![]() ![]() Where Cooper differs completely from Burns and Clowes is in artistic interpretation. It’s a metaphor for later events, as the intimacy in an enclosed space plays out. Martin notes how almost imperceptible body movements become ripples, but it’s something that’s only been captured in slow motion since the advent of film. ![]() He rapidly becomes infatuated, and the tighter the restrictive fetish gear she wears, the looser Tina’s inhibitions become, reiterating how she likes to be ordered around. Determined not to sully his art with professional models, he sources one from handing cards to women on the street, and is surprised when the overweight and homely Tina makes an appointment. ![]() He’s a none too successful artist who’s just scored a grant from a long forgotten application to create a show concerning erotic fine art. We read about Martin Descerres recording his thoughts of events three years after they occurred. So, of course, does David Cronenberg, and having him write the introduction to Ripple is obviously a smart commercial move aimed at those who’re aware of him and his disturbing films, yet it also draws home how similar to his artistic sensibilities Cooper’s comics are. A first person narrative in a non-autobiographical story is a surprisingly rare technique in comics, and it’s no coincidence that those who use it like Charles Burns and Dan Clowes create a similarly disturbing blurring of reality to Dave Cooper. ![]()
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