This article containsSPOILERS. If you haven’t read the issue yet, proceed at your own risk!
Patrick: What are we doing here? I mean, here, reading (or in my case, writing) a piece critical of a work of art? The art itself, issue two of Glitterbomb The Fame Game, is an exploration of emotional voyeurism, and is openly critical of the people profiting off the vulnerability of others. The risk associated with saying anything about this issue is always going to pale in comparison to the risk the creators take in actually expressing the story therein. Writer Jim Zub and artists Djibril Morissette-Phan and K. Michael Russell lay their own fears of fame out on the page in naked, sometimes groaningly obvious, ways. I can point this out and say “look how obvious this is”, but this is always going to be a weaker product than the story that actually says something. Continue reading →
Today, Ryan D. and Taylor are discussing Glitterbomb 1, originally released September 7th, 2016. As always, this article contains SPOILERS.
Ryan D: Being an actor is a very peculiar job. Though it may seem like a pretty sweet gig — getting paid to pretend you are someone else — the difficult part of the profession is seldom the actual acting. Yes, it can be extremely taxing, assuming the quirks and burdens of another person on yourself, on top of your own idiosyncrasies and insecurities, but that’s the easy part. The aspect of acting which differentiates it from other walks of life is that a professional actor, unless they are very successful, spends a very small portion of their life actually doing their trade. If you’re an electrician or an accountant, you do those things throughout your day; however, most of an actor’s life is occupied with the process of finding work to do whilst maintaining one’s skills and often fragile sense of self. The stress can be maddening and hell on one’s ego, so it is a very good thing that actors do not have some sort of internal mechanism for murder.