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Das Kleine Arschloch
Little Asshole
What is one to think of a twelve-year-old who bursts into his parents' bedroom at night just as they are absorbed in their connubial duties and then goes on to justify his sudden entrance with the strange noises they had been making - like sick animals throwing up? What is one to think when this same fellow begins explaining the anatomical details of copulation to his horrified parents? And how does one feel at a Greenpeace festivity when that same twelve-year-old pulls out his guitar and gives voice to the joys of wearing sealskin?

He is a little asshole according to his creator Walter Moers. A huge following of fans agrees and has made the "Little Asshole" into a hero of the waning century. It's easy to see why: In a time when good folks smugly display their tidy worldview, a Little Asshole is a welcome fly in the ointment. He is a rebel of sorts - a champion of chaos. Both lively and precocious, he doesn't give a tinker's damn about the demands of etiquette.
What's worse: He is always off color.

The Little Asshole isn't much to look at. a heavy-set, bespectacled boy with four hairs on his head and an enormous nose. But he didn't become the cult figure of the German comic scene because of his looks; he owes that to his irreverence - and it knows no bounds. The Little Asshole's trademark is his big mouth, and he can't keep it shut for even a second. From it flows forth a steady stream of irreverence and insults. Yet his fans still giggle because the Little Asshole chooses his targets well. His attacks focus on aging leftists and young Christians, good citizens and hard-nosed moralists. He is the antithesis of "politically correct".

He sings about Satan in church; he insults Johnny Cash in a country and western bar. It comes as no surprise when he gives a little dog drugs before the very eyes of fervent animal rights activists. And then there is his grandfather, the "Old Fart", who is confined to a wheelchair. The Little Asshole loves to take him for walks through the cemetery, but that's not grounds for pity: The ornery old geezer is no better than his grandson. The Little Asshole steals his sister's designer panties in order to sell them to his friends for, well, "stimulation"; and at the school party he isn't above mixing drugs with the punch to "loosen up" the teaching staff. It's all pretty raunchy, and the German authorities have confiscated the Little Asshole on occasion. All the more reason to love the vicious little troll because the more the moralists crackdown, the more vehemently the Little Asshole rages against them. After all, that's the whole point.

Walter Moers uses a minimal drawing style for the little rascal. Nevertheless - or perhaps for that very reason - the Little Asshole is unmistakable: T-shirt, shorts, and the nose - that's all it takes. The Little Asshole is trash comedy against the tyranny of the "self-righteous". That gives him a liberating quality. After all, his motto "sex and drugs and all that stuff" is at times better than tightly pursed lips. And it's certainly more fun.

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