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Art and Culture # 23: The Art of the Message

11 Mar

-For the Uncensored!

Ah, the message. A message, by definition, has meant so many forms of expression over time. It went from the oral, cave, and when literacy entered into humanity’s sphere, writing and letters, were then used as a means of letting people know what they are thinking. Then when communication, and especially novels were definitely apart of the way the world communicated and how the Art of the Message took to many outlooks of expression into the modern era. Pigeons were still a very popular way of spreading messages, and if a pigeon came, it was either a sign of distress or love. As the Industrial Revolution took place, we had the birth of the telegram, which you could tap messages to express yourself, but it was used by businesses, and was limited to regular people being able to communicate or spread a message. You could consider the Turing Test as a means of communicating decrypted messages that helped the Allies in WW II achieve victory against the Axis coded communication. It seemed like a new breakthrough in communication and the messages a machine like Turing created enhanced our way of communication to what we had later on. In the modern era, there were fax machine, pagers, cell phones, smart phones, SMS, e-books, Social Media and text messaging. All are now our ways of reaching forms of communication and helping family and loved ones stay informed about family health, and happiness, but also allow businesses to communicate their message to the public. Computers and iPad also allow individuals to state their opinions and address important sales of art, or let people contact them in order to purchase an individual’s books, art, or anything they have to sell. 

            Now, why bring up the history of communication? Art has always relied on a form of communication. Communication is intermingled with Art, and how we read, write, draw, and understand the world we live in. Art and messages have never been that far away from our imagination. When we see the Pieta, sculpted by Michelangelo built during 1495-1499, to represent the pain of the Blessed mother holding Jesus after he was crucified. It’s a majestic sculpture if you are at the Vatican. It is one of the zenith Renaissance sculptures that depict a classical form of a message to the beauty and pain. But with pain is a message. I know that most people “don’t want a message” in things, but the lack of a message in art is never going away.

            It can be woven into the art, as the “ideology can meld with the aesthetics.” No art is without a message, and it can be communicated in any form where art is represented. 

            Although communication is represented with artistic forms, while anger, can also be a form of communication in art, too. If that wasn’t allowed, there would be no transgressive art forms to help channel our deep psychological nerve endings to calm down our primitive side of life. Now, saying that art leads to violence is not a thing. If people are inspired by the art to commit violence, who is really to blame? Is the artist a good communicator and is in touch with the primitive side, or the person who can’t ration what is separated between a book, film, or game? Sometimes artists can be too good at communicating pain and sometimes the participant thinks the art they are taking is talking to them. 

            This has happened, to me too, but I don’t start acting out the fantasy of violence in real life because the art itself does it anyway. If you wanted to ban a book, like Catcher in the Rye, it’s not that it pushes anyone toward violence, as many like Chapman, said before, quoting the book in his testimony. 

            As an aside, I would ban Catcher in the Rye because it was boring and overrated. I mean, the kid just runs away from school, says a few curse words, and then disappears. I’m kidding, but you get the gist. Also, I would never want to ban Catcher in the Rye because I want people to see how boring and overrated it is.

            But is the writer, filmmaker, or painter, is good at communicating violence, anger, rage, does that mean the art is to blame at how effective it is, or if it’s not, should it be left alone? Does subtlety make up a big portion of how we see violence and the world presented in any art form. So is the message of violence so important to remind people it’s bad. I don’t think we needed exposition phrases uttered on paintings from HR Giger to represent the horror and unknowable of aliens. Does a message written on a beautiful painting say less or more when the pictures don’t need words. Paintings can escape tedious messages, but it’s what you see in the painting to represent your own thoughts.

            In stories and fiction, exposition has sometimes added more to the conversation, and sometimes, mystic conversation can help bring an air of mystery to the text you are reading. Not everything has to be didactic, like the bible, but sometimes descriptions help portray the message of a landscape. Sometimes beauty doesn’t need many words to communicate what the world needs to know.

            But is being explicit help either? It all depends on what an individual sees in the art they are ingesting. No matter if it is violence, beauty, or tragedy, a message can hep guide us through personal turmoil and get rid of our frustration, and communication, through art forms, rely on audience participation too. But if art is taken away because that art is effective, then that’s another worse sign in society, too. What message does that create?

 -Louis Bruno is the author of more than 15 books, including, The Michael Project, The Michael Project: Book 2: The Lost Children of Eve, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/, and Parlerhttps://parler.com/profile/therealLouistbruno/posts. Instagram @lbrruno8063 and @louisbrunoofficialbook. He has written for the Intellectual Conservative and Ephemere. His latest, Come Home, Young One, a dark fantasy novel is out now at Lulu.com. Link is here: https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4

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Trapping Griffith in the Climax of Berserk: A Response to AlexEnterprise

26 Feb

For the Uncensored!

I came across AlexEnterprise’s video that is a pretty valuable idea when it comes to Berserk. The whole notion of trapping Griffith and the Godhand is an interesting idea. It is a way out for Miura if he needs to retire his stead on the manga, because that doesn’t mean that Griffith won’t stop. If they don’t weaken Griffith enough to the point that he would be then killed off by the demons he creates, cutting off the idea of evil too. 

            The problem with AlexEnterprise’s video is that while I do agree with his connecting history of Berserk with the whole of the series, is not so bad. Like how he connects King Geisereck trapping Void in the Tower of Conviction. Alex is good in connecting some dots and theories that can make anyone believe. 

            If Guts is meant to have a battle, maybe it’s to draw out Griffith, but that would be too easy. While I agree with many of the dots that Alex Enterprise connects, there’s something I find suspicious. It doesn’t take Rickerts story into account. What might he have to offer? What if he is the one who takes down Griffith? Or, in that final moment, in all her strength, Casca kills Griffith. 

            I understand that you might not be able to kill a Godhand, why would trapping Griffith make Griffith not want to escape his prism and come after Guts and all his kin? Maybe that’s what led to King Geiserick’s downfall, and the death of his wife. I get that trapping him, as Alex Enterprise said, to “bide for time”  it’s not going to solve or defeat Griffith from finding Guts and ripping him apart. 

            What makes it so hard to believe the idea that you can’t kill a Godhand, is that it might not come from Guts hands. What’s impossible is that it’s not even possible. There has been a lot of momentous events in Berserk, and Miura might just pull a fast one. Cause if you trap Griffith, who is going to fight him next? Or if Causality is concerned, the cycle of Godhand will choose someone else and the cycle of Berserk continues all over again? 

            I think if Miura did as Alex Enterprise said, it might be a lackluster ending, and maybe afford a happy ending for Guts, but I don’t know if that will happen. Time will tell, but Miura, for certain, has to deliver an epic showdown. But if that were to happen, and Griffith is trapped, why would he be contained. The demons work for him. But I do get that if you do follow Berserk and make connections like Alex did, it would be anti-climactic. Berserk might just end on a depressing note. Because to break the chain of evil doesn’t mean you can contain it. Evil has a way of getting out of boxes. Evil is not just an idea, because evil is a manifestation of what we think and see, and the problem is, you can’t contain Griffith forever.

            Griffith knows that he’s on the path that is set for him, and doesn’t seem to want to betray the God Hand, either. I have no real proof but just an observation that you can accept or disregard. But Griffith has evolved to the final stage where he can be seen on as a God to midland and a demon to his closest advisors.

            You never know in Berserk, and Miura is the only one who can control Causality in Berserk. Causality is just a definition for me, because Guts actions and decisions are going to choose where the novel is going. But as an aside, if Guts can’t even control causality, Griffith seems to be on the same path, but I don’t think anyone should underestimate Griffith or Guts, or what curve balls Berserk can throw. 

            So, trapping him might be damn near impossible, because as we have read, Griffith would bend heaven and earth to make sure Guts will pay, and even if containing Griffith will work, who says it might not backfire on him, having him repeat the doomed tale of Skull Knight. But would Miura be cruel enough to end it on a cliff hanger, or even a depressing note, for someone else to finish if he wants to retire. But handing off the story for someone else to finish feels cheap too. It wouldn’t be the same, and someone else could change the lore to fit something in current artistic culture would not fit the tone, themes, or story of Berserk. Repurposing art to match current political standards is wrong and it won’t do Berserk any favors.

            But also, Rickert might have one more part to play, as it might afford Guts the happy ending he deserves. But as Gandalf said in Lord of the Rings, “The board is set. The pieces are moving.” 

            All we can do is wait, but Kentaro Miura has to end it, one way or another. He might be the sixth member of the Godhand, or the Idea of Evil, also, as much can be interpreted that way, too.

-Louis Bruno is the author of more than 15 books, including, The Michael Project, The Michael Project: Book 2: The Lost Children of Eve, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/, and Parlerhttps://parler.com/profile/therealLouistbruno/posts. Instagram @lbrruno8063 and @louisbrunoofficialbook. He has written for the Intellectual Conservative and Ephemere. His latest, Come Home, Young One, a dark fantasy novel is out now at Lulu.com. Link is here: https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4

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Ibitsu: A Hidden Gem of Manga

25 Oct

When the anime and manga scene for my taste relate further into the hardcore, of Berserk, and Lone Wolf and Cub, Alita, Blade of the Immortal, Neon Genesis, the horror of Junji Ito, and his branch of horror becomes a curious fascination, I picked up Ritsyu (2018) being unknown and unaware of any story related to it. I was taking a risk at Second and Charles, where they order manga most bookstores would never want to hold, but here, the story presented is an oddball choice for me. Published by Yen Press, Ibutsu, is a story of a young demon Lolita who preys on victims asking if her victims would want a “little sister” as it creates a nightmare that would make any reader shit there pants. Most people ignore horror, but it’s where we can unleash all our pain on, and feel great after we are reading. Do you talk to the girl, or just walk by when she says, “do you want a little sister?” But it’s more than just enough for such a scary story to take place. In Salo: 120 of Sodom, based off the notorious Marquis De Sade book, the villain exclaims, “We should feel for both victim and aggressor” which was probably the director, Pasolini’s take on horror, in general.

            What seems as such an innocent perspective turns hostile, as Kazuki Itou has to find a way to calm the Demon Lolita, but with each moment he tries to fight back, her power grows stronger, as he’s held hostage and the world around him crumbles. She kills all who love him, trying to isolate him from his family. Taking away the demon story this would be some strange indie story about a woman taking her abuse out on men while wanting to be loved, but it’s here, we buy this story because the horror genre creates value over these stories. What makes the manga a chilling story is the Demon Lolita chooses indiscriminately, and the world in an unknown town, makes the manga far more terrifying. It’s far worse when the world is simpler and the vision of the manga powerful is the will to punish her victims as she had before. 

            Maybe the demon Lolita is lying, but if she wasn’t, then why would she harbor such hatred on the innocent who did nothing to her? It’s her chilling love that makes her a force to be reckoned with as you go “aww” when you realize the Demon Lolita is only reacting against the innocent as her brother had done to her. But does it make it right?

            What is interesting if you peel away the horror aspect, is a young girl who takes out her aggression on men as she had been done before, but somehow, the simpler meaning can get carried into the manga, and help the horror shape the simpler meaning. It’s a weird little stand-alone book that looks like the same manga, but it’s hard to coincide with many other Manga’s, as I wouldn’t put this in my top ten, it’s a curious little collection that mixes Junji Ito with a grunge romance story that has charm and a bit of a sexual tension to boot. 

            Is it creepy and it will make you gag? Is it Junji Ito, no, but many can agree it served its purpose. Yes. So it’s a winner, in my book. The art is not on Junji Ito or Kentaro Miura, but it’s a nice little collection in a middle of a huge overdeveloped market. What is fascinating is that I had never heard of it before, and however I sit here writing this, it’s like a growing threat. Somewhere out there, there’s a demon Lolita taking her anger out on anyone who would dare love her. 

            It’s not quite a masterpiece but an artist and writer finding his own path out of the world of heavy hitters in the manga world. Ryo is a promising talent among a crop of talented artists in the field.

            Final Rating: 7 out of 10