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An Interactive Documentary Comic 1902 - 1951 World bantamweight boxing champion, 1929-35 and also homosexual, a jazz musician and a lover of champagne and opium “From his birth he could place a punch as a poet does a word.” Jean Cocteau AN INTERACTIVE DOCUMENTARY COMIC BY JACQUES GOLDSTEIN, ALEX WIDENDAELE AND CAMILLE DUVELLEROY PRODUCED BY Laurent DURET [email protected] +33 (0)778842394 / bachibouzouk.net Al crossed the Atlantic, and the flamboyant world champion had a ball in Paris. SUMMARY His winnings finally raised him from poverty, and Paris fell in love with this incredible negro who quaffed champagne between rounds. He lived in high style, keeping racehorses in Maison Laffitte, driving a Bugatti and funding Marcel Griaule and Michel Leiris’s first ethnographic expedition. Al knew full well, however, how fragile this all was – like his fingers, which were breaking with increasing frequency. When Cocteau ran into him in a club in Montmartre, Al had just lost his world title. A fallen champion, he was playing the sax and singing in the pit of a club. The PANAMA AL BROWN: A MYSTERIOUS FORCE TELLS THE Story OF A fantaSTIC poets offered Al a truly Faustian pact: Cocteau would help him quit drugs and BOXER AND featHERWEIGHT WORLD CHAMPION WHO DETESTED BOXING. return to his former glory. The price he had to pay, however, would be to give up HE WAS A SENSation IN PARIS FROM 1926 to 1938. WE WILL TELL HIS Story IN AN interactive comic BLENDING FICTION AND boxing once he had regained his title. This was ‘l’art pour l’art’, or the poetry’s documentary. entrance into the murky world of boxing. Cocteau loved and manipulated the boxer. With money from Coco Chanel, Al abandoned drugs and brilliantly won back his world title. Yet he couldn’t, or wouldn’t, hang up his gloves, and Cocteau distanced himself from the boxer. Al Brown returned to America at the outbreak Panama Al Brown was an undisputed master of his art, but he hated boxing. of the Second World War, and died in penury in 1951 to general indifference. A talented musician, and a lover of champagne and opium, he rarely trained. As a homosexual in a milieu where ostentatious virility was the norm, and a young He was, in all his great intensity, what the poet called ‘his poem in black ink’. black man in the early 20th-century United States, he was a loner who led an extraordinary life. Al was born in Colón, Panama. His father was a Jamaican émigré worker who had helped to dig the canal, but he died prematurely of exhaustion, leaving his son to grow up penniless in the Pueblo Nuevo ghetto. However, young Al discovered during a street fight that he had a potent gift: an explosive right jab that came as even more of a surprise because he was skinny, spindly even, with disproportionately long arms and legs. He was soon spotted by boxing scouts and was crowned Panamanian champion before heading to Harlem, the black capital of the Americas. There he experienced his fair share of misery and glory. He won every one of his fights by a knockout, but it wasn’t enough for him to avoid being branded a pariah. America was profoundly racist at the time and would not tolerate victorious black boxers, especially if they won with style. Rumour had it in Harlem that life was sweeter for blacks in France, and that one of their own, Josephine Baker, was bringing the house down in Paris. Panama Al Brown and Cocteau page 1 A Mysterious Force is an interactive documentary biography in which imagined events It is also relevant to paint a portrait of Al Brown today because his extraordinary play as important a role as memory. This is fitting for a character whose name went destiny gives an insight into the nature of sport, its role and its depictions, all of down in history as a boxer, but whose complex story as a man has been forgotten. which are central to our modern world. Of the boxer there remain films or radio broadcasts of some of his bouts, and a Al Brown is an anti-hero – like James Baldwin, who rejected being called a “black” large number of photos and newspaper headlines; of the man there remains only writer: he wanted to be a writer, period. the shadow in Cocteau’s writings. The last person to know him, Jean Marais, died Brown also refused to be dressed in clothing that was not his own. in 1998, leaving only second-hand witnesses, mostly scholars of Cocteau’s works. He wanted to be free. A well-known artist, Arroyo, spent several years of his life trying to gure out the The aim of ghting was to finish of his adversary as quickly as possible, take the mystery of Al Brown. Everyone was captivated by the grace of the character and the purse and go off with his musicians to paint the town red. He liked fighting for the mystery of the man. elegance of its moves, for love of the game. He didn’t like the punches, the hatred or death. He loved life – and life was elsewhere. He didn’t play by the rules, nor did he care. He touched the stars, he was free and he could live life as he wished – at least for a time, in Paris. But he was to pay the price. THIS PORTRAIT RAISES ISSUES OF AN ‘INTERSECTIONAL’ MAN : he was black (during segregation), Hispanic and homosexual. How does someone live in a society where he won’t fit into the boxes that society would like to put him in? We shall therefore call on a number of witnesses from different historical periods (a journalist, his sister, a barman, etc.). These witnesses and the library material we have will allow us to incorporate a documentary into the (very well- documented) drama that we are writing and drawing; and it is precisely this difficult line that we intend to walk. Lastly, this story can be held in one hand: it is specially designed for reading on a smartphone. We will combine a fragmented rhythm of reading with an intuitive interface and an easy-to-use format. Our project investigates this “mysterious force”. Outside the ring, Al Brown preferred to let his demons run wild rather than subjec- ting himself to the strictures of training. SO A MYSTERY SURROUNDS HIS FATE – THE MYSTERY OF THE SHORT AND BRUTAL DISTANCE HIS FIST TRAVELS WHEN HE PUNCHES HIS OPPONENT. “A MYSTERIOUS FORCE” IS THIS STRANGE GIFT ON WHICH AL BROWN BUILT HIS WHOLE LIFE. page 2 page 3 A STORY IN THE PALM OF THE PRINCIPES YOUR HAND Panama Al Brown is designed to be read and OF OUR INTERACTIVE played on a mobile phone. We have invented a visual, spatial and mobile DOCUMENTARY ComiC unit on one and the same screen The smartphone screen is the panel AND the page. The panel is vertical, and the story nestles in the reader’s hand. The reading experience will be punctuated by gentle animations: we shall employ gyroscopic THE ESSENTIALS parallax effects and GIFs in our panels. The interface is invisible, as we want to allow people to immerse themselves in the story. This is a true story. To reach the menu the reader has to slide the It’s a story for reading on a mobile. left-hand edge towards the centre. The menu The reader will repeatedly come across period video footage, texts or photos. allows the reader to view the list of chapters, This archive material will interweave to form a very fluid experience, a blend of change language (French, English or German), drama and documentary. to use the sound options (turn the soundtrack The reader will fight a battle that cannot be won. on or off) and share via social media. The The comic will be hyper-disseminated on social media. Every day a new chapter will interface uses the same graphic design to the be posted in the form of stories on social media. At the same time, the entire comic printed comic (colours and font). It is simple is available as a web app, which is available in freemium mode, i.e. the first round is and discreet. free, the other five need to be bought. Readers control how the narrative progresses. They move their fingers across the screen at their own speed. They can rewind the story if they so wish: it’s entirely up to them. The story is told in six rounds and 30 chapters. It takes between one and a half and three minutes to read a chapter. We have deliberately inserted a specific type of page between chapters and rounds to mark the changes. We always give the time it will take to read the section, which allows readers to pause when they need/wish to. Lastly, the comic works on all mobile devices. We use a black full-width bleed and all our presentations are done in responsive design. page 4 MERGING DOCUMENTARY AND DRAMA Our comic combines drama and documentary. It won’t be necessary to click or do anything in particular to “find out more” because the content glides past under your fingers. It is always tricky to switch from one mode to another in a story, and the temptation is always to banish the documentary to a separate part of the app or to a different page on the website. People are scared of losing some of their audience and of interrupting the pace of the story or boring readers.
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