şükela:  tümü | bugün
  • grant morrison'in yazdigi, paralel evrenlerde, zamanda ve zihinlerde elini kolunu sallayarak gezen alternatif bir kahraman cetesinin maceralarini anlatan muthis cizgiromani. nisantasi gerekli seyler'den temin edilebilir.
  • güzel çizgiroman ama amcam bence projeyi aşırı geniş tutmuş ve işin içinden çıkamamış.
  • grant morrison'un sözleriyle:
    jl: are you sick of those ideas you were doing in the invisibles? the gnostic thing . . .
    gm: well, i like seeing a deeper exploration of them, but obviously those are themes that are important to me, i've been there, i've done it. i'm kind of interested in other aspects of life now. i've seen a lot of stuff in the interim, a lot of people doing invisibles-type stuff, again missing the point, saying let's put some magic into it, let's put some action, let's put some big breasts and we've got a comic like the invisibles. the invisibles was really my diary, i mean that's what it was about, it's about the books i was reading, the people i was seeing, the places i was going, and me trying to earn some money from making the comic. what i want to see is people doing their own experience and their own life without trying to be clever or trying to be hip or fashionable. if you do what's in your own head it'll always be cool because no one else will have thought of it.
  • bir coklarina gore bu seri sin city ile birlikte wachowski kardeslerin eseri the matrix in temelini olusturmaktadir. hatta bir coklari temel olusturmak euphimisminden de ileri gitmis, wachowskileri alenen calmak cirpmak ile suclamislardir ki, bu elestiride cok net bir hata vrdir. matrix ne sin city, ne invisibles ne de baska bir sey olmadigi icin, hepsi birden olmayi basarabildigi icin, pespektifi izleyenin (comiclerini de okuyanin) bakis acisina gore degisebildiginden dolayi kanimca invisiblesdan bir kac gomlek daha ustun bir eserdir. matrix ile the invisibles arasindaki benzerlikler gercekten cok carpicidir, ozellikle hikayenin kurgusu ve kisi, karakterlerin yakinliklari kimi zaman kopyalanmis hissiyati yaratabilir.

    misal the invisibles da matrixte oldugu gibi gorunmez eli olan bir sistemin insanlari manipule etmesi, korlestirip, sagirlastirmasi temasi vardir. sistemin bekcileri vardir, sisteme karsi sistemin silahlarini kullanarak savasan bir gizli orgut vardir. bu gruba "secilmis" olan birileri, nikneymleri ile katilirlar, tercih kendilerinin degildir, ama tercihin ta kendisi olurlar. sistemin adamlari siyahlar icinda, kara gozlukleri olan adamlardir. hepsi kopyalanmis gibidir, sistem icerisindeki anomaliler de hep sistemin disina cikabilmis kisiler sayesinde olmaktadir, vesaire. bunun disinda morpheus a epey benzeyen bir adam da vardir.

    en kaba anlamda boylesi bir sablon uyumunun "taklit", "calinti" olmamasi icin bir sebep goremiyoruz. ama eger matrixe ve matrixteki hikayenin islenis bicim ve tarzina bakarsak bunun luzum icerisinde, alenen, gizlisi saklisi olmadan yapildigini gorebiliriz. yani matrixin bir hikaye apartip, calmasi cirpmasi diye bir seyden cok, postmodern estetiginin getirisi olarak mevcut hikaye ve inanclari birlestirmesi istegi, ve fiili baskin cikacaktir. grant morrison in beatles i, marquis de sade i oykuye dahil etmesi, klasik komplo teorilerinin sasmaz isimleri olan kara adamlar i sistemin adamlari yapmasi nasil "calinti" olmayorsa, matrixin de the invisibles in ortaya koydugu sablonu kendi yap bozunda bir konuma oturtmasi o kadar calinti olmayacaktir.

    oysa ki grant morrison bu konuda kendi kendine gosterdigi iyi niyet ve tolerans beklentisini, the matrixe karsi gostermemis matrixin kendilerinden alenen caldigini iddia edecek kadar celisir islere girisebilmistir. matrixin el attigi konular ve hikayelerin hic birisi "bir kisinin fikri hakki"na tabi olamayacak kadar realiteye dayali spekulasyonlardan dogmaktadir. grant morrison the invisibles i kendi norm ve inanclarina gore sekillendirip, birden fazla manaya gelmeyecek sekilde yontarken, matrix boylesi bir tek tarafliliga da alternatif bir cok vizyon sunmustur.

    misal grant morrisonun hikayesindeki sistem kesin ve kat i surette "kotu"dur, opresiftir, baskicidir, mustebdiddir. oysa ki matrixte en sig anlamda cikarilabilecek "sistem kotudur"un uzerine, sistemin isteyen icin iyi olabilecegi donesi verilmis (bir coklari the matrixin sonunda sistemin kaybetmedigini, sisteme alternatif bir dunyanin varliginin tanindigini zit gecerek, oldu da bitti insallah neticesine ulasildigini zannetmislerdir), en son savastaki diyaloglarda agent smith e neodan daha cok empati duyulmasi, hak verilmesi saglanabilmistir.

    matrix yapi olarak ne salt ezoteriktir, ne de salt pozitif bilimseldir. karsitliklar arasindaki dengeyi kurmus, olabilecek, varilabilecek her turlu muhakeminin tek tarafli manasi olabilecegini de belirtmeden gecmemistir. inanc ya da bilis bir kumenin, bir tarafin, bir doktrinin adami olmadigi icin, matrixin ornek alarak ciksa dahi, the invisibles yaraticisi grant morrison un partizan zihninin hayal dahi edemieyecegi bir genislige ulastigini soylemek isterim.

    bu arada the invisiblesdaki marki do sade sahnelerinin neticesinde larry wachowskinin dominatrix ortamlarina akmis olabilecegini tahmin ediyorum. spekulasyonum bu yondedir.
  • wachowski'lerin the matrix'i yaparken, masanın üzerinde açık bulundurduklarına kesin gözüyle baktığım çizgi roman.
  • çizgi roman okumayı severim diyen, vertigo ürünlerinden daha önce okumuş ve beğenmiş herkesin mutlaka okuyup bitirmesi gereken bir seri. varoluş ve evrimleşme sürecine pek çok farklı bakış açısı kazandırmış. beyin damarlarınıza kan dolmasını sağlayacak. ingilizcesi biraz zorlayabilir. ama okumaya değer. wachowski kardeşler de amma çok yerden beslenmiş be kardeşim. ghost in the shell olsun, the invisibles olsun, neuromancer olsun. ama güzel şeyler okumuşlar/izlemişler, o da ayrı...
  • kendi sözleriyle yazılışının hikayesi:
    i wrote the invisibles vol 1 issue 23 on my living room couch, hallucinating, and dying of mrsa-related septicaemia, (those cranky descriptions of demons and the crystal crown biting into mister six's head and the gnostic christ saying 'i am not the god of your fathers...' were scrawled notes from the delirious no-man's land between life and giving up) and the following issue was written from a hospital ward, waiting to hear if the near-fatal staph aureus infection i'd contracted had spread to my heart. i was there for two weeks, working as often as i could between tests and treatment, with the intention of writing myself out of trouble (as a mad sidebar, after beating off the infection with the aid of antibiotics, i became inexplicably obsessed with eating raw carrots for the remainder of my stay in hospital - only to find out last week that staph aureus - 'golden' staphylococcus - gets its distinctive color from carotene. i must have been so stuffed to the fucking guts with carotene-pigmented bastards when the bacteria was swarming through me that i went into withdrawal for the stuff when the bugs were finally wiped out!).
    i scribble down my impressions about everything and turn them into adventure stories all the time. the invisibles is largely autobiographical for that reason, hence its incredible effectiveness as a magical 'hypersigil' - i went to the power exchange sex club on 960 harrison (in 'real' life it looks nothing like phil jimenez' huge glamor version in the comic) and bounced on the opium bed in the millionaire's house in san francisco, before my characters did it in vol 2: 5 & 7 of invisibles. i saw the magic mirror and the aliens and the 5th dimension during my 'contact' experience in the vajra hotel in kathmandu in may, 1994 and subsequently.
    i lived on the san ildefonso pueblo for a couple of months with my friend emilio and the head of the medicine society, russell, (called austin in the book). i took two acid tabs and performed magic on the black mesa by the rio grande, just like king mob does in v2:5 - all that stuff about bats and 'kissing the anus of cortez' they're talking about is real deal lsd bollocks transcribed from tape recordings i made at the time. king mob's london flat is the squat at the top of brixton hill where emilio lived for a while before moving to the u.s. in 1990. i went to yoga, meditation and martial arts classes all through the 90s to be more like my characters. i got involved in the fetish scene (i even wrote for skin 2) and befriended some of the shiny chaos witches who haunt those dodgy dungeons. i endured the hair-raising two-day himalayan bus ride from leh to manali that's mentioned in v3:2 and king mob's descriptions of it are abstracted from the original, battered, on-the-road journals i kept. i contributed parts of my own life and experience to the characters of fanny and dane and all the others. i danced on mdma in the nightclubs every other weekend with glamorous party girls, ladyboys and popstars, then wrote it down. i went to venice, india, australia, indonesia and the other locations in the story. the indonesian kid, agus, from v1: 5 was my guide and motorcycle driver when i stayed in jogjakarta, etc., etc.
    i wrote my own break-ups and breakthroughs and breakdowns into the comic, too. i threw my personal theories of consciousness and identity into the book as they were forming, and included results of that month's magical experiments - dane mcgowan's initiations were mine. king mob's, mason lang's and other initiations all happened to me. the visionary trip to the aztec land of the dead undertaken by lord fanny in v1:18 is exactly as i experienced it, with the little yellow dog and the flat facades of buildings and the eerie, paper-thin, dimensionally-abstracted people left behind in the land of the living. (so convincing was my description of the terrain that the 'iron sun of the underworld' i saw there has recently turned up in a book as an example of genuine aztec mythology when it was actually an 'invention' of mine and appears in no prior account of mexican myth that i'm aware of!) jim crow's scorpion trip in v1: 10 is reproduced almost verbatim from my magical diary. 'barbelith' started out as a word from a dream i had, aged 17, which turns out to mean 'alien stone' if you stretch the etymology far enough. the acid invocation to the blood red goddess in v3: 5 is based on diary entries written by me on lsd in a hotel room in melbourne, australia, during a backwards- talking bizarro kai ritual. many episodes from the character bobby murray's early life are taken directly from my own childhood. the teddy bear boody in the invisibles was my first teddy bear and still sits in the bedroom in glasgow, threadbare, round, totemistic and well, buddha-like. i named him myself, as soon as i figured out how to talk, and it's interesting i found the word 'buddhi' somewhere in my new vocabulary. like bobby in the comic, i startled my parents by coming out with a long, coherent and apparently chilling sentence in english, months before i officially started speaking (they didn't write it down). king mob's 'gideon stargrave' stories are direct quotes from the michael moorcock-inspired short stories i wrote obsessively when i was 17. that's phil jimenez' attempt to render into pictures a description of my first dmt trip, in v2: 13, shortly after it happened in richard metzger's apartment on christopher street in summer '97.
    the weird thing is that i did many of these things for the sole purpose of having experiences worthy of putting into stories, so, if i hadn't wanted to include australian magic, jeet kune do, or the tawdry allure of transvestite glam in the invisibles, i might never have gone there or done that. instead, i've been round the world three times on my own and with friends, visited a ton of countries, and had loads of mad relationships and weird experiences. this is how a hypersigil works to change the world around you. this is total surrender to the text, total immersion and deliberate self-annihilation. i'm not doing 'stories', i'm desperately writing biography to celebrate life in this world and to negotiate with depression and meaninglessness. i become possessed by characters and texts to the point where my own 'personality' is reconfigured and it's partly what gives my comics their particular, occult, and often irritatingly 'cultish' flavour, i reckon.
    so if i've laboured the point here, it's simply because you expressed a particular interest in the creative process and i hope this demonstrates how life feeds directly into the work all the time and vice versa. it's the same for everything i've written, including the superhero stuff. it's why writing the filth almost killed me and why writing superman has reignited my inner sun, you might say. i'm not looking for plots or high concepts, or reading other people's books to find 'ideas' i can sell. if i need an 'idea', i look inside my head and there are always plenty of the f***ers jostling for attention. i'm trying to express in my own words and my own way how it feels to live in this mad, f***ing world i got dumped into, along with all you lot. my head is bursting to talk about life, death, love, sex, fashion, comics, cosmology, religion, movies, nature, travel, guilt, fear, drugs, rock 'n' roll, magic, whatever - and the comics seem such a pure, exuberant way to deploy potent metaphorical content in the service of these personal compulsions.
    so, you know, my inspiration is everything i see, everything i do, everyone i meet, everywhere i go. it all goes in the blender. bet you wish you hadn't asked now.
    god bless the queen and her fascist-armband flaunting grandsons! i'm 96 years old today!
  • yonetmenliğini metin hüseyin ve william sinclair' in yaptığı ingiliz menşeili televizyon komedi dizisi. 1. sezonunun ilk bölümü geçtiğimiz hafta yayınlanmıştı.

    http://www.bbc.co.uk/drama/invisibles/
  • suede'in 4 haziran 2018'de piyasaya çıkan yeni single'ının adı: the invisibles
    parça birkaç defa üst üste dinleme isteği yaratıyor kesinlikle...

    müzik videosu hemen burada:
    https://www.youtube.com/watch?v=gqzvcj0-kf4
    oldukça yalın, bir o kadar da etkili...

    sözleri de burada dursun. yarın öbür gün sorulur, edilir...
    ---

    the invisibles

    the world waits for you when
    and the dawn breaks for you when
    and the media will watch
    and she will change her mind

    i tried to win for you when
    i shed my skin for you when
    i loved you like my own
    i fed you like a child

    stay in bed and feed the day
    with my imagination, honey
    falling through the cracks in people's kindness
    and the world won't step aside

    i tried to make you want me
    i left my home at seventeen
    but everywhere i looked i saw
    another me

    and we are the invisibles
    plain and lonely
    it's funny how it's always out of reach

    i hear the wood pigeons and
    i call my father in and
    he sits and hears me sing
    but never wonders why

    why do i call out in the night
    he found the photos set alight
    everything about her
    makes me want to smile

    i'll stay in bed and feed the day
    with my polite conversation, father
    papering the cracks in others' silence
    but i still won't step aside

    i tried to make her want me
    i tried to play her politics
    but every step i took
    i had to swallow this

    that we are the invisibles
    strange and lonely
    it's funny how it's always out of reach
    it's funny how it's always out of reach
    it's funny how we're always out of reach?