Junji Ito

I’ve been reading the collected works of Junji Ito lately. It’s very iteresting stuff — it feels like it’s all the same, which is probably a good thing. Billed as a horror comic, except It’s not really all that horrifying, and in the very last volume he does a rewriting of Frankenstein, mostly true to the original Mary Shelley version, which is quite interesting, since I hadn’t noticed before just how Itoian that book was. My favorite webcomic gunshow actually references Ito … a few times, I think. I think he’s fairly well know around the internet.

I have been thinking over a sense of freedom — the freedom of the mastery. I don’t think I drew out this final sense of mastery — I know I keep returning to it. I mean, anything goes. We are not fundamentally, our intellects, are not fundamentally determined by technics. … I had not thought about the most radical consequences of the desolution of the borders between disciplines, the most radical consequences of not taking people at their word — the most radical consequences of Socraticism, let’s say.

CRP — which sounds sort of like CPR — I use to stand for, the “complex recent past”. It’s an idea of the thinking of history, what are we going to do with this incredible freedom? Well, we did talk about this notion of selfishness. Of looking out for myself, my kind. With so much freedom, such a task , well, we can do it unapologetically. The Complex Recent Past is our way of avoiding phenomenality, it’s a way of abusing this freedom. We have an experience, logically, in the complex recent past, and then, maybe, we experience it. This is the sort of power or freedom I feel.

Anyways, let’s talk a bit about Ito. I was happy that I did not draw any of the usual conclusions, any of the Freudian conclusions. It was definitely interesting — it was not horrifying. I did not even want to read it as some Japanese audience, that I couldn’t understand — rather, I don’t think anyone really felt it, or, alternatively, that no one really felt horror, that the fascination with horror isn’t aesthetic. The characters are stupid of course, but maybe that is part of the dreamlike sense of claustrophobia or helplessness.

I am a lot racist than I’ve ever been, really. Which doesn’t mean that I respect differences but rather than I believe all people are the same. So, again, for Ito, there is no privileged audience. Nor do I want to go the route of saying that there is some kind of art of the future. I think that there is a lot — me included — exoticism when it comes to this guy. So, rather, I want to apply this principle of CRP, of the complicated recent past, which, recall, synergizes with that sense of absolute freedom.

There is definitely something very interesting about the drawn image. I think I read one of the critics say that it was a character wasn’t beautiful so much as she was a symbol of beauty. When I read it, I confess, I tend to skim it — not even because I disrespect it or anything, but merely because it feels like it suffices. That’s what’s interesting about comic books I guess. I mean, I know the translation is bad, that there is nothing really to be understood in the word bubbles. I could probably read the entire work in Japanese (I don’t know Japanese) and have much the same effect. The dialogue is very banal, which may mean that it was translated badly, or it may mean it was intentionally banal — which is a real possibility, I’m not sure. Anyways, I tend to skim it. Not all comic books, but these ones are sort of like IV’s into the brain. A sequence of mostly identical, repeated images, combined — it is very interesting.

Now, I have not forgotten about truth, or historical significance. I mean, yes, selfishness, but there is also the need to talk about historical significance, that is probably the main purpose here. Now, my theory of history, or of interesting history, is that history is determined by the CRP, which is an odd sort of hypothesis. I mean, it is one step removed from simple aesthetics — it is indeed undeniable that aesthetics, pain and pleasure, correspondence, etc., itself has a history to be written. Say, the history of pain and pleasure. But that is perhaps not so interesting. A history of CRP is one step away from aesthetics and — importantly, not merely exoticism, ie, not merely, as we said above, in anticipation of an ideal Japanese audience. It is a history where the basic cause is what just happened. And a major reason why CRP is so important is because it ties in so closely to mastery, to the freedom of mastery. (And as a reminder — let me remark that we are not above lying, cheating, fronting, when it comes to mastery!)

In other words, Junji Ito’s has a historical theory — it is at once a theory of history, and a model of the CRP, the two are not the same. (The former depends on the latter.) Now when we think of the CRP for Ito we think of … something that is very different, certainly, form someone like R. Crumb of Jim Woodring. He is highly aware of how repetitive his comics are.

TBC, for real!


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