The project has a name, and model building has begun:
The project has a name, and model building has begun:
Flying Tiger Comics will be devoted to an animation project in 2017. The proposal is to produce webisodes, comics and eventually an animated film using a mixture of stop motion and computer animation, with conventional, 3D and interactive fiction versions of the finished animations.
The physical set design has commenced as has the storyboarding. Voice acting for the different languages will commence in several months. The comic books will be produced once enough footage and stills have been produced to support a publication.
I did a comic a few years ago called Kid Celephais, basically a sort of Walter Mitty meets H.P. Lovecraft’s version of the Dream-Lands. It wasn’t particularly good, more an exploration of ideas.
Now I am returning to Celephais, under the Zombienomicon (R) umbrella.
I am adapting Celephais itself in the same way Marvel adapted the ‘real’ Conan stories first before splitting off into their own continuity. Much the same approach here, I will begin with Celephais, adapting it word for word as text for the comic book pictures. This is effectively the origin of a Superman type character, albeit the god of a city-state in the Dream-Lands.
On such sparse threads I am then going to weave the further adventures of Kuranes, as the hero of Celephais (and Ooth-Nargai) and Serannian the city in the clouds. Adventures, mysteries and so on.
I am putting it under the Zombienomicon (R) rubric for three reasons. Firstly, adapting the public domain HPL work is going to lead to spinning off of new tales, and these tales in my own mythology properly fall under the Zombienomicon type story cycle – forbidden book, altered realities and so on. Secondly, Kuranes as Dream-Land Superman is a titanic character and he needs serious threats and challenges for his adventures to be remotely interesting. Deadoids, vampires, lost pocket universes and powerful adversaries come naturally from the Zombienomicon worlds. Thirdly it suits the general atmosphere of neo-Gothic, watercolor artwork and so on.
I am using a variety of art techniques on the Celephais stuff, ranging from scanned watercolors, GiMP rendering, and scanning and distorting collages.
I keep toying with the idea of doing 3D physical art too – physical maquettes and cardboard standup versions of the city, or some location that warrants it. I did a little bit of that for Bogatyr (which became part of the Zombienomicon Eisegesis book) and it’s fun, if time consuming. I really need to set a table up properly if I am going to be photographing physical cardboard etc. and that might be the dealbreaker. No time. No space.
“What would you get on your crystal set?” Vic asked his son. “Are there any stations still transmitting?” It had been his impression that radio stations had folded up several years ago.
Ragle said, “He can probably monitor ship-to-shore signals. Aircraft landing instructions.”
“Police calls,” Sammy declared.
“That’s right,” Ragle said. “The police still use radio for their cars.” Holding out his hand he accepted the crystal set from Vic. “I can trace the circuit later, Sammy,” he said. “But I’ve got too good a hand right now. How about tomorrow?”
Junie said, “Maybe he can pick up flying saucers.”
“Yes,” Marge agreed. “That’s what you ought to aim for.”
“I never thought of that,” Sammy said.
“There’s no such thing as flying saucers,” Bill Black said testily. He fiddled with his cards.
“Oh no?” Junie said. “Don’t kid yourself. Too many people have seen them for you to dismiss it. Or don’t you accept their documented testimony?”
“Weather balloons,” Bill Blake said. Vic was inclined to agree with him, and he saw Ragle nodding. “Meteors. Meteorological phenomena.”
“Absolutely,” Ragle said.
“But I read that people had actually ridden in them,” Margo said.
They all laughed, except Junie.
“It’s true,” Margo said. “I heard it over TV.”
Vic said, “I’ll go as far as admitting that there seems to be some sort of odd-ball stuff going on up there.” He remembered one experience of his own. The summer before, during a camping trip, he had watched a bright object flash across the sky at such velocity that no plane, even a jet-propelled plane, could have matched it. The thing had more the manner of a projectile. In an instant it had whisked off over the horizon. And occasionally, at night, he had heard rumblings, as if heavy vehicles were passing at reduced velocity across the sky. Windows had vibrated, so it had not been head-noises, as Margo had decided. In an article in a digest medical magazine she had read that head-noises indicate high blood pressure, and after that she had wanted him to visit their health-plan doctor for a checkup.
EISEGESIS: the interpretation of a text (as of the Bible) by reading into it one’s own ideas — compare exegesis.
Eisegesis (/ˌaɪsəˈdʒiːsəs/; from the Greek preposition εἰς “into” and the ending from the English word exegesis, Greek ἐξήγησις, which in turn is derived from ἐξηγεῖσθαι “to lead out”) is the process of interpreting a text or portion of text in such a way that the process introduces one’s own presuppositions, agendas, or biases into and onto the text. This is commonly referred to as reading into the text. The act is often used to “prove” a pre-held point of concern to the reader and to provide him or her with confirmation bias in accordance with his or her pre-held agenda. Eisegesis is best understood when contrasted with exegesis. While exegesis is the process of drawing out the meaning from a text in accordance with the context and discoverable meaning of its author, eisegesis occurs when a reader imposes his or her interpretation into and onto the text. As a result, exegesis tends to be objective when employed effectively while eisegesis is regarded as highly subjective.
The plural of eisegesis is eisegeses (/aɪsəˈdʒiːˌsiːz/). An individual who practices eisegesis is known as an eisegete (/ˌaɪsəˈdʒiːt/); this is also the verb form. The term “eisegete” is often used in a mildly derogatory fashion.
Although the term exegesis is commonly heard in association with Biblical interpretations, the term is broadly used across literary disciplines.
When I began the ZE project I knew I wanted even the name to be commentary on PKD and what he means to people who become passionately inspired by his writings and philosophy.
Given that his masterwork is entitled Exegesis, it seemed obvious (to me at least) that its synthesis could only be antithetical – he sought clarity and truth under layers of lies through the medium of fiction which is itself interpretative. Therefore only the antithesis koine term EISEGESIS could possibly encapsulate my own work and its infinite fictional text.
“The More You Know” 🙂