Noty Aroz
THE PANTHEON OF OUR NEW ICONS
COURSE
How did you start working in the street?
We started painting in an abandoned farmhouse, the Silo, which was next to our house and which we decided to squat in. We borrowed materials from construction sites, paint and plaster, and we repainted the walls to decorate. When the place was demolished and we had to leave, we naturally continued doing graffiti because we enjoyed drawing on a large scale. We then began to develop our graphic style, without any conceptual pretensions. But it was by reconnecting with the Professor, whom we had known since childhood, that we undertook to develop our Mythologeny concept.
Why do you choose never to give the true version of your name's story?
Isn't the search more important than the answer? That's why we always give several versions. We've never revealed the real reason, and it remains a mystery. Noty Aroz is a graphic palindrome, and you have to figure out how to rearrange the letters to solve it.
MYTHOLOGY: A CONCEPT
One of you two studied screenwriting. This is reflected in the way you've developed your project, which resembles a series with its division into seasons and episodes.
When we read the Theory of Fictitious Syncretism (A philosophical or religious system that tends to merge several different doctrines, here with elements of contemporary culture.), We didn't necessarily think directly about a development by seasons and episodes. In his book, the Professor certainly develops five major families of masked characters, but he wasn't sure we would structure it that way. Mythologeny is thus composed of elements already present in the theory of Fictional Syncretism, but also others that we added. We have observed the presence of numerology in many religions and mythologies. Mythologeny (A contraction of the words Mythology and Generation Y. A collection of deities stemming from contemporary syncretic beliefs.), as a mythology of a generation Y, must have a numerology that speaks to it, which is the case with the serial number S0XE0X which refers to the seasons and episodes of a series.
Since the theory comprised five families of characters, we created our first five episodes. In the end, we decided they formed a season, and that we needed to start a second. But nothing is set in stone: we just realized that two episodes were missing, and that we would need to add manga and video games to these families as new universes. The idea of writing a kind of gospel in comic book form wasn't planned either: we decided on it when we joined Combo CK, Jaeraymie, and Raphaël Federici during their project in the United States. We thought it would be cool to tell the behind-the-scenes story, because our approach is quite atypical. Confronting the creation of a new mythology, especially a contemporary one, is no small matter. We thought it would be interesting to document the formation of this kind of religion through the contemporary gospel of comics, thus allowing us to create a mise en abyme.
How did you determine your starting universes? The figure of the Professor to which you refer easily evokes the mentor character typical of great sagas.
The starting universes are those found in the Professor's book. But since it was written in 2004, it doesn't take into account genres that have developed considerably since then, such as manga and video games. It's true that the Professor is an archetype of the wise man. With our training, we are familiar with these tools, which we use in the narrative treatment of our story. Nevertheless, while some parts are always fictionalized and exaggerated, the majority of what we tell is true. Some things have also been rearranged to make the storytelling flow more smoothly. When you read a comic, not everything should be taken literally. Would you want us to tell you that the Professor doesn't exist, or to provide you with proof of his existence? You have to have faith; ask those who have met him.
BETWEEN THE HERO AND THE DIVINITY
Mythologeny, in my opinion, contains an ambiguous relationship between the religious icon and the model. There is, however, a difference between what one believes and what one identifies with. Your character El Murciélago is partly composed of 20th-century religious figurese century, but also of the figure of Batman who, while he may be a model, is not the object of a cult.
Do you really think so? The only difference between religions and fiction today lies in the perspective of those who worship them: on the one hand, they believe they actually existed; on the other, they are aware that they are fictional. Otherwise, both contain powerful archetypes, stories imbued with values that challenge individuals, their societies, and their impulses. They evoke emotions, have fan groups, artifacts, iconic locations and music, and an entire culture that stems from them. Fundamentalism—believing that everything said is true—is disappearing. As we become increasingly atheist, we are shifting from one set of fictions to another, from those we once believed in to those we no longer believe in, which doesn't prevent us from venerating them. Most people prefer Darth Vader to George Lucas, yet one exists and the other doesn't. We are gradually coming to terms with our fictions.
Why merge the two?
This is the theory of Fictitious Syncretism. On the one hand, founding myths are collapsing because they no longer serve the modern world, and we no longer need them as much as we once did. We have moved from an archetypal heroic or divine model to the figure of the star. Moreover, the star who replaces these references is not so real: the Gainsbourg we know is a character. The theory of Fictitious Syncretism explains that our generation is losing its bearings because, starting at the end of the 20th century...e century saw the death of personalities who transmitted strong values, replaced by people or policies that have dumbed them down. Many people end up distancing themselves from them: we no longer know the people who appear on television unless we actively seek them out. Yet, what matters for a myth or a religion—beyond its popularity—is its impact on reality.
Traditional myths feature heroes, characters that reappear in contemporary stories and superheroes. But stars are not heroes; they exist primarily because of their popularity, not because they embody a set of values.
They embody these values, even if they might be linked to consumerism. Our work isn't about saying, "We've lost Hercules, but luckily we have Brad Pitt." We simply acknowledge the need for reference points, for role models, to look at how other people live or have lived, in order to understand the world. When myths no longer allow us to do this, human beings will seek new stories, which will be embodied either through real people or in other fictional works.
These new heroes seem to exist only in the realm of fiction. But what sets them apart from mortals is their capacity for extraordinary action. Thus, we cannot identify with Achilles because his very nature renders him unattainable.
Regarding their fictional nature, the answer is simple: Justin Bieber cannot solve all the problems we face, whereas fiction has the capacity to transcend the real world. For the rest, we completely disagree: all myths allow for identification with the character, regardless of whether that character is a superhuman or not. This identification comes through the emotions conveyed, not the actions performed. If we no longer identify so easily with Achilles, it's because we have entered a new era; his concerns are far removed from our own. The collapse of myths also stems from this. Yet, when Moses freed the Jews from Egypt, he restored a justice with which anyone could identify.
We then identify solely with the values.
Identifying with a character doesn't mean you think you could be the person. It means you can share the character's perspective and feel what they feel. You can identify with an eight-year-old Chinese girl in a story, even if you're an elderly Swedish man. The strength of playwrights lies in their ability to evoke intimate emotions in the reader, even when they're telling epic tales or grand narratives. If you're an eight-year-old orphan and feeling lonely, you'll more easily identify with Harry Potter, but that doesn't mean the story can't resonate with a sixty-year-old woman; it just means it will speak to her in a different way. Characters we don't identify with at all are most often antagonists, although today we're beginning to reconsider them because we feel the need to add nuance to the narrative. We then create processes of identification with the villains to understand why they act the way they do.
But, unlike the star mentioned earlier, the hero is untouchable. We could almost be the reality TV contestant on screen.
Brad Pitt is to us exactly like Batman. We'll never meet him in our lives. In our eyes, he's a fictional character, or at least everything we see of him is fiction. When he's on a magazine cover, the text is a story, and his very image is staged.
Originally, the hero is a demigod who bridges the gap between the human and the divine. You elevate these figures to the status of fully divine beings because they are the only ones capable of conveying a story to us.
We are not saying that’El Murciélago It exists. We anticipate the possibility of a cult dedicated to this figure that could emerge through syncretism. We are nevertheless aware that this figure would remain fictional. We use the word "deity" because it is simpler to understand, but it is not a closed concept: it is first and foremost a fictional figure that has a real connection to the sacred. Whether we call it a hero, a god, or a superhero is of little importance. When theologians are asked about the difference between mythology and religion, they do not all agree: therefore, it is up to each individual to use the terms they need to serve their purpose.
A RESEARCH PROJECT ON SYMBOLS
What kind of research do you do to create your characters?
Our methodology is broken down into several steps. First, we choose a masked—or at least transformed—character from one of the five major character families (DC, Marvel, Sci-Fi, Horror, Indie). It has to be interesting and very popular, someone many people know, so we don't end up with overly elitist figures. Next, we conduct a script analysis, stripping away everything superficial to uncover the raw material of the story, its underlying themes and issues, and considering how they could be transposed to a contemporary setting. For example, the Flash character talks about speed, but the concept of speed in the 21st centurye The 20th century has nothing to do with that of previous centuries. Beyond the simple fact of moving fast, our relationship to this concept has evolved so much that it is interesting to discuss it.
Once these elements are established, we try to find a civilization that shares a connection with these themes, continuing to investigate the character if necessary to find clues. The figure of Mystique speaks of racism: how do we find a mythology or culture that addresses it directly? Here, we started with the character to discover that she had links with Malcolm X, that he was connected to Celtic Scotland, and then realized that Mystique herself could be linked to this culture. In this case, we are looking for a kind of Professor's Point : the strong and clear element that concludes a sometimes chaotic journey. Here we have arrived at Morrígan, the shapeshifting deity of war, accompanied by ravens on the battlefield. The English word for raven is Raven : This is Mystique's first name.
What work do you then do on the symbols?
Next, we'll collect symbols that will allow us to create a graphic and visual design. There's a real focus on the logo, on finding a powerful image. It's always astonishing to see what a cross represents, when it's just two intersecting lines. The same goes for the Star of David, which is composed solely of two triangles. We work with these elements to find those that will resonate with the character. But there's also a graphic aspect, because the whole thing has to be harmonious. This accumulation of symbols, constantly present in Hinduism, is less pronounced in our culture.
For TA.LIA., which is both from the universe of Terminator From Hebrew mythology, we find the Star of David, the Sephiroth, which are ten creative powers enumerated by the Kabbalah, and also a cosmogony, with a balance of points positioned in a particular way. Noty and Aroz are written here in Hebrew, as we like to include it in the alphabet of the civilization being studied. We also find our own logos, which are a triangle pointing in one direction and a triangle pointing in the other. But there will also be the fleur-de-lis, which is said to have inspired the Star of David in nature, or the on/off logo, which is a truly contemporary symbol and strongly evokes the idea of being able to activate or deactivate something. Finally, we find the word emits, which evokes the legend of the Golem, the menorah, the seven-branched candelabra of the Hebrews, or even the red eye which is present in Terminator, as well as the initials TX which refer to the name of this version of the robot in the film.
THE FORMATION OF A PANTHEON
Do you develop a unique narrative for your characters, beyond their original universes?
Once our character exists, we remain vigilant to see if we have indeed succeeded in predicting an emerging movement. In the project Fabula Filmed on the street, we recounted how people had ended up idolizing Batman in Mexico, specifically in Veracruz in 2011. Some strange things sometimes catch our attention: while we found nothing concerning a possible cult of Star Wars in India (our character) Star Shivar (referring to it), the Prime Minister nevertheless recently concluded a speech with the music of the Imperial March. Our theory is that Star Wars It was reportedly used in the 1970s when India opened up to the Western world, to communicate the values of Hinduism to those who were gradually abandoning the religion.
Could you elaborate on the mask worn by all your characters? It's a kind of gimmick that you seem to have been using since your earliest creations.
It was a logical choice: all these popular fictions that replace ancient myths include a large number of masked characters. While this remains an interesting artistic constraint, it is also imbued with meaning: the mask allows for easy visual identification, an important element in a society of images. It also represents a form of freedom because, once worn, it allows one to be anyone, without social constraints or cultural heritage. The mask thus expresses a kind of philosophical liberalism. Finally, it also marks the link with the divine, the superman.
Are your characters likely to evolve?
Regarding the symbols, we have occasionally modified some elements on our older characters because we felt it made more sense, but on newer ones we don't touch anything once the figure is finished. Indeed, our work is very methodical, and all the elements are studied during the creation process.
The characters themselves may not age, but they will pass through a new stage or change form and evolve, like Pokémon. This happens in ancient mythologies, notably when we see Zeus transform into an animal or gain some additional attribute. Nevertheless, they are often depicted in their latest version, partly because we are now coming after all the stories written about them. If we take certain liberties as creators, we do so with full awareness of the references we use to avoid making mistakes.
In our case, if we add two episodes to each season, and stop at three, that would already make twenty-one deities, or the same number of syncretic universes. We could then have fun going inside each one to create, for example, antagonists within the same civilization, or age our characters: El Murciélago would have aged twenty years, his moustache would have become much bigger, a horn would have broken.
A RELIGION DERIVED FROM FICTITIOUS SYNCRETISM?
For whom and why are you developing this religion?
We are full of questions, for which we don't necessarily have answers. We are increasingly realizing that everything around us is fiction, and that this deserves to be emphasized. Perhaps if people realized this, it would be possible to take a step back from many things, to break down our prejudices, our preconceptions, and all those dogmas that are merely social constructs, allowing us to think more clearly and move forward together. We might then realize that the religions that divide us should be able to unite us if we accepted them for what they truly are: grand and beautiful fictions that have an impact on the world.
While for a very long time we were among those atheists who believed religions did more harm than good, we now think that religions have had a tremendous impact on human history, allowing us to live together rather than against one another. However, it may be time to start thinking about them differently in the world that is taking shape, and it is up to the new generations to prepare the ground by bringing their perspective to these myths.
People who actively follow what we do can understand this approach, but for someone discovering our work on the street, the mask acts as a hook allowing them to open a door that can lead them to new ways of thinking. It's a quest for meaning: we are satisfied if people question things because of our work.
Traditional religions are often perceived through the lens of their associated constraints, and this is undoubtedly one of the reasons why they resonate less with people who hold a relativistic view. Even if you adopt the status of "apostles," mythology is more about opening up avenues of thought than establishing dogma.
It's a problem: there are things we still can't talk about, things we still struggle to question. Without being anti-religion at all, we offer people avenues for reflection they can connect with. It's also an approach we build gradually, and it's much more complex than that of artists whose message is closed off or conveyed solely through drawing. But it's undoubtedly more interesting to question oneself and the world around you, even if it means your approach becomes a perpetual questioning. The idea of also working on cultures emerged when we realized they could be religions in anthropological terms: this is what allowed us to develop the character of the Dr. Lima, a mix of Harley Quinn and the Vienna Secession, which is in its own way an intellectual and spiritual movement that gave birth to psychoanalysis.
What makes you think that reality and fiction are increasingly becoming confused?
We are increasingly disconnected from Nature, from our former selves. Everything has become hyper-complex and hyper-connected: an epidemic in China can cause a baker here to lose sales, or raise the price of flour. These are purely intellectual constructs, belief systems we have created: borders, language, mathematics; we essentially rely on numbers to define real things. These are constructs of our minds, imaginary yet shared to allow us to live together. We are social animals, and our societies need to be founded on myths, morality, and law in order to function. It is important to be aware of this so that prejudices do not take hold. Our only guiding principle should be to question everything: what is true, what is not? Without this, we are headed for disaster.
Is it possible to be an atheist in your religion?
It's possible to be a complete atheist and still love it. Indeed, it's not said that’El Murciélago It does exist; we're simply explaining that there are people in Mexico who worship Batman and who, in a way, ended up introducing him into the Mexican pantheon in Veracruz around 2011/2012. But after all, what makes you think it's true? The people who follow us might think so, but nobody has gone to check.
ON THE STREET
What is your perspective on collage?
We're going to stop using collage, which for several reasons doesn't suit our approach or our story. It's not the right medium; it's not sacred enough. We're creating plaster arches that can be assembled like Lego bricks, allowing us to arrange our symbols and logos. We'll add our masks, our syncretic alphabet, and also candle holders that people can use.
The street, as a space, allows for optimal dissemination of your message.
Yes, the street makes sense in relation to our approach. Indeed, we couldn't carry out this propaganda and proselytizing anywhere else. Political and religious movements use the street. From the moment you have something to proclaim, you're compelled to assert yourself and use public space. Street art is a great tool for this. However, it would be wrong to think that you're freer there than in a studio. On the contrary, there are things in the street where you take more risks than if they were reserved for a limited audience like that of a gallery. This is especially true when your message is disruptive or unsettling. The street doesn't necessarily offer more freedom, but it demands more responsibility.
Do you feel that you are part of an artistic movement with Urban Art?
It's difficult for an artist to define themselves. We definitely belong to the street art community, because that's our network, the people we hang out with and those who follow us. Plus, we put up pieces in the street. But in terms of both approach and technique, we're already part of the street art legacy, an evolved form that isn't what most of our friends still practice, who paint the same way it was done ten or thirty years ago, without necessarily trying to bring anything new to the table. It might sound a bit pretentious, but I think we can't be put in the same category as 90% as street artists. Besides, we don't only express ourselves in the street: a large part of our work is done in the studio: we use video, sound installations, and comics. We're not primarily street artists: we use street art as part of our artistic process.
You have the distinction of having created an expanded universe.
We draw inspiration from creators of universes like J.R.R. Tolkien, George Lucas, and Satoshi Tajiri, the creator of Pokémon. These are people who created universes that expanded vastly enough to allow other artists to create within them. These universes exist across different media and are based on extensive research. But the major difference with these examples is that they are all fictional: the reader/viewer knows they are entering a fictional universe. In ours, some things are true, others are modified or added. Also, we are present in the real world, and our characters represent a mise en abyme of events that could occur elsewhere. Obviously, we don't claim to be better than Tolkien, because it takes a lifetime to create a work like his, and he was a genius. But we have a difference that is a strength.
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