to reply because I'm pretty much insane with jealousy.
 
 
lentil
07:59 / 04.12.04
Outstanding, Nelson. I agree with Suedey that the story suits your drawing style well. So much personality comes through in the work you've done from other peoples' scripts, and this seems like a very natural expansion of that personality and mood into the writing side of things. Love the character design, particularly on Miss Rock and probably my favourite, Reverend Funkmaster. His chubby nervous-yet-self-satisfied leer is just spot on, I can feel his clammy handshake from here.

Have to chime in with support for the waiting by the gate sequence and its excrutiating brilliance (the ass-watching page also rocked for similar reasons). That it works so well is credit to the believability of the twisted milieu you create. There's a consistency to the fucked-up logic of the characters' relationships to rock'n'roll/debauchery which, without wanting to paper over Jack's criticism, does provide a climax involving the protagonists: throughout the story they exist in this joyless parody of a party lifestyle, but when they're forced to actually engage with one of the central features of good partying (dancing), it's anathema to them and they end up in hospital. I supppose it depends whether you see the last page as a resolution or an epilogue.

I was going to say something about how the combination of the more realistic backgrounds, grotesque charcters and forceful, at times almost oppressive inking suits the dark fantasy but I think that's been covered above.

It was so intensely enjoyable I didn't even have time to start getting envious until I'd finished reading!
 
 
charrellz
19:55 / 04.12.04
Brilliant! That is the most intelligent review I can give at the moment, maybe more later when I calm down from it a bit.

Oh, and the last panel made me feel all warm and fuzzy inside.
 
 
Alex's Grandma
00:48 / 20.01.05
A bit belatedly, Evergreen, this is a work of great beauty, worthy of Mike Leigh, Ken Loach, or any of the other serious documentarians re: UK life. The only thing is, I don't know how much room there is in the market these days for this kind of straight realist material - A lot of your audience might not live in the countryside, so they might not quite understand it, how it is out there, so it's probably best if you try and pretend that you made the whole thing up, y'know ?

Word to the wise, is all I'm saying, Nelson.
 
  
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