Science tells us that what we see is a detailed re-creation of what our brains make from information provided by our senses. A kind of ‘matrixIt was biologically engineered to survive, but our brains take advantage of it to sweeten appropriately for our needs. Just as our memory is constructed according to the present, our present is in a dangerous cycle where it can be cut off at some point by adapting to the experiences of our past. Some writers have taken the opportunity to completely separate and explore alternative dimensions, as Lewis Trondheim hilariously did. By Tutatis! (Astiberri, translation by Rubén Lardín) Apologizes for combining the universe of Asterix and Obelix with that of his famous work Lapinot. What could be a simple pastiche or a harsh satire on alternative dimensions is in the hands of the French an opportunity to reflect on the themes of the very famous series, drawing on humor and irony. Goscinny and Uderzoto explore the connection between reality and fiction, also represented here as two permeable parallel universes, mirror representations of the same reality, where small differences each of the worlds provide valuable information for the author and the author. A respectful homage that paradoxically turns this alternate story into one of the best stories about the Frenchman and his obese friend.
This is not always so easy: for many, finding the door to that alternate reality requires chemical “aids” that lead to new-seeming worlds; Lorenzo Montatore had already discovered the effects of drugs. Watch out, you’ll kill yourself!, but his new work, Aquí hay avería (ECC Cómics), is a gruesome descent into the self-destruct of addiction. With its distinctive style that owes both to the graphic avant-garde of the period. 27 authors Like Bruguera, with a powerful and expressive palette and daring incursions into the dream, Montatore builds Viti’s tragicomedy and addiction to destructive hell; A drug infused directly into the eye distorts its perception until it misses it from existence. The existentialism of the cartoonist contrasts with the simplicity of his lines, but he manages to act directly on the reader by breaking down the barriers of perception to understand the destructive effect of addiction without falling into easy morality.
But if there’s a writer who can analyze this reality we’re traveling through with the precision of a scalpel, it’s Max. The new work of the national comics award takes as a title a word that can obscure the meaning of life: What (Salamander Chart, the Catalan version of Finestres). A word that can hide behind pronouns, adjectives, adverbs, nouns, conjunctions and even exclamations, perhaps life hides behind many appearances that we don’t care about. But first of all, the happy three letter word represents a question, its answer, and the exclamation we answer to it, which is more or less what we do with our lives. For Max, the journey of initiation begins with these three letters in an exploration where the artist’s irony appropriates Max Ernest’s collage or Vázquez’s sharpness so as not to leave a headless puppet of the reality that surrounds us. His alternative vision is a complete deconstruction of the myth, one that falls within the Derridian canon. I encrypted and Conti while throwing darts at the figure of the resentful man who destroys the world at a steady rate with the dictates of pride and pseudo-knowledge. And the problem is, when we laugh out loud at realizing this new thing don’t throw a tantrumMax drops the curtain covering the cartoon, which turns out to be a mirror.