Amy & Jordan 2004 Mark Beyer 百度網(wǎng)盤下載 232MB
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2023-3-25 21:41
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For those of you who thought the comic strip was dead by the end of the twentieth century, here are 292 pieces of proof that you were wrong. Mark Beyer was breathing delirious, heartbreaking, otherworldly life into it by means of Amy and Jordan. Obviously, you weren’t reading New York Press.
But I sure was. Voraciously. Back in 1989, when I discovered that Beyer’s strips were appearing regularly in this new “alternative weekly” paper, I quickly became hooked, and a thought seized me: I had to clip and save them–they were exquisite poems of urban despair, dreamy and nightmarish. I was already a fan of Beyer’s talent based on his book Agony (Pantheon, 1988), but these new strips revealed, week by week, a whole new dimension to his work–an ingenious reinvention of panel-design that redefined what a comic strip could be. As with Peanuts, it helps to try and picture these in the context which they first appeared in order to appreciate just how profoundly they emerged from anything else on the newspaper page. Even the “outré” NYP ads and listings which often ran alongside them were hopelessly dull by comparison. One of its most impressive aspects was the way Form served the Content–no matter how eccentric the layout got, it somehow never confused the narrative. And what narrative: it was as if Candide had been transported to the East Village and split in two like an amoeba and holed up in a squat on Avenue C. Along with giant bugs from outer space.
So I did clip and save them, and put them into an envelope, which was then placed in a shoebox with a lot of other envelopes (receipts, receipts!), which was shoved to the back of the closet of my sixth-floor walk-up studio apartment, w
hich I moved out of three years later and in the process I unwittingly threw them all away. Which frankly is just the sort of thing that Amy and Jordan would do. Drat. “Oh well,” I thought, once I’d realized it, “at some point someone will collect and publish them, and I’ll get them back that way.” And that was that.
Fast forward more than ten years, to the spring of 2002. During a panel of cartoonists I was chairing in Philadelphia, a member of the audience asked what Mark was working on and where he was. No one seemed to know. The discussion was transcribed and published in The Comics Journal that summer, and in the fall Mark contacted me with the best possible news: He’d read the panel transcript and wanted to publish again. And the Amy and Jordan strips had never been comprehensively collected. So now, as an editor, I was able to grant my own wish.
Amy and Jordan ran from 1988 through early 1996. After that, Beyer put cartooning aside to pursue other projects. This book signals his return to the realm of comics, which he says he wants to start making again. We can only hope he does. For now, I’m just thankful I finally have my Amy and Jordan collection back. –Chip Kidd, NYC, 10/03
對于那些認(rèn)為漫畫在20世紀(jì)末已經(jīng)消亡的人來說，這里有292條證據(jù)證明你錯了。馬克·拜爾通過艾米和喬丹的方式，將精神錯亂、心碎、超凡脫俗的生活帶入其中。很明顯，你沒讀紐約出版社的書。但我確實是。貪婪。早在1989年，當(dāng)我發(fā)現(xiàn)拜爾的漫畫定期出現(xiàn)在這份新的“另類周刊”上時，我很快就被吸引住了，一個想法抓住了我:我必須把它們剪下來并保存下來——它們是關(guān)于城市絕望、夢幻和噩夢的精美詩歌。我已經(jīng)是拜爾才華橫溢的粉絲，根據(jù)他的書《痛苦》(Pantheon, 1988)，但這些新的連環(huán)畫一周又一周地揭示了他作品的一個全新維度——對面板設(shè)計的巧妙改造，重新定義了連環(huán)畫的定義。就像《花生》一樣，試著在它們第一次出現(xiàn)的背景下描繪它們，有助于理解它們是如何深刻地從報紙上的其他內(nèi)容中脫穎而出。相比之下，就連經(jīng)常與之并列的“outré”NYP廣告和清單也乏味得令人絕望。它最令人印象深刻的方面之一是形式服務(wù)于內(nèi)容的方式——無論布局多么古怪，它在某種程度上從未混淆敘事。敘述是什么:就好像甘迪德被送到了東村，像變形蟲一樣裂成兩半，躲在c大道上的一個小洞里，和來自外太空的大蟲子一起?！?/font>
