| |
|
Arguably, any well-handled foil plays this role. Of things were it's in-story role is to be a part of the character, an externalized aspect:
(deliberately not covering the already mentioned)
Film:
Blue Velvet
Mulholland Drive
(everything else, pretty much, Lynch did, so I'll stop that)
Masked & Anonymous
Adolscence Apocalypse
Hedwig and the Angry Inch
Soldier
Split Second
and that thing with the motel inside the guy's hypnotised head with the child-trauma and murder, car-wreck, and such. Anyone know what I'm talking about?
Books:
VALIS - Dick
Ubik - Dick
Scanner Darkly - Dick
(mostly everything else Phil Dick wrote, so I'll stop that)
Finnegans Wake - Joyce
Demian - Hesse
Pussy, King of the Pirates - Acker
Lolita - Nabokov
Pale Fire - Nabokov
(I'll quit with him, too)
Comics:
The Invisibles
New X-Men
(again, much of Morrison's works... some people just do it a lot)
The Sentry
The Incredible Hulk
Ghost in the Shell II: Man-Machine Interface
'The Enigma' doesn't have it, but for a while somebody thinks it does
I would argue that it often leads to destruction, however. I think it's less a death-movement, and more a death-urge destrudo thing. It allows, through transgression, for a freeing or ultimate move. It's usually a precursor or forces a recognition of some greater state or capacity. So it is in 'The Messenger' or the second 'Ghost in the Shell' comic, definitely. Even if death is involved, it's still not a ruin or destruction. They get Heaven, or new life, or even just removed from the playing field in some sort of cosmic catch and release program. Or maybe that's just me seeing that as the more common theme, blinders on and all. |
|
|
