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Kistaro Windrider, Reptillian Situation Assessor

Unfortunately, I Really Am That Nerdy

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The significance of Axe Cop
friendlysketch, Thornwolf
I suspect most of you know about it by now, but for those of you who don't, http://www.axecop.com. Go ahead, I'll wait.

Oh, hi, you're back. Anyway, as you've probably noticed, Axe Cop is completely ridiculous. That's probably why you read the whole thing- there's a sort of insane joy throughout the whole thing, eschewing traditional notions of a logically-consistent story in favor of, well, Axe Cop and all that it implies. And its reason for doing so is immediately obvious: the entire thing is scripted by a five-year-old, with his professional-artist brother cheerfully converting it into a full-quality comic production. So what we have is the mind of a creative yet-not-so-different-from-what-you-were five-year-old, faithfully rendered into visual form by a skilled person doing his level best to do the topic justice, and the juxtaposition is brilliant.

Here we have a five-year-old telling a story intended to be fun yet awesome, and without the fetters of standard expectations of storytelling, it's a whole lot of fun. Is it deep? Of course not. It's not intended to be. But it doesn't need to be.

This is where a five-year-old can get away with things a more mature author can't. Most stories are expected to have a point, and some sort of logical progression, and the resolution of the main conflict is expected to somehow relate to the story. This turns out not to be necessary for a story to be entertaining, but somehow, it's not usually "okay" to enjoy such things unless they do have a coherent story. It's a restlessness of the brain- a search for a deeper concept that really isn't there. But when the author is 5, you can go "oh, hey, that's why", and the brain shuts up and enjoys it- the five-year-old gets free suspension of reality. "Suspension of disbelief" doesn't seem like the right term, somehow.

I find myself repeatedly enjoying media that is shamelessly awesome- from the shallow to the deep. Axe Cop is as shallow as it gets, and it innocently revels in it, a five-year-old taking joy in imaginative stories; it is a prototypical form of Dr. McNinja, a more nuanced form of what is essentially the same thing. And here, it does benefit from its author's maturity- McNinja can honestly build up to huge amounts of awesome that sort of fade into the background for Axe Cop, while still maintaining that throughout.

The third example of this is MS Paint Adventures, which is now departing from "pure awesome" by taking extreme displays of plot-line and technical awesome and putting it in an extremely deep plot- which the awesome comes to rely on. (Five seconds of the four-minute End of Act III just completely threw the interpretation of a major artifact and a major character out the window, throwing every single action she's taken into question- a character who had been presented as unconditionally trustworthy was just exposed as catastrophically manipulative, and since she was the source of every single thing we "know" about the entire situation John Egbert is in, Andrew blew the plot wide open. That said, I hope he gets back to the plot soon.) It is based around sophisticated comic timing, deceptively excellent animation skill, and a plot that becomes much, much deeper than it seems like it should be- and it is wonderful.

Here's the thing about fantasy media: by definition, they aren't constrained to reality. Thing is, most peoples' brains have a distinct bias in that direction, and so there's a very real attempt to find logic and order in a presentation that isn't meant to honor those qualities, but instead to revel in "hey, check out how cool this is". And the thing is, "hey, check out how cool this is" is actually quite a lot of fun, not the least because we don't usually get to indulge in that. But the left brain starts looking for some sort of order, becomes restless, and eventually dissatisfied.

Axe Cop, though, shows that it doesn't take much of a reason. "because the author is five years old" is enough to make the brain stop worrying. Dr. McNinja simply plays by its own rules, but establishes those rules before it uses them, so the left brain never gets so restless. Homestuck, that third season of MSPA, revels in the disquiet of the left brain- because so many of those inconsistencies are later shown to have been very good cause for suspicion, as they get blown wide open into a chance to make the plot even more complex. So it nurtures that intelligent suspicion, making it fascinating as well as purely awesome.

Most entertainment media tries to go for a deeper foundation of concept than "excessive quantities of awesome". Perhaps those other concepts are easier to hit, because it's difficult to maintain suspension of disbelief otherwise? In any case, this seems like something useful to have thought out for if I decide to try to compose some work of fiction fundamentally based on awesome.

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Creativity provides the intrigue. Plot provides the sequencing of events and closure necessary for good storytelling.

Even in the abject silliness of Axe Cop, you can still find closure. I find this relevant, because it strips away the plots within plots within plots that Chris Hastings or Andrew Hussie now use to keep their comics moving.

What's left in Axe Cop is the memetic silliness that makes the internet smile, yet we can still call it a story. The question is, how long can they keep it up before stumbling into complexity?

As for creating a comic around awesome, two earlier examples that worked despite plot decay: Calvin and Hobbes and The Far Side. Axe Cop isn't anywhere near either of those for sheer genius, but it has potential.

And I would definitely help, were you to actually work on a comic.

(Author's note: the above comment was written at 2AM Midnight. I'm still trying to figure out where the florid words came from.)

Oh goodness, I love MS Paint Adventures. Even this between-acts interlude has its own kind of shamelessly self-indulgent awesome. Also, we got another musical album out of it.

And that particular bit at the end of Act III? Good to know someone else's mind was blown as thoroughly as mine.

I will read Axe Cop now, when it is not five in the morning after I've stayed up all night.

I'm finding this thing incredibly entertaining on so many levels.

I don't necessarily agree that this is about age.
When I originally read it, I haven't noticed that author is 5 years old.

Knowing the age didn't really change the perspective to me, but I find it awesome that age limits him from trying to play on existing concepts and memes.

Axe Cop is awesome, and thank you for reminding me that I need to get back into Homestuck. (I only followed it for the first 2-3 months.)

Oh goodness, it's very different now. I find you'll really enjoy the ride. Things just keep ratcheting up.

Sometimes I consider digging up the weird stories that I wrote when I was little and posting them on the Internet, roughly as-is. I thought mine were awfully crazy stories, but in the weirdcraziness department, they don't hold a candle to Axe Cop.

Many of us do miss your work on Theri There. You might be surprised how often I find myself quoting it (especially the first entry and collaboration with Baxil).

Any chance of a revival in the not-too-distant future?

I would make sure there isn't any axe in 20 meters radius reach of this 5 years old kid, even a toy axe. o'===='O

I'm going to have to play devil's advocate on MSPA. I found Problem Sleuth brilliant for exactly the reasons you describe, but Homestuck lost me fairly early on. I've kept reading in hopes that it will recapture its brilliance, but to me it has felt during its entire run like it's trying too hard.

I think what it is for me is that Homestuck's production value has shot up so far, and the plotting is so much tighter, that the erraticness created by the "casting off the fetters of the standard expectations of storytelling" actually distracts (and detracts) from the story. (I think you discuss this in your left-brain-vs-right-brain comic-reading.) He's now got elements like multiple timelines being woven intentionally into the plot, instead of being inserted to stabilize a moment of silliness inside an irreverent canon. It really changes the tone.

I think Homestuck also suffers from poorer storytelling, just in the general sense of "storytelling" as "the art of communicating a story." It's pulling more in-jokes, more plot elements, and a wider variety of tropes from sources that are external to Homestuck -- and then often not explaining them beyond a BAED MISSPEELING and a link to "Sweet Bro and Hella Jeff" * -- and so as you go on the story begins to read more and more like fanfic, in the bad ways. Problem Sleuth was elegant because, in large part, it was self-contained; there were a few in-jokes from earlier series but it mostly built up from its own humble beginnings.

* Plus also I swear to God that comic needs to die. with fire.

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