Entropy Editions Round-Up : “Prison” By Liva Kandevica

Ryan C.'s Four Color Apocalypse

There are many different types of prisons — those constructed from without and those constructed from within, those that we can escape and those we can’t, those undoubtedly real and those at the very least possibly imagined. One of history’s more infamous convicts, Charles Manson, once said “prison’s in your mind — can’t you see I’m free?,” but the unnamed protagonist of Leipzig, Germany-based cartoonist Liva Kandevica’s Prison, catalogue number EE02 in publisher Justin Skarhus’ Entropy Editions range, apparently didn’t get Charlie’s memo : metaphorically imprisoned by dint of sheer isolation, they suffer, as they live, entirely alone, and largely in silence.

Err — except for the talking (and endlessly taunting) stones, that is.

For the heavily-routinized among us, this critic included, Kandevica’s 24-page mini will no doubt hit home, given that her prisoner is their own jailer, and the bars and walls of their metaphorical cell appear to…

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Artwork of the Day: Paris Nights Magazine (Artist Unknown)


Artist Unknown

Though the cover brings to mind Christmas, this issue is actually from November of 1936.  I just don’t know if I would want two monkeys starting at me while I was getting dressed.  One of them especially appears to be a little too amused.

When I first saw this, I assumed that Enoch Bolles was the cover artist but I can’t find any confirmation of that.  For now, the artist of this cover is unknown.

Music Video of the Day: Workin’ For A Livin’ by Huey Lewis and the News (1982, directed by ????)

If you go to YouTube, one of the comments under this video simply states, “Huey Lewis was the 80s.” It’s a simple statement but it’s also a true statement. For better or worse, Huey Lewis and the News epitomize an era. Personally, I think they may be one of the most underrated bands of the decade. They turned being a bar band into an art form, with songs that were both unpretentious and instantly catchy.

A lot of people make fun of them as a result of how Bret Easton Ellis used them in American Psycho but what they miss is that Ellis didn’t make fun of the band as much as he made fun of the depths that Patrick Bateman went to find some sort of hidden meaning in their straight-forward and always transparently sincere music.

Speaking of being straight forward, that’s a good description of both this song and this video. This is Huey Lewis showing that they didn’t need a bunch of gimmicks to rock. They just needed a stage.