Grafity's Wall Expanded Edition

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Frank Miller, throughout his work, has written about his home of New York and done it in a number of ways to date. This is about standing in a bulk of rubble, gazing at the stars, wondering what the hell your future’s going to be like. We don’t share your credit card details with third-party sellers, and we don’t sell your information to others.

But there's such life in this telling of it that that barely matters (even if the Comixology 'upgrade' was being particularly temperamental with this one, only showing it to me in double-page spreads and refusing to zoom, which really didn't do the Brandon Graham-style detail and vibrancy of BK's art any favours). Considering that street art is a key theme here, in how it experiments with style without the worry of consistency, the same can be said with the work by Anand RK, who plays around different panel grids, from nine panels to sixteen. The aforementioned ending and its related feeling of having been reading a series of stories that are just a drop in Mumbai’s tumultuous life manage to create a sense of closure which is, at the same time, the recognition that what we have in our hands are just shards of something bigger (I refer here to the very lives of our characters).

We are made privy to the lives of four young characters, then, who try to balance the need for survival and the human drive (or necessity) towards making our dreams come true. So what the approach in Grafity’s Wall is is a choice, a very deliberate choice to go loose, rough, to achieve evocation. A wannabe public intellectual who tolerates racism and bigotry because he believes, deep down, it's okay to survive being a weirdo.

And done in the specific cultural context of Mumbai, as a new rap culture seemed to be taking off just a few years back. What makes Grafity's Wall an especially enjoyable read is how all pieces fit together: the art, the characters, the slang, the narrative techniques evoke a very special atmosphere and form a unitary piece of art. Grafity’s Wall is both the title of the work and a place in it, this singular wall amidst the rubble of broken-down homes of the poor. Because of where he’s from, Grafity likes the idea of being somewhere he’s meant to be, as if sneaking into another world and leaving a mark. brings about a recognition of how life can differ when contextualized into places far away from and yet so similar to our own, as we share the same idiosyncrasies, the same hopes and the same lust and thirst for something better.It’s just four short stories, centered around these four figures, interlinked loosely and given a coda by the end. Sometimes weak, inconsistent, and lacking the teeth to cut through the noise, GRAFITY'S WALL soon finds its rhythm, and readers best pay attention lest they become lost in the fray. The image is colour corrected to attain the closest possible match to the original work if required.

The problem is not that we all feel the crushing weight of reality hanging over our heads (or, worst case scenario, pushing us down on our back, a burden we’d like to shake off but can’t); the beauty of Ram’s message, in fact, is not that dreams can come true, rather that dreams are to be gained just as we need to accommodate our hopes in a world that many a time tramples on them.I found myself rooting for the protagonists while at the same time struggling with the messy artwork and somewhat boring plot. Personalised advertising may be considered a “sale” or “sharing” of information under California and other state privacy laws, and you may have a right to opt out. When an aspiring street artist by the name of Grafity watches the tenements outside his home being razed, he finds an unlikely canvas at the one wall still left standing in the debris. He’s friends with Jayesh (“Jay,” who’s the most “Americanized” of the trio) and Chasma, both of whom have their own issues.