![]() ![]() (FULL DISCLOSURE: Graffiti Asia is published by Laurence King, who are distributed in Canada by my employer Raincoast Books). The image doesn’t entirely do it justice as the ‘brown’ is actually spot metallic gold (I think it’s ink, but correct me if I am wrong): The stunning cover of Graffiti Asia by The SRK‘s Ryo Sanada and Suridh Hassan. The notion of continual reinvention as a worthwhile or attainable goal is particularly misplaced here… With book design, we should value appropriateness to subject, vivid animation of content, and the dexterity and panache with which the designers interpret every purposeful, cherishable convention of the book. Rick Poynor on the dictionary as art concept for Designer Observer: Meanwhile, over on KCRW filmmaker and author John Sayles talks about his hefty new book A Moment in the Sun with Michael Silverblatt for Bookworm. #Kcrw bookworm serialThe central monsters are – or I guess I would say the central monsters become serial killers and zombies… And I think the other thing that marks it is there’s a certain kind of moral ambiguity about these movies and just generally a sort sense of confusion and disorientation that marks most of these films. The central kind of monsters are no longer werewolves and vampires and the supernatural. There isn’t this kind of catharsis at the end that you see in a lot of movies before that. ![]() I think that as you look at this period from ’68 to the end of the ’70s, generally, first of all, you see a lot more unhappy endings. Unhappy Endings - Jason Zinoman, author of Shock Value: How a Few Eccentric Outsiders Gave Us Nightmares, Conquered Hollywood and Invented Modern Horror, talks to Terry Gross for NPR’s Fresh Air: ![]() Read (and reread) the strips slowly and don’t feel the need to rush through. Thus, whichever book you decide to dive into first, I’d recommend taking your time. Then there’s Krazy’s off-kilter dialogue (“If only I could be star or a moom or a komi or ivin a solo eeklip. The early strips are dense with wordplay, while the later strips take on the quality of near-abstract paintings at times. Krazy Kat is far from a chore… Indeed, it is rarely anything less than a delight to read, although it can be a bit challenging for newcomers. Sweet Nuttin’ - A primer on George Herriman’s classic and wonderfully idiosyncratic comic strip Krazy Kat at Robot 6: ![]()
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