VIZ CONTINUES CHRONICLING THE CAREER OF HAYAO MIYAZAKI IN APRIL WITH ‘TURNING POINT: 1997-2008′
This April Viz Media will follow up 2009’s Starting Point: 1979-1996, its initial batch of essays, interviews, memoirs and illustrations chronicling the career of manga creator and animation film director Hayao Miyazaki, with Turning Point: 1997-2008. While the first book followed Miyazaki’s early life and career well into the founding of Studio Ghibli, many North American fans will be most familiar with the time period this new 400 page hardcover given that it covers the creation of award-winning films like Spirited Away, The Cat Returns, Howl’s Moving Castle, Tales From Earthsea and Ponyo.
Moreover, Kirby, beyond being a totemic figure in comic book culture, is a crucial figure in American visual culture in general, an abiding influence in visual storytellers in all media, an under-acknowledged major to children’s culture, and even an inspiring subliminal presence in literary fiction (where he has recently been invoked by Michael Chabon, Jonathan Lethem, and Junot Diaz). His traces are everywhere.
Apparently during the drafting of Paddy Chayefsky and Sidney Lumet’s Network (1976), an ending was considered that sounds like it’s straight out of a cyberpunk novel:
"We are shooting for a third act in which the NETWORK becomes so powerful it is an international power of itself and even declares war on some country."
Obviously it never came to fruition, but it makes you think.
"You have meddled with the primary forces of nature, Mr Beale!"
New (newer than the one I have) cover artwork of the french ‘pocket’/paperback edition of Mona Lisa Overdrive.
I wanted to buy again all the french pocket/paperback editions of the William Gibson books I have because they updated the artworks some years ago… but i haven’t done it yet.
Four of my favorite covers from Japanese editions of some Bruce Sterling books. I like that Schismatrix translates as ‘Graphics wound matrix’ and Involution Ocean comes out as ‘Sea of dust whale’.
The existence of the director’s cut does add a final appropriate twist to the film’s history by incorporating the questions of the message into the medium itself. The viewer now confronts an original and a replicant version of the film, and, given the tangled chronology of the various releases, must decide which is the more authentic. The memories of the laser disk—“you don’t advertise for a killer,” “all they wanted were the same answers everybody else wanted”—are now labeled false, studio implants to cushion the emotional reaction of an audience not capable of grasping on their own the implications of the original inquiries. Yet those images and sounds intrude into the director’s cut because they are our memories, just as Rachel’s spider memory spins in her head even though it belongs to Tyrell’s niece. “Did you find your precious photographs?” Roy asks Leon, though both must know that the much-valued family pictures are false and should be discarded. Now the viewer, pulled into Deckard’s role of detective, must sift the various versions, trying to create a certain coherence out of the conflicting films. The questions of self and of relationships in Dick’s novel, are extended to the film artifact and the viewing audience. The uncertainty of identity, formerly contained within the released laser disk version, now seeps into the viewer’s relationship to that film, to the director’s cut, and to the viewer’s own memories. Surely even Philip K. Dick would have approved of such a development.
Paul Auster: “The Mechanics of Mystery: Essays on the Intersection of Cities in Fiction & Fictional Cities”
With this project (it’s a list of 100 books that should exist, but don’t), a lot of the books listed seem very jokey, but this is one that I’m genuinely surprised isn’t a real thing.