“It’s like journalism–only better.” (pg. 6, slide 3)
My Second Rodeo
So….that Hobo Lobo of Hamelin is some story, right? Some great work of far-off, far-fetched fiction, right? Like, could you even imagine living in a world like that???? Wild, right?
Alright, alright. Enough thinly veiled references to the blazing “hugest” dumpster fire politics in the greatest country in the world have become. However cathartic it may be….
I’m ready for Ashton Kutcher to pop out and reveal America’s been punked.
I remember when I first read Stevan Živadinovic’s Hobo Lobo a few years back, during election year, I believe. I was blown away, then, by how poignant the piece seemed. The allusions to socio-political points of contention such as xenophobia, nationalism, and big news media corporations (like Fox News) seemed so clear and so powerful, especially when paired with the invocations of Big Brother and the Fourth Estate. These complex, complicate, and, often, dark concepts seemed such a contrast, too, to the storybook, Dr-Seuss-esque elements used to convey them. It was shocking to see these elements so overtly packaged for consumption by the youth. Indoctrination is supposed to be subtle, you know?
Hobo Lobo seemed to be as much a modern reimagining of The Pied Piper medieval folktale as it was scathing commentary on contemporary politics, the 24/7 news cycle, and the effects of late-capitalism on the US.
Now, the work is f*cking horrifying.
If Hobo Lobo was too close for comfort before, now it’s a living nightmare.
I mean, look at this face:
And, that’s just the imagery. When paired with the actual language used in this work, Hobo Lobo becomes highly unsettling. In fact, despite this work being ELit, I found it very difficult not to read it as I would a traditional narrative. The work, though, I think lends itself to that kind of reading–being modeled after a hybrid of the standard design of a pop-up storybook and the typical design of comic books. Unlike comic books proper, though, pages shift fluidly into each other, elements of both language and imagery flowing from one “panel” to the next, creating a “poly-linear timeline” and a kind of “infinite canvas”. Time seems to progress as the work “flows” from one event into the next. Persistence of narrative occurs in that the imagery of each page coincides with the lexia beneath it, nothing de-contextualized about it. In fact, everything seems embedded in a thinly-veiled context–i.e a not veiled at all one #didn’teventry~ The pieces of propaganda strewn purposefully in the background of most panels seem to reinforce a socio-political reading.
Hobo Lobo is a work that is meant to be read. Even the pages that do not make use of lexia, use images and sound–like pipe music and the laughter of children, the resolute thud of stone against earth–to convey not-totally-illusive narrative.
I mean, these images are narrative. Even if I did not have the accompanying limerick to direct my interpretation, I think I could figure out the story.
Anyway, regardless of what contemporary parallels I draw from the content, I believe Živadinovic’s Hobo Lobo is a compelling work of Elit, whose language, design, and aesthetic all work in tandem to immerse readers in this upside-down, surreal-but-hyper-real, topsy-turvy caricature world. It’s combination of whimsical, folktale, Dr. Seuss-esque with snarky, political satire is both charming and revealing of the dark truth of indoctrination: that it’s all child’s play until the stone bites the dust and you’re swallowed whole.
How I know my sh*t:
~Till next time~