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Charles Burns' Final Cut: An All Too Personal Review

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I have waited a long time for the new Charles Burns book. Final Cut is beautifully drawn, but the characters feel like ciphers. On the surface, the horror movie tropes and exploration of the human psyche feel like vintage Burns, and my younger self would have loved it. His connections between cinematic narratives and human connection show how fantasy sometimes separates us. However, Final Cut feels much emptier than Inside Out and less horrific than his best work. The science fiction horrors are only on the screen and in the mind and not realities for the characters as in other Burns stories. Thus, he shows that our disconnections can be more horrific than any fiction. That said, maybe I'm just that far removed from my teenage self and cannot find a connection to any of these characters or their familiar obsessions. As they slip apart, I found myself also withdrawing. Perhaps, that's the point.

Liquid Television: Crude Flashes of Brilliance From an Old School TV

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The lights are off, and I'm in bed watching television. The year is 1992.  I'm supposed to be sleeping -- I have school in the morning, but I can't stop watching Liquid Television . Images are flashing across the screen, a kaleidoscope of colors and mangled drawings. The characters are unbelievable -- Crazy Daisy Ed, Aeon Flux, Beavis and Butthead, Dogboy. The scenarios are even wilder -- "Cut-up Camera,"" Invisible Hands," "Stick Figure Theatre, The Art School Girls of Doom" -- each escalating in delicious promise and craziness. When the TV is off, these images swarm through my mind. Odd music, odder scenarios, forming memories, re-routing synapses, shocking parents across the greater USA. At the time, I was unaware that many of these short vignettes were from the minds of underground cartoonists who were just trying to make a buck beyond book covers and advertising. MTV transformed a few of these into later series that didn't retain the...