BLAST's Issue Number 1is filled with a cacophony of bold images, CAPS LOCK, and a LARGE VARIETY of interesting typography. This in and of itself sets it apart from most other magazines just in the visual realm, let alone what is actually being said. The first portion of the text contains a number of appropriately-titled "Manifesto", which includes a number of broad, sweeping, angry texts, making contradictory proclamations about just about everything. These manifestos both blast and bless, meaning that they tear dear down the perceived negative qualities of certain things (such as England, France, and humor), whereas the bless section sancitifies the positive qualities of these elements. However, the effectiveness of these proclamations would be lost entirely if one were to change the page layout, the font, or to remove the spaces on the page. In the case of BLAST, bibliographic coding is everything.
I chose to look at two particular manifestos to emphasize this point: "BLAST HUMOR" (17) and "BLESS ENGLISH HUMOR" (26).
In the former, the difference in text size draws one's eye to certain phrases to emphasize their importance. One may perhaps conclude that since the larger text draws one's eye to it more quickly upon first glance that it is the most important; however, without reading the smaller print, the meaning of the manifesto is lost. This being the case, instead of the large text having meaning on its own, it relies on the small print to give these large, screaming words meaning. This may have been Lewis' intention, especially given his distaste for the uneducated; whether or not this is true, one cannot disagree that the bibliographic coding is key in understanding these texts. The layout of the "BLAST HUMOR" page is very rigid, keeping large squares of text blank while using a solid line on one side of the verse. This gives the feeling that the author is trying to reign this manifesto in, perhaps in an attempt to make sense out of chaotic feelings.
BLESS ENGLISH HUMOR
"BLESS ENGLISH HUMOR," however, is slightly less phrenetic; instead, the text flows down the page in a much less rigid, aggressive fashion. There is still emphasis through large text of certain words or phrases (such as BLESS SWIFT and SHAKESPEARE), but it is also easier to obtain meaning through just the large text alone without reading every word. This, along with there being far less gaps in "BLESS ENGLISH HUMOR,", gives the page a far more unified quality.
If one were to change the font (the sans serif makes the text stand out more on the page), the size (changing the emphasis on each word), or the layout (taking away large spaces meant to add meaning), the essence of these manifestos would completely change. I believe that in seeing the original, another layer of meaning will be added to BLAST, so that the impact of the magazine in its entirety is that much more forceful.