But yeah seriously. That is some break your mind composition. Besides color, the Anita Live series is from this era of large angular panels. Venus in Furs is sort of proto-this. When I get a moment, I want to write about Anita, Emanuelle, and Venus in Furs. I need to scan in Venus in Furs at some point. It’s alright. It’s like a little too serious and stiff. But I just sort of lock that Velvet Underground song in my head, and roll.
The Anita Live series is one of my favorites. It’s just this Anita character masturbating to her television, I think this is before Videodrome. She’s basically a less literate Bianca. It’s like Crepax’s concession to the fact people stopped reading books in 1977 or something.
Also there aren’t really much in the way of gutters in this later Crepax stuff. Which makes sense, because these works are very concerned with having the most page space possible, while still doing Crepax things. The rhythms and the type of panels and digressions Crepax does visually are all still there—but it’s all so much more assured in my mind. The first image is as complex in three panels as a Bianca page with thirty panels. Panels are just one of many ways you can drag time across the page in comics. There is no reason to be overly tethered to them, beyond as an aesthetic choice.
The first and second panel are amaaaazing. This page is built on the way Crepax has bent Anita’s body in the second panel. It warps the whole page and is what is holding the whole thing together. I can’t look at it without at least feeling a little dizzy. and that’s without the third panel occurring on the freaking ceiling.