FU COMICS

SCAR so far…

I felt like sharing my journey in regard to the comics. But then I thought it’d be so boring to rehash the past, even the recent past, so I’ll just concentrate on what’s up ahead in the next four issues of SCAR.

We return to the current timeline and main protagonists, Bang, Violet, Cherry (the 3 Aspects of Scarlet Lane), after the last issue, 6, in which we dabbled into the premise of the universe by hinting on motivation of its creation and the subsequent arrival of the Watadi on Earth in the year 2022.

In the next 3 issues (numbers 7,8,9) we set up for the Big Pay Off on issue 10. Issue 7, 8, and 9 are focused on, respectively, Bang, Violet and Cherry and their respective male counterparts, ie, our “supporting cast, their lovers.

Bang is arrested by the PoPo and in jail she meets a hobo with a metal box for a head, his name is Jose Ruma Glassdoormind (an anagram for JAMES DOUGLAS MORRISON). They hit if off and escape together via Bang’s teleportation. J.R. takes a shower and reveals his beautiful face, sparks fly.

Violet visits the set of JIMMY DEAD VERSUS JEAN NORMAL, where the co-directors, Lizzy and Cherry, are at each other’s throats, literally. Vi stops the violence and makes sure they fix the script. Kirby, Vi’s fiance, arrives. She’s been avoiding this, but ends up going with him anyway. Kirby re-visits the place of their first date. Vi’s dim flame of love is given new life.

Cherry and Jeff aka Jimmy Dead, her scene partner, rehearse, as Lizzy storms off the set. When it’s time to shoot Lizzy comes back drunk as fuck, and asserts his wishes to change something about the scene that is more aligned to his original vision. Cherry obliges. Cherry and Jeff disrobe. This is, after all, a porno.

Issue 10 is a very sexy issue. We switch from all 3 couples, as they make love a montage of their collective pasts interweaves. This synchronous sex culminates into a simultaneous orgasm which snatches all 3 consciousness of Bang, Violet and Cherry into the same mental space: the mind of Scarlet Lane.

In this space a psychic message is being played, over and over again. It is Moody, their daughter, and she needs help, rescuing. She’s trapped in the Field of Holes in the meta-dimension of the Inner-Inner as her body is in a coma in the physical sphere. She’s about to tell them where exactly she is — when all 3 hear a loud “CUT!” from Lizzy.

Jeff pulls out of Cherry. The triple-psychic-connection is severed. All 3 are dumbfounded. They have no memory of this at all. Except for Bang, she’s always felt this inexplicable motherly abyss in her…

www.globalcomix.com

https://globalcomix.com/c/scar/chapters/en/6/1

Rules of Engagement:
1. No bodiless narration. Voice-over acceptable.
2. Curated sound effects only. No cartoony “zap” or “kazoowie” or “boom” or anything that ends with “thoom,” et al.
3. No overt expository dialogue. We show, and we don’t cheat by telling what we can show, i.e. DRAMATIZE.
4. Realistic physics (or meta-physics) concerning fight choreography.
5. Treat fight scenes (and fight choreography) as dramatic opportunities to further characterization, plot and over all narrative.
6. Every scene is time-stamped. In case we find we’d like to go back and insert a parallel or supporting narrative, we shall never lose our footing and placement within the grander storyline.
7. No time travel to the past. No ret-cons. This tactic is so plebeian at this point. We won’t cheat. If we do something, we stick to our guns, and move forward. People can still come back from the dead, but we will have to work harder for it.
8. No multiverse or alternate Earths. Again, a tired conceptual system. Just one universe and it’s infinite. ALTHOUGH, within the PROBABILITY SPACE of the IDEAVERSE, a multiverse exists, but it is a meta-physical multiverse, not a physical one.
9. Covers will be used as meta-panels spanning several tracks (issues) that relate to the same scene. They will look like covers, i.e. advertising, but they shall also move the story forward. I guess you could say we have no covers, our books are naked. WE HAVE NAKED COVERS.

THIS IS A META-COMIC. (Please read last post for more context.) A meta-comic is like reading visual music. The story is not linear. It jumps in accordance to my instincts in alignment to my vision on what YOU the reader should experience next. I am not concerned with spoon feeding you with my world building. My world building is 15 years worth, it’s solid, and we will get there. I have non sequitor pages here and there, which may not make sense until several issues later. In this visual musical, there are essentially 3 species of NOTES: Character, Plot, and World. A character based issue is slower than a plot-based issue, and a world-based issue will have its own dynamic of character and plot, independent of the main narrative, but also supportive. Too many comics breeze through their plot and leave their characters behind. This is an immersive universe. Immersive as FUCK. PAY ATTENTION TO THE TIME STAMPS. Enjoy!

The CORE IDEA behind the Work is defined by 2 concepts. 1. In Will Eisner’s book COMICS AND SEQUENTIAL ART, he describes his approach to the page as a META-PANEL. And I thought, why can’t we stretch that concept to absorb the entire comic issue or arc or the entirety of the narrative? But HOW? Enter the Key, and Concept 2: Orson Welles’ approach to editing movies. He said, I paraphrase, “I can’t make a movie until I understand its (visual) musicality.” Musicality is the secret ingredient to turning a meta-panel to a meta-comic. What is a META-COMIC? (to be contd.)

(contd.) is a metaphysical thesis, but that subject’s for another post. I hope you keep an open mind, because I am going to challenge your expectations on what a comic book can be. Enjoy, momos! =)

The emotional energy behind the Work (SCAR Universe) is fueled by 2 on going experiences. One, being molested at a pre-teen age. Two, being a father of an autistic child. Seth is now 15, going on 16, the same age as the Work. It started 16 years ago with Harry Potter type stories in a tribal period, meant for Seth to read when he was ready. This was before he was diagnosed with autism. These 2 experiences, more than any other, has shaped my life. The former for not so good results, the latter for way better results. Now, at a point of maturity where I am able to reconcile with the trauma, and also reconcile with the fact that being a caregiver to my child is a lifelong, daily occupation (with its own unique pleasures), I can use these experiences as energy to inform the Work EMOTIONALLY, as opposed to NARRATIVELY. This is not an autobiography. If anything it