Bouncer The One Armed Gunslinger: Alexandro Jodorowsky and Francois Boucq

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Published in late 2011 but only arriving on my lap the other day, Bouncer The One Armed Gunslinger (published by Humanoids) is the second volume of collected issues in the ongoing adventures (or misadventures) of the half indian one armed gunslinger Bouncer, written by Alexandro Jodorowsky with art by Francois Boucq.

Bouncer, as his name suggests is the bouncer of the Inferno Saloon in the frontier town of Barro City, and his story is a violent one. The varied cast of characters in this graphic novel include a creepy, freaky trio of Mexican assassins, an aged spooky indian, evil landowners, a loyal three legged dog, a whole array of raggedy outlaws and the odd lynch mob. These characters inhabit a story drenched with violence. All very Sergio Leone, very spaghetti western. Oh, I forgot to mention the opium dens, the revenge obsessed hangwoman, the freaky murderous monkey and the hideously burnt and bedridden owner of the Inferno Saloon. All vital ingredients in this quite epic but exploitive tale. And by exploitive I mean very 70’s, very B movie. Which is a good thing.

Published in late 2011 but only arriving on my lap the other day, Bouncer The One Armed Gunslinger (published by Humanoids, US) is the second volume of collected issues in the ongoing adventures (or misadventures) of the half indian one armed gunslinger Bouncer, written by Alexandro Jodorowsky with art by Francois Boucq.

Bouncer, as his name suggests is the bouncer of the Inferno Saloon in the frontier town of Barro City, and his story is a violent one. The varied cast of characters in this graphic novel include a creepy, freaky trio of Mexican assassins, an aged spooky indian, evil landowners, a loyal three legged dog, a whole array of raggedy outlaws and the odd lynch mob. These characters inhabit a story drenched with violence. All very Sergio Leone, very spaghetti western. Oh, I forgot to mention the opium dens, the revenge obsessed hangwoman, the freaky murderous monkey and the hideously burnt and bedridden owner of the Inferno Saloon. All vital ingredients in this quite epic but exploitive tale. And by exploitive I mean very 70’s, very B movie. Which is a good thing.

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The story opens with Bouncer becoming the town hangman against his wishes, corralled (contextual verb usage!) into the job by the town’s corrupt officials. Events conspire and he ends up being the reluctant hand that brings about the death of his old lover and her new amour. Both are victims of a set up by evil landowner Clark Cooper, with Bouncer the reluctant hangman. Clarke was previously embarrassed by Bouncer as he was booted out of the Inferno saloon and their mutual hatred fuels much of the plot. As all these shenanigans are going on, a mysterious old indian dude is jumping about the town rooftops knocking off members of the towns ruling elite by the nefarious means of a poisonous green coral snake.

There is much more to this graphic novel, and in particular the old Indian, than what I have described above. There is a flashback sequence that fills in some important backstory, and some heartbreaking plot twists and turns, but revealing more would be adding spoilers so I will resist it.

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As a writer and director Jodorowsky is simply legendary and he is rightly celebrated for his films as well as his comic book writing. I first saw his very tripped out film Holy Mountain a couple of years ago and reading Bouncer reminded me that I really need to watch El Topo, his famously weird western.

My first introduction to Jodorowsky was via comic artist genius Moebius and The Incal, a series of comics with a vaguely parallel plot to that of Holy Mountain, that of a twisted and somewhat surreal journey to spiritual awakening. On the back of the success of The Incal Jodorowsky went on to write some great science fiction, notably Les Technopères (The Technopriests). Bouncer … was my first view of Jodorowsky writing a western, and I was a little reluctant to pick it up as my first – my only exposure to Jodorowsky is through his sci fi writing, but I should not have been worried, after a couple of pages in I was hooked.

The art in Bouncer … is by Francois Boucq. A french comic legend, the only Boucq art I have been exposed to previously is the set of satirical shorts collected as Pioneers of the Human Adventure and featuring his absurd character Jérôme Moucherot (published in 1989 by Catalan Communications and translated by Elisabeth Bell who seems to have translated every foreign language comic I read growing up.)

The art by Boucq is excellent, he has that lovely loose but realistic french style, full of energy and expression, and with the analogue appearance of pens and pencils rather than the sterile computer generated look of many contemporary mainstream comics. His art in Bouncer … has moved along since the eighties and Monsieur Moucherot. The quality of line is less scratchy and urgent, but still fluid and expressive. The colouring more subtle and muted. The colour palette in Bouncer … is especially evocative of seventies westerns, all sepia and beautiful autumnal shades of red and orange.

The exaggerated proportions and features of his characters has been replaced with a much more considered approach, but there is still huge expression and character in the faces of his protagonists. Maybe this is due to the subject matter, I would be interested to check out his other contemporary work, and after reading Bouncer … I certainly will track some down.

 

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Chatting to my comicbook aficionado friend about Bouncer … the other night we both remarked on how painterly some of the panels look, in their composition. Bouncer looks like it has been inspired by the epic westerns of John Ford, and my friend pointed out that Ford himself was influenced by the great american painters of the frontier, painters like Thomas Cole, Frederic Church and Albert Bierstadt. Seeing the beautifully composed painterly panels within Bouncer … seems to complete the circle. Bouncer … is a perfect love letter to the Westerns of Ford, but it’s also a note scrawled in blood on the back of a fag packet, addressed to Sergio Leone.

All in all I can’t really fault Bouncer, The One Armed Gunslinger. I am not a huge fan of the western in comic format, Blueberry by Moebius aside. The fact that I enjoyed this so much is a testament to artist and writer. Having always been a fan of Jodorowsky’s writing, I am now on a mission to track down more contemporary English language translations of work by Boucq. Can’t say much more than that really.

 

The Incal by Moebius and Jodorowsky

The Incal

I have wanted to write about Jean Giraud aka Moeibus, or at least post up some of his work for a while now and after picking up the 2011 hard cover collection of The Incal (Amazon UK) late last year I now have some sort of excuse to write about him (I could have used his huge exhibition staged at the Fondation Cartier Pour L’Art Contemporain in Paris last year as a reason to write up a post, but after making plans to visit work/life got in the way – a nice little micro site of the exhibition still exists, you can check it out here).

My introduction to Moebius was through my friend Tom and his huge comic collection. As a 16 year old I would be dropped off in town early –  Tom would sleep late, so I would climb through his bedroom window (it was on a lower ground floor) and get myself comfortable reading from his comic collection till he got up. Tom had a huge collection of comics, ranging from US marvel and DC imports, to European bande dessinée, in particular Heavy Metal (Métal Hurlant), which was always full of sci-fi and fantasy inspired strips and art, including quite a lot of work by Moebius (he was one of the founders). It was Heavy Metal and it’s more adult themes of sex and violence which introduced the 16 year old me to comics beyond the usual American fare.

So Moebius has always been an inspiration and has left an indelible Impression on me. It’s the elaborately detailed scenes he draws and beautifully colours, and the slightly seventies science fiction aesthetic that at the time seemed so futuristic and now, when I look at these panels again, still seems contemporary and a believable vision of a possible future.

The Incal

The Incal

It has taken a while for English language collections of Mobeius’s work to come onto the market – I was told by one of the staff at Dave’s Comics in Brighton that Mobeius was not all that bothered about getting his work translated or re-printed, if true it would certainly explain his relative lack of fame in America. In 2010 US publisher Humanoids put out a ‘classic collection’ of The Incal, now out of print it was a pricey affair, hand numbered and released in limited quantities. The copy I picked up is a UK edition published by Self Made Hero.

The Incal

Originally published in the early eighties, this is the first English lanuguage collection of The Incal that I am aware of (I think it was translated in the album format in the late eighties, but not collected). Anyone familiar with the films of Jodorowsky (in particular ‘The Holy Mountain’) will find the general plot of The Incal familiar – a physical journey of discovery that is a metaphor for spiritual awakening or cosmic transcendence. Or something like that. The Incal has a plot that is quite hard to describe; on the surface, The Incal is a race against time, and a confrontation against a great all encompassing evil. The ‘hero’ is the coward John Difool, chosen by cosmic coincidence to save the known universe along side a band of characters that include his pet concrete bird, Deepo, and the most feared mercenary in the universe: the Metabaron. Difool constantly endures the worst humiliations as he faces increasingly bizarre situations.

Detective John Difool is much more of an idiot than the ‘heroes’ Jodorowsky often shows on screen – almost as if Jodorowsky has been able to use the perceived low brow medium of comic books to add humor and a little self deprecation into the mix, all packaged up into the anti hero John Difool. The clue is in his name, he truly is a cosmic fool.

To sum up: if you are into graphic novels or comics buy some work by Moebius. And if you have never seen a film directed by Jodorowsky I suggest you check one out, you will have never seen anything like it before.

The Incal

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A little more Moebius:

  1. The Incal was also going to be a feature length animation – a trailer can be seen here.
  2. Jodorowsky and Moebius also collaborated on a film project of Dune in 1974, check out art work for this here.

Barry Windsor Smith: Machine Man covers, 1984

Most comic geeks will probably be familiar with Barry Windsor Smith from his Weapon X series featuring Wolverine (Which Smith both drew and scripted) and from his work on Conan. I came by Smith via another route: Machine Man. Specifically a four issue series set in an alternative future scripted by Tom DeFalco with art by Barry Windsor Smith and Herb Trimpe. The series is now probably now more well known for its depiction of an ‘evil’ future Iron Man, Arno Stark.

Apart from a now very crispy Daredevil collected trade I have from 1988, my Machine Man collected trade is my oldest comic book (apart from some Asterix comics I have – sadly I lost what 2000AD comics I had). Why do I love it so much? Mainly because I think robots are cool – and Barry Windsor Smith draws cool robots.

Smith also drew a one issue epilogue to Iron Man’s original ‘Armour Wars’ series. Worth checking out if you like his stuff.

Please enjoy these four covers that make up the series, first published in 1984:

Machine Man one

Machine Man two

Machine Man three

Machine Man four

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David Mazzucchelli: Asterios Polyp

My previous experience of work by David Mazzucchelli is his re-working, re-interpretation, re-whatever you want to call it of the first story in Paul Auster’s trilogy City of Glass – a graphic novel which blew me away with its art work, mind bending story and ‘silent’ passages describing the vortex of the mind of a man going slowly mad. After getting round to reading the novel a couple of years later, I re-read David Mazzucchelli’s City of Glass again and was even more impressed. My round about-discovery of both seemed apt considering the subject matter.

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So, I was in Dave’s Comics, Brighton, a Saturday afternoon, wanting a comic book fix. 2000 AD re-issues are just not doing it for me. I bought Asterios Polyp on the recommendation of the shopkeeper and on the brief flick through I gave it – and also, the nice hardback copy abated my ‘nice book’ addiction. It was only on getting home and giving it a proper inspection that I realised I was familiar with the author/artist. But I am crap with names. And facts.

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Asterios Polyp, the protagonist, is a fifty-ish ‘paper’ architect – belligerent, arrogant, won lots of awards, recognised, but not one of his designs have ever been built. Already I liked Asterios, but saw the flaws, what I was supposed to think. His story is ‘a journey of discovery’, can’t put it in any other way – he is brought down, escapes, goes on a journey, discovers himself, meets interesting characters along the way and finds some sort of redemption. Sounds pretty average and run of the mill but this is anything but and so much more. Mazzucchelli manages to comment on relationships, compatibility, art theory, aesthetics all within his narrative and combines these themes with some very off the wall characters.

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The artwork, so different to City of Glass, is itself subverted to become part of the narrative, different styles denoting mood, illustrating compatibility. The way he has combined his lettering, colour and page composition, all coming together in a way that communicates vast amounts on a single page, seems such a natural part of the evolution of comic books (sorry, Graphic Novels). Every character, however minor, had their own stylistically different lettering reminding me of Asterix books of my youth, the Goths with their blackletter style lettering, Egyptians talking in hieroglyphs. But Mazzucchelli uses this approach, spins and multiplies it to create a quite unique vision.

I bought a copy for my brother for his thirty eighth birthday. It was the last one in the shop. Must be good then.

Buy it here

Read an 2000 interview with David Mazzucchelli

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