Category Archives: surrealism

Monster Movies

I am fascinated by the darker alleyways in the city of human thought.  I love monster movies, those love-story tragedies where the monster is us with one or more of our basic flaws pumped up to the absolute maximum.  We are all capable of becoming a monster.  There are consequences to every hurtful thing we have ever thought or ever said to other people, especially the people we love.

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The monster movies I love most are the old black and whites from Universal Studios.  But I can also seriously enjoy the monsters of Hammer Films, and even the more recent remakes of Frankenstein, The Mummy, and their silly sequels.  I am fascinated by the Creature from the Black Lagoon because it is the story of a total outsider who is so different he can’t really communicate with the others he meets.  All he can do is grab the one that attracts him and strike out at those who cause him pain.  It occurs to me that I am him when having an argument with my wife.  Sometimes I am too intelligent and culturally different to talk to her and be understood.  She gets mad at me and lashes out at me because when I am trying to make peace she thinks I am somehow making fun of her.  How do you convince someone of anything if they always think your heartfelt apology is actually sarcasm?  How do you share what’s in your heart if they are always looking for double meaning in everything you say?

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But other people can change into monsters too.  I am not the only one.  People who are bitter about how their life seems to have turned out can strike out at others like the Mummy.  Wrapped in restrictive wrappings of what they think should have been, and denied the eternal rest of satisfaction  over the way the past treated them, they attack with intent to injure, even just with hurtful words, because their past sins have animated them with a need to change the past, though the time is long past when they should’ve let their bitterness simply die away.

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And we might all of us fall into the trap of Victor Frankenstein’s monster, who never asked to be made.  He finds life to be an unmanageable nightmare with others constantly assaulting him with the pitchforks and torches of their fear and rejection.

13076_998843660144998_6984648371609353495_n But the thing about monster movies… at least the good ones, is that you can watch it to the end and see the monster defeated.  We realize in the end that the monster never really wins.  He can defeat the monstrous qualities within himself and stop himself.  Or the antidote to what ails him is discovered (as Luke did with Darth Vader).  Or we can see him put to his justifiable end and remember that if we should see those qualities within ourselves, we should do something about it so that we do not suffer the same fate.  Or, better yet, we can learn to laugh at the monstrosity that is every-day life.  Humor is a panacea for most of life’s ills.

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A bust of Herman Munster

 

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Filed under autobiography, humor, monsters, satire, surrealism, Uncategorized

World Building

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As a novelist I am very aware of the importance of setting.  It is an essential part of of telling a story, to be able to set the stage upon which the characters will act out the plot.  The setting pictured here is one created for my family’s on-going D&D Role-playing set in the campaign world of Eberron, here on the continent of Xendrick which was long ago ruled by magical giants.  It is built around details.  There are in this picture three elements that are actually aquarium decorations (the two jewel-eyed skulls and the Egyptian ruin construct in the background).  The silver skull and the Princess Jasmine figure come from gumball vending machines (Jasmine comes from a vending machine in the hotel lobby in Anaheim when we took the kids to Disneyland).  The thatch-roofed house in the background is from my manic urge to create cardboard castles.  The skeleton-faced statue came out of a box of cheap plastic toys from Dollar Tree that Grandpa bought for my eldest son back in 1998.  If there is any kind of point to this paragraph, it is that this detail-rich setting photo is created with unusual parts, parts that lots of people would not think to include in the world-building process.

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If I have any claim at all to a talent for creating a good setting, it comes from my creative juxtaposition of widely disparate objects.  (In English, it means I like to stick weird stuff together in the same place.)  That, of course, is the very definition of surrealism.  Making the bizarre seem natural and right.  It is how you create a science fiction setting, a fantasy novel setting, and even a setting for a hometown novel set in the little Iowa town I grew up in during the 60’s and 70’s.  (You might not fully believe me yet, as I have not published more than one of my hometown novels, but I do have a hometown setting made of a hidden fairy kingdom, a haunted house, a mad scientist’s laboratory, a witch’s hovel, a mysterious sea captain’s house, a house haunted by rumors of werewolves, and a connection to the dream lands that often lets other-worldly clowns wander our streets.)  (That last now holds the record as the second-longest parenthetic expression I have ever used in my writing.)

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Of course, setting by itself is meaningless.  It must be interactive with the characters that inhabit it.  As the dragon crashes through the castle wall behind them, Princess Aurora and her little mechanical body guard, Clockwerky, are not even facing it.  Are they ignoring it because they are actually quite stupid?  Or since it seems to be heading out of the scene to stage left, are they simply assuming it has to be somebody else’s problem?  Either way the setting and the characters don’t mesh in a way that furthers the actual story… at least, not without a lot of additional explanation.

So, can I explain in any sort of a simple fashion how this 500 word treatise on setting is to be understood?  Yes.  Very simply, settings are built of details… lots of details.  And settings and characters have to work together.  Here endeth the lesson.

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Mervin the Minotaur and Barrabas the Half-Ogre each roll a natural 20 to double-slay the dire elephant that was threatening princess Jasmine, while in the background, Oneorb the Cyclops rolls a 1 and bashes himself in the head.

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Filed under Dungeons and Dragons, humor, NOVEL WRITING, Paffooney, playing with toys, setting, surrealism

Mapping the Stories

Norwall map

By golly, I finished it.  It may not look like it, but this map of a place that really only exists in my memory and imagination took a lot of work.  I surveyed the town and made a set of rough map sketches back in 1994.  Some of the places on this map don’t exist any more, while a few never existed at all in any real sense.  I finished drawing it out in pen and ink yesterday, February 15th, 2016.

This map is Norwall, Iowa, population 275 (If you count the squirrels… and we had a lot of squirrels in this town… in more ways than one).  The map is attributed to Bill Stuyvessant, known to the locals as “Cherries Bill” because he loved cherries more than any other fruit and it was the exact same color of red he had on both his cheeks and nose.  For the last decade of his life, the 1960’s, he lived alone.  His wife died in 1958.  His only son, Christian, died near Bastogne in December of 1944 at the Battle of the Bulge.  He lived alone with a house full of stacks of old newspapers.    It is believed by many that he was a sorcerer and knew practically everything.  Some even said he was God.  The map probably had to originate with him because it shows the locations of key settlements in the Faery Kingdom of Tellosia, which of course is known only to practicers of magic and those with vivid imaginations.

Norwall is the setting for my hometown novels series.  They are not exactly science fiction and not exactly fantasy, but have heavy doses of both.  They are actually about real life as it can be warped by imagination and dreaming.  You can make the argument that they are surrealism.  The four pictured above are completed novels, except for When the Captain Came Calling on the right.  It is undergoing a complete rewrite and is only about 50% complete.  I have one published novel in this series through I-Universe, an imprint of Penguin Books.

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I also have a number of novel projects in the planning and rough-draft stages that are also set in this little imaginary Iowa town.  I am continuing to write and expand it all as time continues relentlessly forward.

Francois

 

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Filed under humor, maps, novel plans, NOVEL WRITING, Paffooney, surrealism

The Uncritical Critic Watches Another Quirky Movie

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Yesterday was a weird day.  If you looked carefully at the mental map I made of Mickey’s head the other day, you realize that Uncle Slappy’s Big Box of Weirdness occupies a key position in the top center.  I had a traffic accident in the parking lot of Long Middle School yesterday morning, banging bumpers with a lady named Vilma.  The sun was in my eyes, and she started to go, then suddenly stopped for no reason I could see.  No damage was done to anything but my pride.  My wife put her parents, Tatang and Inang, on an airplane yesterday bound for the Philippine Islands, going home for a visit.  Afterwards, my wife was feeling mortal, betting me that she was going to die before me even though I have the head start of six incurable diseases and surviving cancer once already.  There are no symptoms for her impending heart attack, so I will probably win that bet.  But the point is, it was a weird time yesterday to stumble weirdly over a weird and wacky movie on Netflix called Moonrise Kingdom.  It is a Romeo and Juliet sort of story about two twelve-year-olds who fall in love at first sight, and though their families try to keep them apart, they end up together.  Thankfully it is not a Shakespearian Tragedy where everybody dies at the end, though Sam is struck by lightning and the big storm nearly drowns all the boy scouts.  It is more like a Shakespearian Comedy where everybody gets married at the end, though the twelve-year-olds don’t get married at the end… rather, they are married by the middle.

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Wes Anderson is the genius director behind movies like;

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None of which I have seen, but now have to watch ALL of them sooner or later.  Kinda like the mad quest to see every Tim Burton movie ever made.  I am one of the few idiots out there who think Dark Shadows was a truly wonderful movie, and along with Edward Scissor-hands, one of the finest things Johnny Depp has ever done.

In Moonrise Kingdom Anderson uses tracking shots at the beginning that shift quickly from one room to the next in a way that invokes an old-time slide show.  The story is set in 1965 in Maine, and is filled with all kinds of iconic references to things we 60’s kids all vividly recall.

The movie also tells the love story of Sam and Suzy with a painter’s sense of iconic pictures that focus you on important plot points and themes.

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And there are numerous quotable bits that make the movie what we teachers refer to as a text-rich environment, complete with phony kids’ books and maps and notes.

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The all-star cast is pretty good, too.

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This is now one of my new favorite movies.  It is a happy-ending-type fairy tale with no fairies in it.  It is full of ineffectual and incompetent adults who have rules of behavior like grown-ups and motivations like goofy kids… just like real life.  The plot is driven by the notion that anything you do in life is a mistake, and mistakes have consequences, but you have to do them anyway because, well… that’s life.

Am I telling you that you should watch this movie too?  Well, you should… but, no.  I am simply gushing about this quirky movie because I like it, and yesterday was a very weird day.

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Filed under goofiness, humor, movie review, strange and wonderful ideas about life, surrealism

Surrealist Eyes

The moral of the story; never challenge Cowboy Flash Crumpwell to a rubber gun duel.

The moral of the story; never challenge Cowboy Flash Crumpwell to a rubber gun duel.

He was the marshal in charge at Crumpwell’s Wild West Dude Ranch and Rabbit Farm.  It was his duty to create order and peace on a lawless frontier… and keep the fur-bearing bunnies happy, and making more rabbit fur.  So, when Pistoleer Pete Pistachio-Mustachio came to town, it was totally up to Marshal Flash Crumpwell to put an end to his terrible reign of Pistachio-ness.

They faced off on either end of Main Street.  Their spurs clanked and jangled as they started their bowlegged walks towards destiny and each other.

Then the guns came out.

The triggers were squeezed.

The barrels began to wiggle and elongate like elastic melting on a hot stove.  Up and down and all around dueling rubber guns dipped and danced and maneuvered through two dimensional space, until finally… Flash’s gun found a target in Pete’s ear.

“I should’ve known better than to hide a target in my ear!” Pete said as he surrendered.  “I just didn’t think any fool with a rubber gun would ever look there.”

sur·re·al·ism
səˈrēəˌlizəm/
noun
  1. a 20th-century avant-garde movement in art and literature that sought to release the creative potential of the unconscious mind, for example by the irrational juxtaposition of images.

The horrible truth is, I have always been a surrealist.  My unconscious mind is constantly bombarding my life and work with irrational images.  And my ultimate source of creativity comes from a simple assumption.  “I can make sense out of the irrational things in my dreams and the movies constantly playing in my mind’s eye.”  Of course, that assumption is total hoo-haw.  People really can’t make sense out of nonsense.  But I am the idiot that always swims upstream.  I tend to try impossible things that can’t possibly be possible, and I end up pretending I can do them.  I am not the only one who has ever done this silly, stupid thing.  Notice what the auteur has to say about Chuck Jones, a cartoonist and fellow Surrealist;

So here is my conclusion; If you have ever wondered, “Why am I drawn to reading the meandering nonsense of this daft bugger?  And why does he do all this irrational and random stuff?”… It is because I am desperately infected with the affliction of surrealism.  Take pity on me.  Laugh at my kooky quirks.

MickeyX22

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Life is Surreal

I have told you before that I am a seriously committed surrealist.  Not in the sense of “committed to an institution” sort of committed, but seriously committed.  All cartoonists are by nature surrealists.  Bill Watterson created Calvin and Hobbes around the idea that a toy tiger can come to life in the evil imagination of a child.  Jim Davis created Garfield around a seriously self-absorbed and greedy talking cat.  Elsie Segar created Popeye about a one-eyed sailor who drank from a magic pool to gain invincibility and maintains it with iron-fortified cans of spinach.  To be a surrealist, you must put unlikely things together to make something fantastically super-real… so unreal it seems flawlessly real… er, how do you actually define surrealism without resorting to the dictionary definition about “juxtaposing severely mismatched items created with photo-realism”?

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Surrealism is actually more real than realism.  If you simply take a photograph of your picture idea, a picture of a birthday cake or a picture of a clown or a picture of your favorite bicycle’s back wheel, you are not showing the reality of life.  You are only taking a photograph of a thing.  You cannot get more than the physical, objective reality of that thing captured on photographic paper… or in a digital image (I am learning not to be a dinosaur even though I am old).  Reality is so much more than that.  It is the feeling, the evocation, the nuance, the… stuffy stuff-ness of stuff… and an infinity of other things that make reality seem real.

Take for a moment the whole notion of flying cars.  I am trying to create a hero-worship colored-pencil Paffooney about Astroboy riding in a flying car.  I am still puzzling out how I am going to make this scene look like the car is flying by juxtaposing something.  (By “juxtaposing something”, I, of course, simply mean putting one thing next to another thing… but it is important for artists to use hundred-dollar art words wherever possible to prove that they are serious artists) (I, of course, am actually making fun of my own stuffy stuff-ness in that last parenthetic expression.) (Maybe juxtaposing parenthetic expressions with the phrase “I, of course,” in all three of them is a kind of surrealism?)

So, why am I taking on this silly topic right now?  Right now I am a working artist in the midst of making art.  I am not just a cartoonist… I also write novels… silly young adult novels about voodoo men and snow babies and incompetent alien invasions and fairies successfully invading a middle school in Iowa.   I am suffering from six incurable diseases and am a cancer survivor… so I could drop dead of a heart attack or stroke any second… I may not finish most of the artwork I am now working on… and I am blogging…   I need a lot more silly topics like this to fill 500 words a day for every day of 2015.  I am writing this down in a published blog on WordPress because I need to put all my thinking down in a crystallized form to preserve it in case the opportunity to do so suddenly ceases.  And all of that muddle of meaning is so surreal it hurts.  I could do a better job than this of summing up and pulling it all together in a tighter package, but it is all about the messy business of surrealism, after all… another way of saying… “It’s about life.” 

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Filed under humor, Paffooney, surrealism

More Nuts n’ Bolts… This Time Mostly Bolts

Okay, this is another filler piece to allow me to post every day of 2015.  But it does give me a chance to write down a few things I have been thinking about…  And I do realize allowing me to think nowadays is a completely risky proposition.  But when you talk about Nuts and Bolts, you are talking about how things are put together.  The nut keeps the attachment from sliding apart and failing to do its job, but the real work of bonding things together is done by the bolt.  So, to keep mangling the metaphor until it is either as tightly bolted as it will go, or it bursts from the torque and stress, let me talk about some bolts in my cartooning endeavors.

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This most recent pen and ink Paffooney is a cartoon panel about Pirates from the imaginary dream world of Fantastica.  In the cartoon environment I am working on now, Pirates take your gold and valuables basically by being bankers and compounding your interest…  mostly by compounding really, really hard… like with hammers and heavy swords.   So here is one of the bolts holding my posts together.   I am financially troubled right now (right now meaning the last twenty years) by trouble with credit card debt and banks.  I fight that kind of trouble with swords of satire.  You find me complaining a lot about this particular topic by mostly metaphorical means.

And that leads to another bolt that is a common rivet in the girders of my purple paisley prose.  I use metaphors and drawings in a way that can be characterized by the artistic term (or is that autistic term?) surrealism.  Yes, I am an out-of-the-closet surrealist like Salvador Dali, Juan Miro, and Rene Magritte.  I would like to argue that I am also a surrealist in the manner of Bill Watterson, creator of Calvin and Hobbes, Charles Schultz, creator of Peanuts, and Dan Piraro, creator of Bizzaro, but cartoonists in general don’t tend to be out of the closet, willing to admit that they juxtapose disjointed images with realist elements in them to make a comic point or raise an emotional response.  That is something most cartoonists are unwilling to let their parents understand about them… that, or they simply don’t know what big words like juxtapose mean… because cartoonist are generally unwilling to look things up in the dictionary.  I hope this paragraph doesn’t make your brain hurt.  But if it does… well, that’s why most of us surrealists try really hard to keep it secret and end up living a double life.

I think you can also tell by today’s post that I need to revisit this idea of examining bolts.  I am swiftly coming to the end of today’s 500 words, and I have only covered two working bolts.  What kind of structure can stand up to high winds with only two bolts in the entire thing?  But hopefully it won’t all suddenly collapse before I have a chance to come back and place a few more bolts.  And on that note, I am at 514.

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Architecture for Clowns

Try not to be upset with me for drawing a naked lady. You see, she is not really a lady, she is a caryatid, a stone pillar for holding up a building.  Besides, I have been recently very ill, and drawing naked ladies makes me happy, even though it is a sin and means I will probably burn in hell.  I am a hopeless sinner in this regard.  I got kicked off Pinterest for liking an oil painting of a naked lady.  I think it was a painting by William Adolphe Bouguereau.  How could I be so terrible?  You should check out my post about his sinful, horrible paintings so you can see how terrible I am for yourself. (Bouguereau)  carytidOf course, This post is not about naked ladies at all, so why am I fuming and ranting and telling all my darkest secrets about that?

This post is about architecture, about giving structure to things, about holding things together and holding things up.  Is it clever that I drew this picture of an ornate pillar and placed it in this post so it looks like it is standing on later paragraphs and holding up the introduction?  I find weird surrealist things like that help me write stuff that makes a few people laugh.  It helps me because I can focus on nonsensical side-stuff like that (mixed up with obscure puns and alliterations like “pillar” and “placed” that, when cooked together with goofy rhythms in over-long sentences end up sounding funnier than they really are), and then I can say stuff that is actually funny because I don’t realize how wrong, or weird, or silly some of these words I am futzing it all up with truly are.  (And I am amazed that the Pinterest police haven’t come and kicked me off WordPress for using a word like “futzing”, even though they don’t know what it means.  Heck, even the spell-checker didn’t object to the word!)

But someone like me who is trying to be funny needs structure more than anyone else you can think of.  Why?  Because the sad-clown-crying-on-the-inside is so very true.  The dark dips of depression… pain, illness, and more pain… family stress from others in my family who also suffer…  That’s what makes the laughing so very necessary.  You need the lighter stuff to fill up the room (somewhat like a really big fart) because you depend on the sheer buoyancy of it to lift the entire house up and keep it from sinking to the very center of the earth.  (And the stink of it can also help keep you awake when otherwise you might never get out of bed again)… (But please don’t light any matches around my house.)

So, in conclusion, this stuff I write does have basic structures, basic rules.  It has a beginning, a middle, and an end.  It has a theme, a point that needs to be made,  And then it needs to end with some kind of a kicker line or punch line… because when that finally hits me square in the face (like a pie thrown by a pie-whacker clown), it helps me remember… I am still alive, and I can still laugh about it.

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Filed under humor, Paffooney, surrealism