Word: comix
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...only disappointment readers of the comic may feel is that director and co-writer Terry Zwigoff (who last did "Crumb," about the underground comix master) turns the focus of the movie more on Enid and her emerging relationship with Seymour rather than the girls' friendship. The book enjoys its reputation primarily for the uncanny naturalness and intimacy of the two girls' banter as they constantly affirm each other with "I know," or refer to each other's past history with questions like "Isn't that the thing David Lipton gave you in the fifth grade?" Much of the book...
...most importantly the Clowes sensibility has successfully made it into movie theaters. It's too bad that it takes a movie to expose vast numbers of people to Clowes' pessimistic universe of the lummoxes, schlubs, and dorks who made the Wendy's foodchain possible and who write "comix" review columns on "the web." Some may even wonder if by making a film the creators are implicitly entering the very universe of mass-cult they rail against in the picture. Fear not. Unlike those shrill, hard-sell teen comedies on the other screens, "Ghost World" never becomes the kind of empty...
...Ghost World," the movie, opens today in New York, L.A. and Seattle, and in wider release on August 3. "Ghost World," the comix series, has been collected into paperback and should be available at even second-rate comicbook stores, and regular bookstores...
...Tips for hipsters The last movie with any sort of non-superhero, "underground" comix origin seems to be "Nine Lives of Fritz the Cat," a 1974 sequel to "Fritz the Cat," based on the Robert Crumb character. Am I wrong? Write me Watch for Clowes' artwork making a cameo in Seymour's "Cook's Chicken Inn" scrapbook as well as a masterfully saccharine unicorn in an art display. Similarly, Robert Crumb's daughter, Sophie, contributed all of Enid's drawings. Lastly, stick through the end credits for an alternate Seymour scene...
Besides having a child-like charm, this style means also to be instantly absorbable. It turns comix images into their most basic signifiers. After all, how much visual information do we need to know we are seeing a horse or car? And in Porcellino's case, it perfectly reflects the almost Zen quality of his writing. At the end of "Mountain Song" a muskrat (scarcely more than an oval with a line at the back) slips into a pond. Wordlessly, Porcellino then draws several panels of vaguely abstract images that could be either details of the pond or even increasingly...