Amy & Jordan 2004 Mark Beyer 百度网盘下载 232MB
数量： 294张
大小： 232M
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
对于那些认为漫画在20世纪末已经消亡的人来说，这里有292条证据证明你错了。马克·拜尔通过艾米和乔丹的方式，将精神错乱、心碎、超凡脱俗的生活带入其中。很明显，你没读纽约出版社的书。但我确实是。贪婪。早在1989年，当我发现拜尔的漫画定期出现在这份新的“另类周刊”上时，我很快就被吸引住了，一个想法抓住了我:我必须把它们剪下来并保存下来——它们是关于城市绝望、梦幻和噩梦的精美诗歌。我已经是拜尔才华横溢的粉丝，根据他的书《痛苦》(Pantheon, 1988)，但这些新的连环画一周又一周地揭示了他作品的一个全新维度——对面板设计的巧妙改造，重新定义了连环画的定义。就像《花生》一样，试着在它们第一次出现的背景下描绘它们，有助于理解它们是如何深刻地从报纸上的其他内容中脱颖而出。相比之下，就连经常与之并列的“outré”NYP广告和清单也乏味得令人绝望。它最令人印象深刻的方面之一是形式服务于内容的方式——无论布局多么古怪，它在某种程度上从未混淆叙事。叙述是什么:就好像甘迪德被送到了东村，像变形虫一样裂成两半，躲在c大道上的一个小洞里，和来自外太空的大虫子一起。…………
