Compartmental comics is a copyright (c) 2006 of Restituto Embuscado. No part of this Web site may be reproduced or downloaded and distributed in any form or by any means, stored in a data base or retrieval system, without prior consent of the publisher. The comic characters, Nuclear Man, Compartmental Man, Nuclear 9-11 Man, Nuclear Cross, Nuclear Woman and other characters in these website or all the artworks on paper, etchings, paintings, pastels watercolors, drawings, digital prints and the posters are a copyright (c) 2006 of Restituto Embuscado. All rights reserved.
For Information, please write to:
P.O. Box 1295, Madison Square Station, New York, New York 10159
ALL DIGITAL POSTERS ARE PRINTED ON PHOTO PAPER
PRICES FOR THE POSTERS ARE SET BELOW:
Fig, 1.Title, Nuclear Man 1, size,13 x 19 inches. Price: $ 180.00 Fig. 2. Title, Nuclear Man 2, size, 13 x 19 inches. Price: $230.00 Fig.3. Title, Compartmental Comics-figures. Size, 13 x 19 inches. Price: $ 230.00 Fig. 4. Title, Nuclear Woman. Size, 13 x 19 inches. Price: $ 230.00 Fig.5.Title, Axis Man. Size, 13 x 19 inches. Price: $ 240.00 Fig.6. Title, Compartmental Comics. Size, 13 x 19 inches. Price: $ 180.00 Fig. 7. Title, The Last X, Samurai Man. Size, 13 x 19 inches. Price: $ 180.00 Fig.8. Title, Magpupulot. Size, 13 x 19 inches. Price: $ 240.00 Fig. 9. Title, Poverty, Democracy and Political Torture. Not for sale.
The traditional and modern comics are dead, like the Newark art-garbage-comics' exhibition. Its main purpose is aimed at the preservation of the dead super-heroes and insignificant tradition. This exhibition has displayed an undemocratic impulses, to express the whole muscular-weight of the modern comics out-of-fashioned memories; and, in a tax-payers room, the oppressors of the ethnic-diversity of American art and global art, they hung the works of the third-rate cartoonist and the body of tights and masks form as an image of super-heroes. Its main theme is to suppress the aesthetic-free expression of the Eastern world and the poor slaves of modernism who stood up against flying. The poor cannot compare themselves with the super heroes because they cannot fly from one shanties to the other. This comics exhibition composed of irrelevant forms of illustration, expressing the false notion of American and global realities, cannot be considered as art. It is not art. From the start, these works can be very modernistic, but they are not masterpieces. It is an ornamental bordering on modern illusion, without meaning; because, it has failed to grasp the truth, a garbage- point of life laid under the oppressive clouds of modernism. These works are chains of chaos and tragedy, where life is forged in which the body is transformed into an illustrative outline of colourless life; it is not a communal literature about the impoverished-poor and ethnic diversity's colorfull life.
LONG LIVE COMPARTMENTAL ART, THE FIRST AMERICAN ART MOVEMENT
LONG LIVE COMPARTMENTAL REALISM, THE FIRST GLOBAL ART MOVEMENT
Modern art is dead.
If you are interested in buying Di-ssect, comics and literature, please make check payable to Restituto embuscado. The price for one copy is $4.00. Price does not include postage and packing. Please add $1.00.
Mail your payment to:
P.O. Box 1295 Madison Square Station, New York, New York 10159
The Newark art-garbage-comics' exhibition is linked with a subject of superiority, super-tradition of modern movement, and monotonous quality that emits illusion and darkness in what is considered by the poor as insignificant; because, they can expect nothing from any muscular men and women of the super-families or masterpiece-societies, even when it is traditionally or modernistically exercised. Where is the African comics? The Far Eastern comics. The Bangladesh? The impoverishedly skinny or non-muscular poor people's comics?
WHERE IS THE ABU GHRAYIB'S COMICS ?
WHERE IS THE SLOVENIA-GYPSY OR ROMA'S RIGHTS?
THE SLOVENIAN'S HAD ALWAYS BEEN TIRED OF SEEING THEIR NON-MODERN SLAVES. IT IS TRUE TO SAY THAT THE GYPSIES' ARE DIFFERENT, SUBSERVIENT TO THEIR OWN IDENTITY. NOT TO OTHER PEOPLE. THAT THE FRONTEIR OF THEIR CULTURAL LIVES ARE ALMOST ENTIRELY GOVERNED BY SUPPRESSIVE EASTERN-WESTERN NATIONS. MOVING INTO AND OUT OF A PLACE IS AN EXPRESSION OF SENSIBLE LIFE. THIS IS NOT A NOMADIC MOVEMENT OF LIFE FOR EVIL PURPOSE. KILLING THEIR RIGHTS' TO EXIST IN REALITY, NOT IMAGINARY, IS A COMPLETE MEASUREMENT OF BARBARITY.
WHERE IS NUCLEARMAN AND THE FLAG OF POVERTY?
From the historical point of view, the world of plenty, has seemed to be accustomed to the ultimate error of economic reality at the expense of poor-humanity. This indicates that the neurotic obsession with nuclear arms consciousness, in connection to the deceptive framework of the free market one-sidedness (look at China's economy compared to the poor countries in Asia, Africa and countries like Bangladesh and Mali) and conflicts of economic and political interest within the pretense of freedom (look at Iraq and the false democracy in the Philippines, which is dictated by a non-elected president: Macapagal Arroyo) and which every beggar people has known, is symply a deceptive plot. Capitalism is not an interesting economy; most of the works of the award winning economist are fictitious; including the nobelist's works on dark matter is a fictitious part of the Big Bang, directly or inderectly. There is the danger for this kind of telescopic experiment, thinking that it is the most important scientific tool for the learning of man's beginning and understanding of the expanding universe -the U.S. government has wasted billions of dollars in funding this ridiculous project. And, this wastefullness has gone beyond the range of human tragic - poverty at the expense of the poor. In this case, the departure from the economic-political distortion of reality ( free scientific experiment and free market or free trade) must be logically dissected. Compartmental economy must be connected with the forces of life and the total democratization of world economy. Nuclear Man and the flag of poverty is a reality, under the name of the poor. Poverty is not only an interpretation of emotional reaction against global-corruption, but it is also Nuclear Man's - dissectional doctrine, producing the same contradiction on tragedy; because, he finds modernism's false economy and false democracy distasteful.
THE NEWARK ART-GARBAGE-COMICS EXHIBITION
DISSECTIONAL-COMPARTMENTAL-COMMUNAL (ONLINE) ART CENTER
DRAWINGS : A ONE MAN ONLINE-EXHIBITIONOF COMPARTMENTAL COMICS CHARACTERS - NUCLEAR MAN, NUCLEAR MEN, NUCLEAR WOMAN, JAPAYUKI GEISHA, NUCLEAR 9-11 MAN, THE LAST X, SAMURAI MAN, NUCLEAR CROSS, MYTH MAN, NUCLEAR SHADOW MAN AND AXIS MAN
From left to right: Nuclear Cross, Japayuki Geisha and Nuclear Men
From left to right: Japayuki Geisha, Nuclear 9-11 Man (roll over) The Last X, Samurai Man and Myth Man
From Left to right: Compartmental Man, AXis Man, Nuclear Man and Nuclear Shadow Man (rolled- over)
From left to right: Nuclear Woman, Axis Man and The Last X, Samurai Man
THE COMPARTMENTAL THEORY OF THE COMICS- NOVEL
From left to right: Nuclear 9-11 Man, Japayuki-Geisha (Axis Man, rolled-over) and Nuclear 9-11 Woman
THE COMPARTMENTALISM OF ART, COMICS AND THE NOVEL
Compartmental fiction is a theory of the comic novel or art and literature, which deals with a communal view where the picture of humanity would be paralleled, and be related to the totality of life in a dissectional relationship between natural and mythological existence, residing in a global perspective; where the the impoverished dreams and visions of the poor, could be historically chronicled, and be permitted to dwell in the light; where every culture like the Gypsy's nomadic serenity of openness which were slaughtered, in relation to one time into another, by the western and eastern European government and absolute monarchy, as if their lives were a subject of senseless extremity as the killing itself. This is the old and the new European Union's brutality. Nuclear Man spent his life in this waste bestial condition, he witnessed an absolute series of dehumanizations, for what the European called enlightenment was to him an irational suffering, not as bill of rights but as death of the poor's life itself. The Gypsy's culture was in great contrasts with the enlighteners; their broken culture had became neither one or many, it drifted apart, and haunted by darkness - for their cultural lives were a historical batlefield. Nuclear Man' s body and thought were broken by the suppressive and violent spirit of the aimlessness of the European Will, he sense the stupidities of tradtional freedom, living through the flesh of the poor.
The same can be said of Japayuki - Geisha's desperate struggle when she searched for the archipelago's uncharted cultural historical line of tradition, oral, in which the truth, behind all that masks of colonialization, could point toward an expression of freedom, she thought that if Malayuan culture were linked to its own original existence, as the sun had risen in the east, she could see the picture of life's sovereign images. Her dream to reclaim the sovereignty of the Malayu nation and to obtain freedom by dissecting the history of crucified religious propaganda and political oppression, should be accomplished; it would reveal all things from this dream, in a straight line, the way it was seen in the past. The poor people's lives were lifted out from the illusion of one darkeness into another, which had crawled over the cross of modernity;the image of the cross was an illusion, a myth, a painted picture of disguise, opposed to the reality of the light, because the poor were not truthfully awakened, they were forsakened for many centuries and exhausted to its utmost suffering. Five hundred years of colonial slavery. This is a long time to construct sovereignty from slavery in the highest degree of cultural form- with whch Japayuki - Geisha speaks of reality as a form of light, of life, not as mass or weight of dark matter which imply a relation to the Big Bang as the source of life's begining. She brought us back to the begining, without the darkness of the Big Bang. It takes more than a whole life to revisit the extent of the Malayuan sufering, passing from nightmare to nightmare, from described life as a body of the cross, but in spite of dark after dark sruggle she desire for the light. And, on that dream of fostering sovereignty, which will be illuminated in the compartmental comics and the novel, Japayuki Geisha has taken up her courage in the spirit that is overflowing with vivid light. Japayuki- Geisha had dreamed that the sense of Malayuan pride pride was wholly created by sovereignty, and in a full realization of their very own social, cultural and cultural structure, not in the philippines' false identity or illegal naturalization papers. Japayuki- Geisha saw the eastern( Chinese and Japanese) and western (Spain and American) atrocity as an assault upon their true identities. They had lost the tongues of ancient echoes, the oral history was lost, the inhabitants lost their freedom. Colonization was a poisonous democratic and religious instruments. The return of Mk- Artur did not liberate the poor people who fought the Japanese. He liberated the the rich people, he pardoned the Japanese collaborators, and he put them in the highest political offices, like the presidential or executive office. Mk -Artur despise and persecute the poor people's guerrilla movement, he declared them as an outlaw, and deprived them of political opportunities; because, he was infected by chinese-spanish mestizo's corruption. Japayuki-Geisha saw the Filipino-chinese-Spanish-Mestizo's immoral images of life as a muddy and bloody activity in economics, politics and religion, and filled with the full expressioon of hate. It was an atrocity formed by false democracy and repeated in various political structure, by way of cha-cha or the so called charter change. In spite of the political changes of the constitutional laws which govern it, the dirty man or shorter-woman, who always found themselves in conflict with the political system, because their ambitions were indifferent to the democratic system of the constitution. It was a political and economic conflict of interest. They had spent so much time in selling the poor people's body-part to the local chinese-spanish mestizo and foreigners. Filipino history has been culturally butchered and rewriten: fictionalized. The differentiation between the spanish-mestizo and chinese decadent way of life, a cultural contrast, has been mixed with the evil cross. Filipino history is a fiction. And, the Filipino itself is a fiction. Everything, from the philippine democracy to the newest cha-cha-constitutional framework, are corrpt-political-fictional works.
The fictional-mythology of the modern world is entwined with the antiquity of the dark ages. It is a mythical world, cuirculating in the universe, religious in spirit, cold in substance or matter, its movement represents a monarchical suppressive order to prevent religious and political freedom. Its history has been written far more as a constitutional assemblages of fictional rights, a deceptive appearance produced by the cross of faith, as between the universal family and the super-race bloody society. They falsely rose from the dead to imitate the highness of life, adorns the cross with the finest diamond, gold and silver from colonized-Africa and the colonized-Americas, and covered their faces with dark masks of modernism, like the mask of an avant-garde face, not an axis face - like Axis Man. In the land of the middle east, the fulfillment of prophecy has been fastened at the tip of the western's democratic bayonet, at one end, to the crusader's bloody sword, in the shape of the cross, at the other. The gospel of war, according to the new crusaders must be seen at a democratic way to the line of the cross of suffering. The Axis Men will received the blood of the evil-cross from an open space of the desert in the darkness of hell. Axis Man could no longer absorved destruction and killing of his people, he saw the desert was bomb with black holes as with a radiation, formed under the direction of universal movement. He saw the return of evil-democracy. He was led to believe that the prince of darkness had not rested on the seventh day of the week, but had risen on that bloody day to write the fourth commandment of evil-ressurection, all from the selective species of evil- genus to the height of the evil-cross.
The mystery that resided in the sky, groping in Myth Man's imagination, has fallen through the light and darkness of his life.
He cried out in darkness, and distanced himself from the opposite world, which has
caused him sufering, suffering from a variety of sickness, mental and physical. He has
no angel like-identity, which illuminate his own brilliance; no great strenght to touch
the sky. There is nothing in his heart and wisdom that tends to project his personality
into a spirited-man. Myth Man is in contrast to all the super heroes, his weak voices,
like Comprtmental Man, has a thin coat of inordinate life matter, like a transparent
cloud which moves through the air. Myth Man is like a hunted animal.
The story of Nuclear Men runs through a mysterious lineage, that were presented not only by the sequence of subjective connections or linear continuation of their existence, but by the ray of reflections in relation to the compartmental totality, in both events and characters of the comic-novel. The story has continued into the middle, first, there were the
Black-White Angels and the Flesh-Eating Warriors, who directed their
attacks toward the center; and, by the end, the story arrives at the view of
the clouds, by which the main characters, Nuclear Men and Nuclear Man,
came into different beings.
The Shadyrs have been overwhemed with the confusion of their own
tragic lives, the compressed-anger inside their heads has risen into
the darkness of the horizon. They are wariors of the eastern section of
Gothic-hell. They follow the doctrine of the sun's rays. They search for
the narow road, cut out from the bright light, and because the
Nuclear Men could not linked their reality to the sun, they desired
everything inside that world of confined space. For all the moments of
glory, like supernatural incarnation, they thought that the energy and the
light of the sun could increase their power.
Nuclear Woman has a different historical perspective, both in depth and extent in scope. She is not bindingly affected tragedy and death; without th ecommon trait of human self-sacrifice, as viewed from the the interrelations between human inability to confront the realms of fear and death, that varies from suffering to suffering, from weakness to weakness, her strenght, cuting accross the desert of the sky, has remained untainted -that is, without the effects of time and three-dimensional space.