Sunday, August 28, 2011

"The World That's Warped"

“The World That's Warped”
Excavating, reappraising, and cataloging Planetary early in the 21st Century


[The ninth in what should be a comprehensive series, both these small essays and the related annotations are intended for someone who is already familiar with the series. Spoilers will be dropped as necessary, events and concepts discussed out of their order of first-appearance, and general summaries of stories will not be provided. The annotations are primarily speculation, with no hard evidence to back them up. All of these posts may be subject to severe and dramatic rewrites without notice, as new things occur to me, and of course, I welcome any further annotation suggestions or general feedback at . If I include an annotation derived from someone else, from this point on, I will gladly credit the provider. If I don’t credit an annotation, it means I derived the conclusion myself, or I simply cannot recall where I got the information first.

This project could not exist without the fine work of The Planetary Appreciation Page, the now defunct Warren Ellis Forum, the slowly-defuncting Barbelith messageboard, and the Planetary team of Warren Ellis, John Cassaday, Laura DePuy/Martin, John Layman, David Baron, Scott Dunbier, and the many letterers, designers, and other contributors.

This project is dedicated to mystery archeologists everywhere, of every walk and a myriad of tastes, habits, and ingenuities.]

Most of Planetary is taken from other fictions and utilized to a cumulative and purified end, but four things seem to be all over this series more than almost anything, and those are Superman, Neon Genesis Evangelion, Fantastic Four, and Grant Morrison. You could shoot a window of those four things and the shrapnel of glass might fall in the shape of this chapter, "Planet Fiction", which is, in fact, dedicated to Morrison. What's funny is that, when you combine those things and leave out thinking too hard about anything, you basically get The Matrix, which also figures heavily into this issue's techniques and ambience.

We do look at ourselves in our fiction. We look at our fiction as if it is us. We hold a bendy mirror up to reality.



***

[From Volume Two, The Fourth Man


09.01 Is the ship crashed into the farmhouse a Superman allusion? There are at least two other definite references to farmhouse rescues of the extraordinary in Planetary later to come.

The red skies may connect with the fictions bleeding together, in reference to the red skies of the DC Comics' Crisis events. Crisis on Infinite Earths will see reference elsewhere in Planetary.

Dedicated to Grant Morrison, writer, artist, and musician and friend and colleague of Warren Ellis. Morrison has done a lot of work (and thinking) dealing with the interaction of fiction and reality.

09.02.05 The bloodspattered baby and teddy bear are not a direct reference to Alan Moore and Dave Gibbons' Watchmen, but to Warren Ellis' homage to that comic in WildStorm's Stormwatch.

09.03.01 Of course they are "sensors," but that tells us nothing specific, does it? It's the sort of shorthand that works great in fiction to keep us from having to worry about specifics.

09.04.02 All those beautiful-looking bridges to nowhere!

09.05.03 The project leader does enjoy saying (and playing?) God. He is also very Bernard Quatermass, as this experiment is very Quatermass-y.

09.05.04 Rocket, exploration, and four people including a blond woman and a gruff, military-esque second = Marvel's Fantastic Four?

09.05.05 The project brought a group of scientists and artists together to generate a fiction in our world. Shades of Ozymandias' final operation in Watchmen.

09.05.05-06 The imprinting of early experiences on the fiction that is crafted, as well as the stab at immortality through fiction have metatextual oomph as well as practical for the story/world at hand.

09.06.01 Green for "go" is simple enough, but with this chapter being dedicated to Morrison, we must assume his prevalence for stoplight terminology/coding plays.

09.06.02 Also, Morrison's enjoyment of the 23 trope.

09.07.02 More speaking in unnecessary, unlikely infodump with Ambrose Chase introducing himself and the organization by name.

09.08.02 Ambrose's physics-altering powers actually make him a better Invisible Woman than Suskind of The Four. Her invisibles shapes appear to be subject to gravity and velocity, while Ambrose flouts physical laws.

09.09.01 "Too easy" is too stereotypical, especially since we discover it is being staged for them, it is too easy.

09.09.03 If you're going to be movie chic, a handgun in each hand is the way to go. Long coat, too.

09.10.01 More green.

09.11.01 Underground base, alienesque entity, and pushing an electrically-powered door with shoulder-power - I know Warren Ellis was in part influenced by Neon Genesis Evangelion with Planetary, but I honestly cannot tell if that comes to play here or this is more Quatermass.

09.11.02 Jakita's "shit" being cut off by the panel border allows the language-restrcitions of the series to remain intact but also plays into a developing series of demonstrations that the borders do limit or can be surpassed, from the bloodspatter (09.10.05) and previous dialogue by off-panel speakers.

09.11.05 More infodump, this time for Drums, and of course, nothing they don't know.

09.12 Fully-powered allusion to the wire-fu, gun porn, and more specifically, The Matrix.

09.13-14 The question of "Why did you create me?" and the answer, here, play into Grant Morrison's belief that when he was visited by higher-dimensional beings who showed him the shape of reality, they also demonstrated that fictions, well-made enough, may be real worlds.

09.14.01 The illuminated (blown out) floor and blood seems so anime, but I can't place a particular example.

09.14.02 Jakita is very absurd kung fu here, a blow with every limb!

09.15.01 An "infodump" is outright asked for.

09.17.04 The hairpiece on the Quatermass stand-in is progressively skewed. Fictions.

09.20.01 More living in fiction. Life as fiction, fiction defining life.

09.21 For all the "green" talk, there are a lot of yellow circles (in a story about a man suspending himself in time).

09.22.01 "I'm the villain" and so self-labeled, he acts the part and excuses it.

09.22.03 Jakita reaching out towards the reader is a technique Morrison has employed more than once.

"The end" is one more piece of self-reference.

09.22.04 The story, at the coda, is reduced to text, inverted from the black on white norm, and formed in short synopsized notes.


[Click here to see further annotations for Planetary]

Thursday, August 18, 2011

Names, Trademarks, & An Indian's an Indian

"There have been three characters published by Marvel by the superhero name, Thunderbird. All three are actually pretty good characters, at least in terms of personality, but each has seen a disturbing tendency towards orientalism-style othering, and none of them have the veracity of, for example, a contemporary Spider-Man or Marshall Law. The best version of the original was a Dave Cockrum idea that never saw publication, the best of the second was when his earlier portrayals were being detourned, and the third? I would love to believe Neal Sharra is not called Thunderbird to a) preserve a trademark and b) because he is the other kind of Indian and that passes for wit in superhero comics."

~ from a Pop Mechanics which will happen, but not like this.

Thursday, July 7, 2011

The Devil Said to the Deity After He Replaced Him

"It purports to be set in 2007, but you won't find a lot of futuristic science other than air cars and references to a colony on Venus. Overall, I'd say it's similar in some respects to an X-Files movie or episode--the protagonist works for a secret Government agency, and the familiar X-Files format of weird discoveries warring with bovine disbelief prevails for much of the novel. Too bad Heinlein's prime didn't coincide with the TV series--he would have been a perfect writer for it." - from a '99 review of The Puppet Masters.

So, the reviewer expected better than flying cars, handless cell phones, and a colony on Venus less than ten years from when they sat, and X-Files really could have helped out that Robert Heinlein. Seeing as how he was writing - fifty years earlier - what is easily identifiable as "the famliar X-Files format."

Alright. Could be worse. I once read a paid review of the Lensman series that trashed it as being "nothing we haven't seen in Star Wars knockoffs before." But, sincerely, is our cultural lack of historic and contemporary perspective, a sense of time, continuum, and influence not a great detriment that is too easily, today, corrected?

Thursday, March 24, 2011

"The Devil's Empty House"

“The Devil’s Empty House”
Excavating, reappraising, and cataloging Planetary early in the 21st Century


[The eighth in what should be a comprehensive series, both these small essays and the related annotations are intended for someone who is already familiar with the series. Spoilers will be dropped as necessary, events and concepts discussed out of their order of first-appearance, and general summaries of stories will not be provided. The annotations are primarily speculation, with no hard evidence to back them up. All of these posts may be subject to severe and dramatic rewrites without notice, as new things occur to me, and of course, I welcome any further annotation suggestions or general feedback at . If I include an annotation derived from someone else, from this point on, I will gladly credit the provider. If I don’t credit an annotation, it means I derived the conclusion myself, or I simply cannot recall where I got the information first.

This project could not exist without the fine work of The Planetary Appreciation Page, the now defunct Warren Ellis Forum, the slowly-defuncting Barbelith messageboard, and the Planetary team of Warren Ellis, John Cassaday, Laura DePuy/Martin, John Layman, David Baron, Scott Dunbier, and the many letterers, designers, and other contributors.

This project is dedicated to mystery archeologists everywhere, of every walk and a myriad of tastes, habits, and ingenuities.]

When Planetary started up, the main characters all seemed short-sighted and cavalier, they were cynical except for small bursts of earnest enjoyment at things like surviving monsters on Island Zero. Life was cheap, people were selfish, and missions and mysteries could be entered into and abandoned when finished. The pitch document that many of us saw fairly early on seemed to validate this as the full breadth of the series remit. Many critics, reviewers, and Wikipedia updaters seemed sure that any change in this status quo was a last minute revision or the result of a serialization gone on longer than intended by several years.

I don’t buy it. Wagner was grieving (for the apparently dead, Jack Carter, but also for her amnesiac boss and father figure, Snow) in the chapter previous to this one, and here, as with the sixth chapter, 4, Snow is offended by the cruelty and loss demonstrated by the situations at hand. Snow’s way to be offended is, frequently (post the shiftship visit, after reading documents on the Four) to get productively angry, but he can also be crippled by his inability to save. Beat in mind, we don’t even know his purpose in existing, in walking the Earth, right now, is to save, but here in this chapter, he is unable to rescue Allison; the best he can do his help her die as unburdened as possible.

Death is unfair.

In the end, this will perhaps be the ultimate statement or the primary driving force of the comic. “Right now, I want my friend back,” says Snow in the final chapter, and it validates a whole helluva lot. And, maybe it is true that everything Warren Ellis and everyone else working on Planetary experienced over the years of its serialization had an effect on the comic culminating to that point, but the seeds are here and in every issue. The affected coolness of Snow, of Wagner and Drums, fades pretty quick after the first chapter, and it to no end surprises me how many readers seemed offended when they realized at about chapter twenty-five that this was not only a series of genre investigations where the primary characters remained detached, but about getting immersed in life and doing right. “But,” say some of these readers, “it says right in the pitch document…” And, maybe it does, but it is never demonstrated in Planetary.



***

[From Volume Two, The Fourth Man


08.00 The cover is practically a collage of Fifties and Sixties pop culture monsters, including visual references to Attack of the 50 Ft Woman, the giant ants of Them, a Mars Attacks Martian, and the military counterstrike against them, in the form of tanks, planes, missiles and armed soldiers.

08.01 Similar to previous film-centric chapters, the opening page mimics the widescreen ratio. This is also the first of a number of careful transitionals in this chapter, demonstrating minor changes that alter an otherwise static scene.

The title, "THE DAY THE EARTH TURNED SLOWER” is a reference to the film, The Day the Earth Stood Still, directed by Robert Wise.

08.02.01 Allison is in part a reference to actress and activist Allison Hayes, star of The Attack of the 50 Ft Woman and other films, who died of leukemia, lead poisoning, and other health complications, many of which were enhanced by ill-treatment during her acting days.

08.03.03-04 Another transition between two succinct (unlit; lit) moments.

08.06.03 In 1960, Hayes appeared as Justine (for you Sade fans) in The Hypnotic Eye, about brutalized women and mind control, whose production was connected to Caryl Chessman, convicted of multiple rapes, robberies, and assaults, who claimed to have been set up by a government conspiracy. Further, the screenwriter has said, “Most hypnotists -- if you ever get talking to them -- tell you that the reason they got into hypnosis was to be able to control women. That's the fact of it. So once you know that, and once you've talked to a few hypnotists, you realize that they are basically masturbators who have a way of getting their rocks off without having charm or anything!” (I can’t say that this has any bearing on the date chosen, but it seems synchronous.)

08.07.02 Giant atomic ants are a reference to, along with the cover image, the film, Them, directed by Gordon Douglas.

08.11.05 Does Allison know more about Planetary than she is letting on, or is this “strange world” mention only coincidental?

08.13.02 The Fifties flashbacks are presented in black and white to echo films of the era, particularly, of the genre examined in this chapter.

08.15.04 Back in the second chapter, Jakita Wagner suggests blaming physical mutation and Fifties/Sixties-style monsters on radiation is “retarded,” but here we are, with “atomics” and “atomic projection” being cited as responsible for a whole array of similar effects.

“Atomic projection” could have a lot of long-haired science (or, as Ellis prefers, drunken science) extrapolations, including deformation retracts, which involve continually shrinking spaces, and Category Theory. It may not mean what it implies.

08.16.01 The (here backlit) lamps (perhaps unintentionally) resemble both a blowup of Kirby Dots and also the DMT machine elves to be seen later, in Death Machine Telemetry.

08.16.03 Dowling’s dialogue here, reminds of the era-specific movies’ tendency of scientist-characters delivering very simple information while sounding as if they expect neither other characters nor audience to fully understand.

08.17.04 Note that her half-life here, and that she dies after fifty years may not be related. Her actual whole life, resurrection included, is a reasonable human lifespan, while her body could easily remain radioactive.

08.18.03 Were these experiments, in part, Dowling testing how best to make himself (and his associates) superhuman?

08.18.03-04 Reference to the TV crimesolving version of The Invisible Man, perhaps, and to Ralph Ellis’ novel, Invisible Man, which echoes Planetary in multiple moments, including, “We the machines inside the machine.”

08.18.05-06 Reference to The Indestructable Man.

08.19.01-02 Reference to the P-Funk song Atomic Dog.

08.19.04 “Atomic snowflake field” gives credence to the treatment of “atomic” as meaning spatial and not necessarily related to nuclear research as commonly considered.

08.20.01 Reference to Attack of the 50 Ft Woman.


[Click here to see further annotations for Planetary]

Friday, March 4, 2011

Final Crisis FAQ

Like it says in the title, this is an FAQ for Final Crisis, using the collected edition, with all its revisions and alterations (and inclusion of Superman Beyond) as the primary resource. All answers are subject to revisions, all questions are added as they come in. If you have a better answer than one given, please email it in; if you have a question that does not appear here, please email that.

travishedgecoke@yahoo.com

New Gods
Is there a New God reincarnated in a superhero?
Who is Libra?
What does Darkseid’s fall do/cause?
What does Metron do with the Rubik’s Cube?
How do we know what the Monitors are/do?
What is the Fourth World? What is the Fifth?
When did Darkseid start falling?
How do vibrations/music help defeat Darkseid?
How do New God tools work?
How does the bullet that kills Orion kill Darkseid?

Monitors
Are the Monitors narrativising themselves? Are their canonical history and present changed by their story of it?
What happened to the original monitor?
Who or what was Mandrakk and what was his purpose/goal?
What was Nix Uotan failure?
What is this thing about Uotan "judge" of all evil?
Is the scab to cover the wound of discontinuity, Superman?

Earth
If the Guardians have cordoned off the Earth, how do the heroes hold a funeral for J’onn on Mars?
Why does the German Supergirl say the sky is menstruating? Does she mean bleeding?
How is Flash’s wife at home if she’s with the JLA?
Why is Mary Marvel evil and perverted?
Why the Mad Hatter-tech helmets if everyone is under Darkseid’s influence?
Is Element X the Worlogog? (Calabi–Yau manifold)
Is Barry Allen also Libra?
Are Hawkman and Hawkgirl dead?
Why is The Question with the army of Supermen?
Is Turpin dead in the end?
Why does Turpin not remember meeting Boss Darkseid and seeing the kidnapped children by issue two?
Is Ultraman dead?
Does Batman die?
Why is Sonny Sumo in here instead of living it up in ancient Japan?
Why is Superbia always falling?

Meta
What is the Channel Zapping technique?
Why aren’t characters introduced by name?
Are there sigils in Final Crisis?
Is Final Crisis patterned on the qabalistic Tree of Life and the sephirot?
What similarities in pattern are there between Final Crisis and other DC crossovers?
Is Final Crisis patterned onto Spiral Dynamics?
How do the Five Stages of Grieving play into Final Crisis?
Is Final Crisis patterned onto chakras?

Thanks to Paul McEnery, James Baker, Ben Rawluk, Richard Hunt, Tim Callahan, and from the CBR Forums: Flash Gordon, Alejandro, The4thPip, Dave Hackett, RockinRobin182, Sean Walsh, Choppa, Rorschach 42, Matt001, Theozilla, Buried Alien, jgiannantoni05, Desaad, Retro315, Paul Newell, OzBat!, レベッカ, carabas, Munkiman, BohemiaDrinker, Stu.

***

New Gods

Is there a New God reincarnated in a superhero?

This was an early rumor that Grant Morrison confirmed as being an early thought, that the JLA would be possessed by the New Gods. The idea was dismissed before production, but was it wholly dismissed? Or, is it that the JLA, simply, are not all possessed?

Mister Miracle, Shilo Norman, seems obviously and easily to be ridden by Scott Free, the classic Mr. Miracle and New God of Escape Artistry. Walks, talks, quacks and escapes just like him.

Further, there is a good case that Batman, in Final Crisis and beyond, is a better version of the murdered Orion. He essentially completes Orion’s role in the story and in the prophecied/anticipated final showdown of Orion with his father, Darkseid, God of All Evil. This is reinforced by the allusions to Orion in Return of Bruce Wayne, which follows up directly on Final Crisis and The Missing Chapter which takes place chronologically before Final Crisis. No longer the New God of War, Orion in the Batman context is The Hunter.

Who is Libra?

As seen in the Secret Files and in one old issue of Justice League of America, Libra was once a normal human lab technician who traversed the veil of existence, and came back with power and an evil agenda.

In terms of Final Crisis, though, he is a sock puppet for Darkseid, much as any other of the evil New Gods. He’s called a “glove puppet” and when he is torn apart, his suit is hollow.

What does Darkseid’s fall do/cause?

Paranoia and guilt, mostly. Also, the inclusion of the Milestone shared universe and an alternate Aquaman into the DCU’s main Earth, Earth-0. It causes gravitons to increase, time to come out of sync, and other relativistic effects, as well.

What does Metron do with the Rubik’s Cube?

He causes that simple machine to operate in a way it, by conventional knowledge, cannot. And, in the process, he divides, functionally, by zero. He changed the rules of the game, the rules of how things work in doing this.

What is the Fourth World? What is the Fifth?

The Fourth World, in this context, is the Age, essentially, of the New Gods. The Fifth World, which is ushered in during Final Crisis, is the Age of what comes after the New Gods, just as the New Gods supplanted the earlier Gods.

When did Darkseid start falling?

When he killed all the other New Gods.

When he was killed.

Darkseid is always be falling.

Depending on how metaphysical you want to get.

How do vibrations/music help defeat Darkseid?

Actuality, especially in the DCU, is vibrations and has been defined by vibrations since the first encounter between two universes, in Flash of Two Worlds. Sound is vibration.

How do New God tools work?

Just as the New Gods themselves are ideas given primal form, their tools and devices are idea-things. The New God bullet is Bullet, it is “essence of bullet” as Batman will call it in Return of Bruce Wayne. The Megarod is the ultimate in clubs. The Motherboxxx, the primal personal computer.

How does the bullet that kills Orion kill Darkseid?

If you mean, physically, it was theotoxic, meaning it was poisonous to Gods.

In terms of the causal trajectory of events: A, B, C…

D) Darkseid shoots the bullet into the past, where

A) it hits Orion, killing him, and

B) is dug up and delivered to Batman, who loads it into a gun and

C) shoots Darkseid in the shoulder with it.

Except, this sequence does not kill Darkseid. It could, if he refuses to leave his host, but before it comes to such, the God of Death, the Black Racer, follows the Flashes chasing the bullet Darkseid just fired through time back to its source, at which point, the Black Racer reaches Darkseid instead of the too fast Flashes and takes him.



Monitors

How do we know what the Monitors are/do?

When they first appear in Final Crisis several are named as individuals and tell us their roles because Monitors speak in exposition. On top of that, they are called “Multiversal Monitor[s],” which means they monitor a multiverse. That’s the time they show up and it is more than explicit and expository.

Are the Monitors narrativising themselves? Are their canonical history and present changed by their story of it?

Yes. Rumors and suppositions become truth in the Monitor-land and for the Monitor’s who are infected by narrative, and more importantly, by fiction.

This is how Rox Ogama can be transmuted to a second/perpetual Mandrakk, how the Superman statue comes to have its purpose as a protector/defender, and myriad other developments come to pass.

What happened to the original Monitor?

It's like the Holy Trinity except in armor and one of them is all antimattery. There was the Monitor, pure, entirely of self, and it discovered a flaw (existence/narrative) and sent a probe in, which is the Monitor we know and that Monitor (Dax Novu, the Jesus of Monitors) panics at the idea of contradictions in reality and splits into two Monitor and Antimonitor as the contradiction infects him. Cue CoIE, a response to the contradictions and an attempt to clean it all up. (He cleans it up by scabbing over the contradictions with a new Superman; cue Post-Crisis DCU.)

Story has now infected the Monitors, though, who continue to divide and multiply and have contradictions, so as time passes, they invent a mythology around the Superman-scab and invent a conflict. They invent a Devil, a fallen angel/entity, which is how Dax Novu became Mandrakk, the Dark Monitor, the Vampire Monitor, the Prime Eater of Life, the Judge Who Can Only See Condemnation and Evil. He's the guilt of the Monitors, their panic and self-loathing. He's the Devil. The Jesus-Monitor became the Devil-Monitor.

Who or what was Mandrakk and what was his purpose/goal?

The Devil, the scapegoat horror in the mirror, for the Monitor species. Mandrakk is the paranoia and self-hate of a whole people who perceives only bad and is received only as bad. When reality is near the end, when things are darkest, he swears he will return to Superman and feed on the world. And, he does return, in issue seven of Final Crisis, where we are given a simpler version - not of his origins - but of his identity. We're shown he's vampiric and a Monitor, that he has come at the End of All Stories, that he is a father and Nix Uotan is his son, that he was parasitic and immense beyond our universe.

Most importantly, Mandrakk demonstrates that there are stories crossing over with each other at all times throughout life and history. His personal story is very important to him, it's important to that story, but in Final Crisis, he's just one more threat that pops up, one more cosmic horror, one more fallen godthing made of fear and loathing. He is not even the same Mandrakk as met Superman or was first perverted into the Devil of the Monitors, but he does not appear to know that. The Mandrakk story overtook the individual who became Mandrakk’s story.

In the Crisis of the Monitors, the Monitors have killed their Devil and been blessed with Heaven, except the one who stayed behind for us, Nix Uotan, Judge of All Evil. A judge of All Evil who still judges us as good.

What was Nix Uotan failure?

To monitor and maintain his universe, Earth-51. It was not his fault, however, as he was set up and betrayed.

What is this thing about Uotan "judge" of all evil?

Nix is the best judge, basically, in opposition to the kind of judge his father, Rox Ogama, became. Whereas Rox/Mandrakk could only perceive evil and condemn based on it, Nix, as the Judge of All Evil, looks out on everything as sees the good, the positive and the wonderful in each thing.

Is the scab to cover the wound of discontinuity, Superman?

Yes. But a more pure or superfunctional version of Superman than even our Earth-0 Superman.


Earth

If the Guardians have cordoned off the Earth, how do the heroes hold a funeral for J’onn on Mars?

They do not cordon if off until after the funeral. And, even then, we don’t know how far out the Guardians string the police tape, so to speak.

Why does the German Supergirl say the sky is menstruating? Does she mean bleeding?

Because the red skies of DC's various Crises are manifestations of The Bleed, the membrane between universes, hemorrhaging or overtly bleeding. This may be, at least metaphorically, an obstretrical hemorrhage, but it may just be cyclical and in other ways a menstrual metaphor.

Jody Garland points out, "Superman Beyond refers to the Bleed as the Ultra Menstruam, meaning Beyond Monthly."

How is Flash’s wife at home if she’s with the JLA?

There are three Flashes in Final Crisis and they all have wives. It is Barry Allen’s wife who is under the spell of the Anti Life Equation, not either of the other Flashes’ respective wives.

Why is Mary Marvel evil and perverted?

She is possessed by Desaad, New God of Sadism and, as Black Adam puts it, “a leering old man.” She is not, herself, turned “evil.”

Why the Mad Hatter-tech helmets if everyone is under Darkseid’s influence?

The helmets are basically there to give marching orders. Really clear psychic headphones.

Is Element X the Worlogog?

Yes. The Worlogog, often visualized as a Calabi–Yau manifold, and Element X, visualized in Final Crisis as a Calabi–Yau manifold, is the building block of actuality as well as a manifesting-element and tool for manipulating actuality. It is a supersymmetrical aspect of actuality by either name.

Is Barry Allen also Libra?

No.

Are Hawkman and Hawkgirl dead?

No, although in Final Crisis, they are meant to be. It was a decision after Final Crisis was published that left their off-panel deaths not actually deaths.

Why is The Question with the army of Supermen?

She was on Earth-51 when they came by and hitched a ride with them, since she felt she owed it to friends still on Earth-0.

Is Turpin dead in the end?

My vote says No, but it could go either way. The heroes go out of their way to avoid killing him repeatedly and his last words in the series are Turpin’s own and not Darkseid’s, who has been excised (or exorcised).

Why does Turpin not remember meeting Boss Darkseid and seeing the kidnapped children by issue two?

He is suffering a memory block from the trauma of having Darkseid enter him. This is also why he is sexually excited by his brutal (and unnecessary) beating of the Mad Hatter.

Is Ultraman dead?

He was a vampire Superman. Both vampires and Superman have pretty good chances of return, if you even consider either alive in the first place.

Does Batman die?

Yes. The Omega Sanction causes Batman to live a succession of lives, which we see as Whatever Happened to the Caped Crusader, and when he survives, he is thrown into the past where he meets ancient indigenous Americans who will become the nation known as the Miagani, in what will one day be Gotham City.

Alternately: No. Whatever Happened to the Caped Crusader's alternate lives are, like Batman's flashforward to his false funeral after his heart attack, his visions during the ritual at Nan Parbat, and at various other moments of near death expressed during Morrison's Batstuff, hallucination only. That people from the various lives of Batman attend the same funeral may be evidence of this.

Why is Sonny Sumo in here instead of living it up in ancient Japan?

Our Sonny Sumo did just that. The Sonny here is from Earth-51, though he doesn’t confirm this until Mother Box tells Mr. Miracle.

Why is Superbia always falling?

It’s a joke, Son. Superbia is Latin for “pride.” Pride, you may have heard, goeth before the fall.



Meta

What is the Channel Zapping technique?

Though addressed in relation to Final Crisis as if it were a new technique, this is something Morrison has been employing since he got into comics. Channel Zapping is the paring down of a narrative to the most interesting parts, as if one were skipping back and forth between channels on TV to only watch the cool stuff.

It is conflated, in the final part of Final Crisis, with an “orchestrated chaos” that feels less informative than it is, and involves on sequence being given to us in segments running causally backwards panel to panel.

Why aren’t characters introduced by name?

A popular complaint to this day, is that Final Crisis omitted introductions and just presented characters without saying who they were. It is not actually true, for the most part. We are, at minimum, given names as soon as someone appears in the comic.

Man and Metron are named in the first two panels. Vandal Savage is not named until later in the first issue, and, while Dan Turpin is not named for several pages after his introduction, he has a running voice over giving us lots of other information and his role is explicit. The decedent deity is named as soon as the body is identified. The Question and Green Lantern, John Stewart, are named as soon as they are introduced.

The only time mass amounts of characters go unnamed is during group shots where their role is not as individuals but as a group; the villain protest march, piles of bodies, the draft gathering, et cetera.

Are there sigils in Final Crisis?

There are a number of glyphs and sigils present in the comic, including those worn on the chests of various characters, such as the Superman S-shield, Batman’s bat, and Orion’s sun. They also come on t-shirts, painted on faces, emblazoned in tattoos, and spraypainted onto buildings.

Is Final Crisis patterned on the qabalistic Tree of Life and the sephirot?

One could make a good case for this and for the intentional application of Crowley’s English Gematria.

Superman, Batman, and Wonder Woman may represent different lines of progress in the sephirot, with Superman representing the Pillar of Mercy, Batman, the Pillar of Severity (which would echo the Khamael synchronicity below), and Wonder Woman, the Pillar of Mildness.

In Crowley’s Gematria, the following values become evident:

Superman = Sun of Life, Treasure, Solar Self, Quantum...
Batman = Mars, Khamael, task, yajna, forge, guard, Ruach...
The Question = androgynous, ipsissimus, strange drugs, Zarathustra...
Nix Uotan = our chosen, great work, wonderful, limitless......
Wonder Woman = Mister Miracle...


What similarities in pattern are there between Final Crisis and other DC crossovers?

(I’ll come back to this.)

Is Final Crisis patterned onto Spiral Dynamics?

Not as tightly as Seven Soldiers, New X-Men, or The Filth, certainly.

How do the Five Stages of Grieving play into Final Crisis?

Not too well, that I’ve noticed. But, then, I don’t see them applying one for one in life too much, either.

Is Final Crisis patterned onto chakras?

I believe it is possible, but cannot map them one for one, myself, in a satisfactory manner.

Friday, January 14, 2011

Properly Dark

“Properly Dark”
Excavating, reappraising, and cataloging Planetary early in the 21st Century


[The seventh in what should be a comprehensive series, both these small essays and the related annotations are intended for someone who is already familiar with the series. Spoilers will be dropped as necessary, events and concepts discussed out of their order of first-appearance, and general summaries of stories will not be provided. All of these posts may be subject to severe and dramatic rewrites without notice, as new things occur to me, and of course, I welcome any further annotation suggestions or general feedback at . If I include an annotation derived from someone else, from this point on, I will gladly credit the provider. If I don’t credit an annotation, it means I derived the conclusion myself, or I simply cannot recall where I got the information first.

This project could not exist without the fine work of The Planetary Appreciation Page, the now defunct Warren Ellis Forum, the slowly-defuncting Barbelith messageboard, and the Planetary team of Warren Ellis, John Cassaday, Laura DePuy/Martin, John Layman, David Baron, Scott Dunbier, and the many letterers, designers, and other contributors.

This project is dedicated to mystery archeologists everywhere, of every walk and a myriad of tastes, habits, and ingenuities.]

”To Be In England, In The Summertime” has a lot of embedded information and a whole mess of giving a damn more than is obvious. This is also true of the British Invasion of American comics, a thing too easily forgotten amidst the accusations that the bitterness and detournement were all poses to look cool. And, yes, there is some looking cool in those comics and in this one, but when you actually sit down and read early issues of Jamie Delano’s Hellblaze or Alan Moore’s Eighties works, you can only deny that the author – and their characters, their fictional world – cares a great deal. There is real moral revulsion in Hellblazer and Sandman, the death of the title character’s family at the hands of his writer, in Animal Man. Not all of the autopsying of live superheroes, deconstructing patriotic paradigms, and examining the ruins of brutalized human beings was for laughs; you are meant to cry for people in Alan Moore’s Swamp Thing, to be nauseous reading the desolation or ripeness of various John Constatine tales, and to be cold when reading Neil Gaiman’s take on him, in Hold Me.

It seems significant that this issue came out amidst the so-called Neo Silver Age, a thing that no one could define to everyone else’s satisfaction and which more than half of the supposed contributors at the fore refuted. What was meant, mostly, to be a return to brighter, gungho values of the Thirties through Sixties was also meant to be a call to stop looking at the horrible bits of those same decades, to willfully ignore the everyday tragedies and cruelties of human politics, households, and confusions. For the most part, the British Invasion did not lack the wonder and brightness, though. It only had it’s fair dose of the wicked stuff right up front and not whitewashed away, not ignored.

If giant space squids over the city fail to be as impressive in the face of a fourth term Nixon, rape, murder, and betrayal, that is because of the power of these other, by superhero standards mundane things, not because the squid is lacking. When the big heroic superfellah dies a the beginning of Zenith fighting a Nazi in tights, it is not that the hero is useless or unimpressive, he’s a big guy, he’s tough and forward and… dead. Because – and you may not have heard this – the Nazis were pretty good at killing people. This was just a good way to remind of that (and it helps that it sets up the extradimensional dark overlordy beasties for the rest of the story). On the rise demons in an early issue of Hellblazer have big teeth and drippy tongues and all, but they are horrible because they are heartless fucking yuppies.

If this were a different sort of comic, if this were a Neo Silver Age comic (perhaps), the Superhero would have been justified in running after Jack Carter to beat him to a pulp, if not dead, for the same reasons DC has a team called The Elite to job it for Superman, for the same reason every two superheroes who meet, practically, have to hit each other for awhile before they can be friends. Why DC, again – and DC published the WildStorm titles like Planetary, remember, and Vertigo – had Black Canary, not too long ago, hit her husband to prove she was morally right. And he took it. And hardly a reader batted an eyelash. To prove she’s right, the moral beacon of the story struck her husband during a conversation. Punched him right in the face. Because that’s what superheroes do, it’s the default and it is the default because we ignore the consequences of such actions and move on to the next spectacle.


***

[From Volume Two, The Fourth Man


07.00 An homage to Dave McKean covers that exemplify the early Vertigo line from DC Comics. Similar elements include the use of textured wood, photographs, atmospheric text overlays, even space down the left side for the Vertigo imprint’s banner to go.

07.01.01 Jack Carter is analogous to DC’s John Constantine, marked by the initials, the use of magick, the seedy conman presentation, and the innate dogooding despite it. The name “Jack Carter” is the same as the criminal protagonist of three Ted Lewis novels, including Get Carter, which has been adapted to film, twice. This is, undoubtedly, intentional, and similarities will become apparent.

07.02.01 The title comes, possibly, from the Art of Noise song Close (to the Edit).
07.03.02 In the dark, lighting his cigarette, is a common introduction to John Constantine in his stories.

07.03.04 The moon/sun dichotomy between Carter and the Superhero begins here, as well as the motif of introducing Carter with his head haloed by the moon.

07.04.05 These superhero teams were seen, briefly, in Stormwatch, also written by Warren Ellis.

07.05.02 The Superhero is framed by a dim sun, here, continuing the sun/moon motif between him and Carter.

07.05.04 Reference to Dream and his sister Death feeding pigeons in Sandman #8, The Sound of Her Wings, written by Vertigo superstar Neil Gaiman.

07.06.02 Visual references for the characters at the funeral include Etrigan, the Demon (created by Jack Kirby and written in the early Nineties by Garth Ennis), the Demons Three (who appeared in Alan Moore’s Swamp Thing), the Metal Men (who were dysfunctional and tragic long before their early Nineties mini, which actually made things less messed up), The Specter, Swamp Thing and Abigail Arcane/Holland, Dorothy Spinner from Grant Morrison and Richard Case’s Doom Patrol (according to Ben Rawluk, who knows better than I), Animal Man and The Writer (from Grant Morrison’s Animal Man), Black Orchid, and in silhouette, Shade, the Changing Man (written for Vertigo by Peter Milligan, created by Steve Ditko). Richard Hunt also identifies in the crowd, Brendan McCarthy's Mirkin the Magician and Nick Abadzis' Hugo Tate.

07.07.01 Shifting Man = Shade, the Changing Man. Forest Deity/Robin Hood = Swamp Thing, nailing down the connection through the unmentioned concept of the Green Man.

07.07.05 The jacket with the circles is reminiscent of similar clothes worn by the Milligan version of Shade.

07.09.02 Carter, again introduced with the moon behind him.

07.10.03 Peter Milligan would write a series for Vertigo called Greek Street, years after this was published. The reference here is to the actual street, however, as presaged by the mention of the Coach and Horses. Films and other fictions have mentioned the presence of prostitutes there. Greek St is where the Ancient Grand Lodge of England was organized, and where the London sewage system was developed.

07.16.03 Reference to Michael Moorcock, who has dealt fictionally and nonfictionally, both with London and with the Eighties culture thereof (and much, much else).

07.17.04 The Superhero is a reference to many superheroes – and indeed the concept of the superhero, as it was – perverted for new, cynical uses during the birth of the “Vertigo Era,” aka Alan Moore’s Bad Mood and Its Influences, most specifically Moore’s own Miracle Man work and Grant Morrison’s Zenith.

07.19.02 Moon-halo motif for the final time. And there’s the shotgun to reinforce the Get Carter connection.

07.21.03-04 Visual reference with the shaved head and tattoos is to Spider Jerusalem from Transmetropolitan that Warren Ellis created (with Darick Robertson), published by Vertigo. Ellis had famously quit Hellblazer, whose title character Jack Carter is mostly a riff on, due to a shelved issue and different standards of content and portrayal. Ellis has said the following about this visual transformation: “John and I had talked about "his version" of John Constantine, who would have a shaven head and weird tattoos and/or brands. When scripting that scene, I said, John, here you can do "your" Constantine/Jack Carter, but, you know, with the bald head and the tats, you could just make him Spider for laughs... Which was, you know, a joke. I was a little mortified when the finished comic came back with Jack AS Spider...!”

07.22.05 Is that an upside down question mark in the smoke?



[Click here to see further annotations for Planetary]

The Word is Bastards

“The Word is Bastards”
Excavating, reappraising, and cataloging Planetary early in the 21st Century


[The sixth in what should be a comprehensive series, both these small essays and the related annotations are intended for someone who is already familiar with the series. Spoilers will be dropped as necessary, events and concepts discussed out of their order of first-appearance, and general summaries of stories will not be provided. All of these posts may be subject to severe and dramatic rewrites without notice, as new things occur to me, and of course, I welcome any further annotation suggestions or general feedback at . If I include an annotation derived from someone else, from this point on, I will gladly credit the provider. If I don’t credit an annotation, it means I derived the conclusion myself, or I simply cannot recall where I got the information first.

This project could not exist without the fine work of The Planetary Appreciation Page, the now defunct Warren Ellis Forum, the slowly-defuncting Barbelith messageboard, and the Planetary team of Warren Ellis, John Cassaday, Laura DePuy/Martin, John Layman, David Baron, Scott Dunbier, and the many letterers, designers, and other contributors.

This project is dedicated to mystery archeologists everywhere, of every walk and a myriad of tastes, habits, and ingenuities.]

There’s something in Warren Ellis’ old City of Silence about real people not having origins, but only births, lives, and deaths. That is, in some very serious ways, what is wrong with the perspective of the Four. They want to have - they pursue - origins, because their births and lives feel unsatisfactory. It is not as if you don’t see people in actual life do the same thing. People who feel denied a birthright or cheated out of glories others achieve or have handed to them, and they go running at things they think will do that for them. Often, like the Four, they do not want anyone – much less, everyone – along for the ride, because that would make them less special. It is said, in the comics, that the Four have condemned the Earth, and really, this refusal to let everyone on the Great Adventure, it is damnation, isn’t it? It’s what generates the concept of eternal damnation, of permanent – deserved – residence in Hell.

Now, I wasn’t raised with Hell, I don’t like the idea of eternal punishment or denial, and we don’t have it culturally. But, I went to Catholic school (Saint Catherine’s Indian School, which used to be in Santa Fe and now is nowhere). I understand the idea, if only academically. I understand its parameters, and it’s still shit. Hell, the perpetual punishment and denial (of pleasure, aid, God, et cetera), is something people choose to believe in because they want to feel special. There is a reason why, when nonbelievers represent Hell, or even casual believers, it’s often Hitler taking a pineapple up the rear or the seventeen worst people in history, not a whole mess of normal decent folks who simply failed one or more of the myriad qualifiers, depending on what you believe the rules are. Not everyone avoids the issue, and we have Pierrot stories and Richard Matheson novels to acknowledge the unjustness of this system of damned and saved, but on the whole, it is unpleasant to think about unless you feel like getting on the highest horse available and looking down on everyone.

Now, there may not be such a thing as a free lunch, but we can certainly work towards the cheapest lunch for everyone possible, can’t we? We can reduce costs and expand production until everyone has the opportunity to have what we want, like vaccines and dinner, good movies and warm blankets. The selfishness that makes some people stop at their gaining some of these aids and privileges in life, is the same selfishness that allows someone to accept their personal transfer into Heaven while other people get damned to Hell forever for things that would not raise an eyebrow while they sat next to you on the subway. It’s entitlement. If you would be upset if something were denied to you, but don’t feel a wrongness in anyone else being denied the same, well, what would you call that? You getting upset because you don’t have running water suddenly, or you were never allowed to have a thought that was not ascribed to your genetics, your sex life, your hairstyle or place of birth, but not being as outraged when it happens to others? What is that if not damning?


***

[From Volume One, All Over the World and Other Stories


06.00 The Four framed by a fifth spacesuit helmet. Ultimately, this means nothing in-story, but it was fuel for theories of a fifth passenger on the rocket, and alternately/also that Snow was implanted in continuity as the fictonaut.

Note the insignia are the American flag and the Iron Cross, implying the US and Nazi Germany connections of the astronauts.

06.01 One of the Four’s eye, reflecting the Moon and the crack into the Bleed they entered through it.

06.03.02 The pyramid is often associated with so-called Illuminati or Masonic organizations thought by some to rule the United States or the entire modern world.

06.03.03 Four Voyagers Plaza is a play on Four Freedoms Plaza from Marvel Comics’ Fantastic Four.

06.04.01-02 Note that Artemis’ rocket is more explicitly phallic.

1961 is the year that the first issue of Fantastic Four was published. The original story has the title characters attempting to reach the Moon via rocket, while later versions change this to intergalactic space or another dimension.

06.06.03 There is a face in the reflection on the right-hand side of the visor.

06.06.04 Dowling is analogous to the leader of the Fantastic Four Mr. Fantastic, except that he’s an ex-Nazi and evil.

06.07.03 Subterrans, as seen here in a display case, are analogous to the Molemen seen in the first issue of Fantastic Four and since.

06.08.01 Greene is an evil proxy for the Thing, the pilot of the Fantastic Four’s flight that gave them superpowers.

06.08.02 Leather is an evil version of Fantastic Four member, the Human Torch, as well as legal grandson of the Lone Range analog, the Dark Ranger, and the Green Hornet/Spider/Shadow analog first seen as part of Brass’ group in chapter one.

06.08.03 Suskind is an evil analog for the Invisible Woman, wife of Mr. Fantastic.

06.08.05 The Nautilus referred to here, is likely the vessel captained by Nemo in Jules Verne’s 20, 000 Leagues Beneath the Sea. The US submarine of the same name went active at the end of the year mentioned here, 1959, and as we later discover, characters invented in the Nineteenth Century are not given analogs in Planetary, but appear as themselves.

06.09 The stairs imply that this is an aperture to a different space, not a framed image.

06.11.01-06 This snowflake-like (and Snowflake-like) image is an aperture into the Bleed, as see on page one in reflection.

06.14.02 The Four, similar to the Fantastic Four, seem to have achieved superhuman powers via botched spaceflight.

06.15.01 The folder bears a stylized 4 that has been modified to a swastika.

06.16.01 Like the Human Torch, Leather has a distinctive flame-like aura, though his is bright blue.

06.16.03 Leather burns away his facial hair similar to how the Human Torch shaved an amnesiac Submariner in an early issue of Fantastic Four. Snow is, at this point, amnesiac, but unaware of the extent.

06.17.01 Broken Earth-A refers to the trap set by the Four involving a retrieval mission to a fictional Earth.

06.19.02 Leather apparently can generate enough heat to get natural temperature-lowering Snow to sweat.

If it has not become obvious by this point, Snow is also analogous to the Human Torch in that his powerset involves temperature manipulation. The Drummer and Jakita Wagner, as well as the as of yet unseen former third field team member, Ambrose Chase, also stand in, in terms of superhuman abilities, for members of the Fantastic Four. (Chase alters the local laws physics as the Invisible Woman must with her invisibility, force fields, and ability of the fields to act independent of gravity. Wagner is incredibly strong. And, Drums is superhumanly good with machines and data-processing.)










[Click here to see further annotations for Planetary]

Tuesday, November 9, 2010

Occupied Wilderness

Dear History Channel (and other documentarians and infotainers),

When dealing with the colonization of the Western Hemisphere, it might be sound to reconsider referring to everything as "wilderness," particularly where there are large bodies of people living. If there is a town there, regardless of whether it is filled with White people, it probably is not wilderness. If there is a city... most definitely, not wilderness.

Monday, November 8, 2010

74 Excellent Horror Movies (w/Sells and Trailers!)

Inspired by Stephen Graham Jones doing it, 74 horror films with short sells attached to them, in case I can persuade you. I deliberately left out anything shorter than feature length and what I perceived to be primarily adventure/thrillers (Lost Boys; Vampires), inevitable tragedies (Daughters of Darkness; Rocky Horror Picture Show), disaster and weather movies (Towering Inferno; Dawn of the Dead; The Mist), heroes against darkness (Split Second; Bloody Mallory), angry movies (The Devil’s Rejects), movies that are wittier than they are scary (Evil Dead 2; Razor Blade Smile), those made safe by persistent humor or eventual total happy closure (Watcher in the Woods; Bucket of Blood), monster flicks (Godzilla vs Mechagodzilla 2; Tremors) and grand guignol (Vampire Girl vs Frankenstein Girl; Repo: the Genetic Opera), no matter how much I loved them.







Alien - Filled with emptiness, pregnant with malignancy, it amazes me still how Walter Hill mutilated and rebuilt a relatively innocuous space exploration chiller into a psychosexual gothic masterpiece. Some of Scott's best direction, too; much less involved than some later films.



Angel Heart - Hopelessness and damnation in about ninety minutes worth of celluloid.



Apt Pupil - Acted with a sharp conviction that mirrors the razor's edge quality of the edititng, and a range of sound from Ottman extending through the near-subliminal to the overwhelming. One of the best Stephen King adaptations from that fine collection, which has yielded so many excellent films.



Audition - My sympathies fall on her end. When they revisit their date and you see everything he's not listening to her divulge? That scares me more than extra fingers at a crime scene (but makes me jump less than that bag).



Bio Zombie - The Hong Kong Bill and Ted in Dawn of the Dead, and all the better for it. Funny as hell, the movie can be heartbreaking when situations are clearly beyond the skills, and perhaps even the understanding of characters who demonstrate a genuine, unaware earnestness, occasionally called "heart" in pictures of more serious pretension.



Bubba Ho-Tep - Everything about the mummy is hilarious and goofy. Everything about dying slowly, old, alone, forgotten somewhere no one knows - or cares - who you are, is not.



Butterfly Kiss - A road movie where they go nowhere. A romance where without love. Familiar in its discomfort, reassuring in its strangeness, and inescapable for all.



Candyman - Bernard Rose should have his own special Bernard Rose Prize. Tony Todd, should, too, but for other reasons.



Cape Fear - Condensed intimidation. Robert Mitchum takes up the frame, occupies whole rooms, and he's breathing down the neck of every scene he isn't actually in.



Carnival of Souls - When a carnival of damned celebrants is the comfortable part of the movie, that's just magick.



The Cat People - Show don't tell sucks. Now, know don't show... that's something. Terrifying by intimation, the best part The Cat People is that it doesn't matter if most of the suspected stuff is happening or not, it doesn't matter how much you simplify, de-violence, or pare down, because even the simplest truth from this, the smallest actuality, is revolting and cruel and so sad.



The Changeling - The solidity of this film, the unwavering nature both of the characters and events, but also the telling, the motions, sounds, and cuts of the movie itself gives you now time to compose yourself.



Cigarette Burns - Taps that fear of helplessness, of others suffering the consequences of your weakness, and has a good punished for curiosity vibe, that always gets me.



The Company of Wolves - Like a zen knife parable some kid made up: no matter where you stab, you stick yourself. Brilliantly shot, cut, acted, written, and committed.



Curse of the Cat People - One of my all-time favorite films in any genre, any mode. The brutalization of innocence, the torment of enthusiasm, and the corruption of possibility. The nicest person in the film, the best representation of hope and optimism, has been dead and ignored for a long time.



The Dark Half - A vicious, vivacious and twitchy flick. A great example of the externalization of fears without absolution.



Day of the Dead - The desolation and loneliness. You never really do know other people, but that doesn't stop some folks you think you know from scaring you. And, that damned wall scene at the beginning. Every. Single. Time.



Dog Soldiers - Takes bad situations and makes them worse before just dropping the floor out from under them to the situation fall on some hidden spikes. Not literally, but that's what it feels like. And, still, there's quips and jokes and mourning.



Doom Generation - Builds itself up through satire, cartoonish butchery, and throes of casual eroticism and neurosis, until all the humor gets bled out while the thing is held down, bellowing in death, fighting the inevitable.



Eko Eko Azarak - Gorgeously shot, masterfully edited, there is genuine emotional resonance behind the primary emoting of the cast and more twists, revelations, and subtleties than films of this nature are often afforded.



Eko Eko Azarak 3: Misa, the Dark Angel - Shot to look cheap and old before that was a thing, the movie exudes the atmosphere of the best of Bava, Argento, Fukasaku or Franco. The avoidance of showing or discussing makes horrors implicit and stronger for it, while the broad strokes of physical horror, the magic and violence, are astonishingly operatic, operating on a poetic rather than narrative wave of rightness.



Event Horizon - Mean, bloody, and sadistic. A direct response to a spate of movies meant to be horrific by using the signs to tell us it was horror and who cares if it was felt. Inevitable and inexplicable, just like all the best sadism to fear.



Evil Dead - Even the guy marked out as The Jerk, isn't, really; he's just a dope. Ash, who will get jerkier with each succeeding movie, is quite earnest and meek, here, and the other characters are a good range of decent enough folks who are simply ill-equipped to deal with evil, possibly dead, spirits coming out of the woods and cellar to torment and convert them with blood, pain, and Three Stooges humor.



The Fly - The best avoidance of closure ever. Even as an amoral, nonnegotiable monster, Brundle Fly is still less horrendous than much of the world extant. The difference is that ability to negotiate. You can negotiate with idiots, bigots, bad bosses and jealous exes, but you can't negotiate with an insect, and you can't negotiate with your own body, your own mind.



From Dusk Till Dawn - What if The Getaway had vampires half the way through. A half-dozen hypocrites of varying degrees, criminal and otherwise, trapped in a bar full of bloodsuckers and vigorously out-acting each other.



Gemini - Poetic, operatic, and cruel. Gemini offers no optimism that is not immediately taken away, like taking the hands off a baby.



Ginger Snaps - Mean, petty, and shortsighted. Puberty as a werewolf metaphor and social violence externalized as physical mutilation; even if it's the other way round, does that change much?



Ginger Snaps 2 - Empowerment is often just a feeling, something realized when it stops working. An exploration of varying degrees of socially-acceptable and unacceptable dehumanization with gore between.



Girls School Screamers - So silly and predictable it shouldn't be creepy. Like campfire tales you hear all the time, but still make you jump or watch the woods keener after every telling.



Gothic - Excitedly inaccurate, a mystery play for the damned, covering those wonderful artificial binaries of God and Devil, whore and virgin, man and woman, day and night so intensely it makes skin crawl and eyes twitch, so absurdly it shows their artificial boundaries like a windowpane revealed by moonlight glinting on the slick trails where slugs have passed.



Grindhouse - A big, loud, visceral bastard of a double feature with built-in extras, and a loving homage and sensible continuation of whole swathes of cinematic history. Props to Rodriguez for making someone slipping in the rain and hurting their wrist more painful to watch than Tarantino's extended slow-motion mutilation of a car-full of women.



Halloween - Scarier because Laurie Strode is not a terrified screamy distressed victim, and she still can't kill the fucker. That's what makes The Shape the bogeyman and Freddie Kreuger and them all comedy acts, in the end: fighting back doesn't really help except to delay.



The Haunting
- The movie does stuff to your head. There are things happening in it that are not actually there.



Hellraiser - Pinhead's a great, desolate monster. And, he's the least horrifying thing in the movie.



Horror Hotel - Every hotel you stay in? Every strange new town you go to? People are doing horrible things the moment you shut your door.



House on Haunted Hill - Gleeful and careless, even when people start dying. The party never ends and Vincent Price never disappoints.



The Hunger - Desire plus helplessness plus loneliness plus ?



Hush, Hush Sweet Charlotte - People ain't no good.



Ichi, the Killer - It's been called the ultimate Batman vs Joker movie, and the meanest romantic comedy ever. Designed to take filmic violence and entertaining trauma to their ultimate extensions, any intimation of kindness ends up revealing a delineation between choice and a state of being, shows that "kindness" is not a set position, but relative, always relative.



In the Mouth of Madness - Best Lovecraft homage ever. If, They Live is a fairytale of the things that really run the show, then In the Mouth of Madness is the life lesson that strips away heroism and pretension from that fairytale. As a friend of mine said to Sam Neill's character, when we were watching this one night, "You're fucked, Son."



The Innocents - Freddie Francis, here the cinematographer, is a genius, and here, he is in the company of many brilliant people working their individual arts to a greater whole.



Land of the Dead - When the dead walk the Earth, people will still be bastards. Class horror, body horror, identity politics and the military industrial complex wrapped up in a bow they made by gutting your sister and tying her intestine tight around the thing.



Lord of Illusions - By the end, the movie entirely subverts itself, the early horrors beyond horror made pathetic, the inane turned magnificently wrong and insidious, and poor, traumatized fear junkie D'Amour wading through the cesspool storm of it, face turned up to see through the shit and lightning. (This also wins my personal award for Most Improved By Having a Director's Cut.)



Lost Highway - First time I saw this was at a private screening, middle of the night, sleep deprived and wired. The shrill pitch of the film, alone, did me in, but when a phone rang, everyone in the theater jumped up and tried to answer it, we were so enmeshed.



Lust for Dracula - Meant to be a softcore porno and nothing more, I'm sure it is if it's playing latenight Cinemax and you're treating it as background static. Having seen it in a theater full of people, I think we were all traumatized by twenty-foot-tall schoolgirls dazedly working invisible Thighmasters between their legs and chanting, forced medication via bottles with obviously handwritten labels, the care and feeding of imaginary babies, and Darian Caine hanging around naked at empty swimming pools at night, being wistul, chatty, and lonely.



Lust for a Vampire - Scripted by the awesome Tudor Gates and featuring Pippa Steel, the male star, Ralph Bates called it "the worst vampire film ever", which is a ringing endorsement when you realize what he primarily objected to was irreverence and a discarding of subtlety in an area/sub-genre that had been long guilty of too much subtlety and not enough self-awareness.



May - Every line spoken to May either plays like a pick up line or a rejection. Every interaction, a seduction or abandoning. Every person a failure to measure up to their best parts. That she chooses to take the best and ignore the rest, in the end, is almost sensible beyond its explicit cruelty and violation.



Midnight Meat Train - Unflinching and full of rough hungry lifestuff. Voyeurism and honor perverted in equal bloody measures. And, Ted Raimi dying bad in another Clive Barker adaptation!



Necronomicon - Atmospheric anthology film earmarked by enthusiasm and real effort, and a great transfiguration of some HP Lovecraft stories and the sense of reported madness and dreadful interconnectivity of his fiction.



Night of the Hunter - The Story of Right Hand Left Hand has been told many times in film, but it begins here and amazingly, only here is it made implicit that a just or an evil hand look pretty much the same, operate the same, and can be capable of the same things without ever knowing they are more than a hand, or what sort of hand they might be. Plus, like in Cape Fear, Robert Mitchum will fuck you up, just 'cause.



Night of the Living Dead
- There's a sense of pervading emptiness that isolates every scene, every emotion and character, and it's shot and cut like newsreel footage more than a fictional film. Like Carpenter, Romero seems to believe fervently that a movie lives and dies by its cuts, and that the participants should be restricted to their strengths, not their potential range.



Nightbreed - It is said that the final offer on getting this cut from X to R was to take off a few seconds of David Cronenberg smiling. A happy David Cronenberg, all by himself on camera, is more than a hard R.



New Nightmare - Turns the audience's enjoyment of and enthusiasm for Nightmare on Elm Street movies into complicity with murder, cruelty, and wrongness of every shade. Extended the reach of those knifey fingers so far the only thing to do was start over completely or have Freddy come down to each viewer's house and have him put a hand on their shoulder as they rewatch one of the old ones.



Nightmare Castle - Murder is always more awesome when someone who looks just like the dead person shows up after. And, the only thing scarier than darkness is brightness and clarity.



Perfect Blue - Mean, fast, and inescapable. Take a sad song and make it... unbearable.



Phantasm - An excellent balance of plot-based creepiness and just-for-the-hell-of-it horror, with an unsettling depth of ramifications and jangle along for the ride.



The Prophecy - Christopher Walken improves everything. So do remorseless horrible statements made by innocent-faced children and a piss and vinegar Satan. Adding Eric Stoltz and Elias Koteas into the mix is just chocolate sprinkles and a whiskey heart to a sundae of the apocalypse.



Psycho - A tense and deeply physical film, you feel like a voyeur and inappropriately judgmental whether watching two lovers in a hotel room, a woman stealing from the office, or murder in the shower.



Psycho 2 - All the naive stabs at mastering fate from the first movie? Practice for things really going wrong.



Re-Animator - The mad scientist is the sanest person in the movie. And, really, once you do something, why should it stop there? Vive la ciencia or bust!



Return of the Living Dead 3 - Zombie malaise in the rivethead concert called life.


Shaun of the Dead - It's easy, and comforting, to be funny and scary by turns, but this movie manages both simultaneously, while also having something to say.



Suspiria - A beautiful film, in terms of image and motion, a cruel movie without exception to character, and an awesome production of intimation. Can't you use schoolgirls for your school? Build the doors and halls bigger so adults are child-sized and the world dominates them regardless.



Tales from the Dark Side - Snappy, slick, and gooey! Every segment offers a different pacing and a different kind of horror, wrapped around a casually-portrayed scene of Debbie Harry getting ready to cook her paperboy.



Tenebrae - The best "ten minutes into the future" movie. The public and the press are as horrifying as the killer, the second people start trying to defend the murders as some sort of social correction or moral adjustment.



The Thing - Isolated from anything but cold, ice, and death, one of a small group of researchers may not be who he seems. As they terminally pare down the suspects, does it matter, eventually, who?



Twilight of the Dark Master - It's bad enough when someone sprains an ankle or gets a cold and no one cares. When rape, murder, dismemberment, and possession are things everyone around you ignores as they go on about their daily lives, it can get to be a bit much.



Vampyros Lesbos - Sometimes you think - you insist! - I want to be alone. Sometimes you are alone, at which times, that want isn't quite so prominently featured. This movie demonstrates that with scorpions, kites, and people dressing each other in a restaurant.



The Vampire Lovers - Sex dreams often feature giant screeching cats, don't they?



Videodrome - Everyone, at some point, feels used in their lives. But, there are levels of use.



White Zombie - Old school zombies are just slaves that were buried for awhile. Bela Lugosi's character cares for his zombies as they work his sugar plantation, about as much as most slave-owning plantation-running rich egomaniacs care about their slaves.



The Wicker Man - Christopher Lee in a dress and Cher wig dancing with scythes, happy as a clam on make love to a clam and buy it a drink day. The Equalizer trying very hard not to be excited by sexy young things hitting on him or anyone trying to buy him a drink. And, there may be a dead or missing young girl in there, too.

Tuesday, October 5, 2010

Planetary Annotations

Below are links to any of my annotations for Planetary, the Wildstorm comic by Warren Ellis, John Cassaday, Laura DePuy/Martin, Scott Dunbier, et al.

01 "All Over the World"
02 "Island"
03 "Dead Gunfighters"
04 "Strange Harbours"
05 "The Good Doctor"
06 "4"
07 "To Be In England, In The Summertime"
08 "The Day the Earth Turned Slower"
09 "Planet Fiction"
10 "MAGIC AND LOSS"
11 "Cold World"
Planetary/Batman: Night on Earth

Blessed Arrogance

“Blessed Arrogance”
Excavating, reappraising, and cataloging Planetary early in the 21st Century


[The fifth in what should be a comprehensive series, both these small essays and the related annotations are intended for someone who is already familiar with the series. Spoilers will be dropped as necessary, events and concepts discussed out of their order of first-appearance, and general summaries of stories will not be provided. All of these posts may be subject to severe and dramatic rewrites without notice, as new things occur to me, and of course, I welcome any further annotation suggestions or general feedback at . If I include an annotation derived from someone else, from this point on, I will gladly credit the provider. If I don’t credit an annotation, it means I derived the conclusion myself, or I simply cannot recall where I got the information first.

This project could not exist without the fine work of The Planetary Appreciation Page, the now defunct Warren Ellis Forum, the slowly-defuncting Barbelith messageboard, and the Planetary team of Warren Ellis, John Cassaday, Laura DePuy/Martin, John Layman, David Baron, Scott Dunbier, and the many letterers, designers, and other contributors.

This project is dedicated to mystery archeologists everywhere, of every walk and a myriad of tastes, habits, and ingenuities.]

Binaries stick out more than multiple choice, probably some part of our deep psychology that is essentialist at heart, or maybe it's just operational laziness. But, if we can see things in either/or terms, in yes/no ways, we most often will. We can know it's wrong, that it's oversimplifying or misdirection, but still, we will.

Rereading Planetary and knowing the metatextual significance of all of Brass' team in that mountain base, knowing the in-story significance of many of those characters, such as Leather and Blackstock, I still find myself paring down the group to being about Hark and Brass collaborating, East and West, even though I fully recognize that East and West, Occident and Orient, are mythic constructs, mindsets and not actual people. Brass and Hark aren't actual people, they are mythic constructs. And, as they appear to be in opposition to each other, so, narratively and emotionally, they are opposites.

I assume Warren Ellis, at least, is aware of this tendency to binaries, to opposing forces, especially in areas where it really doesn't matter, does not add anything but to reify the difference. Look at Snow's lack of smell, here, in this chapter. I can't think of any good reason, biological or metatextual, for it, but... we learn eventually that his opposition, Dr. Dowling, has a strong smell. That smell might be him seeding into other people's brains, getting into their heads, but Snow? Snow doesn't have a scent, it seems, because his opposite number has an overpowering one.

Similarly, Brass has a scored visage and very stiff, immobile hair, while Snow, here pared as his opposition/foil, has smooth skin and quite unruly hair. This chapter is didactic in the best way, it's just a conversation between two men, their dissimilarities and where they are roughly the same all hit up against each other, as they talk things out, getting us, the reader, to where we need to be. The text with spot illustration sections seem to stand out as Brass' natural world, while the more traditional comics-looking sections, the modern world, that is the realm of Elijah Snow. Everything else in this issue, including the differences between Brass and Hark, between Snow and Sparks, are given to us through their conversations, through their positions in the world and in history.

None of the binaries are real, but the reification of them may be useful for motivation. In times of stress, Doctor Axel Brass still hums the same song as his father, the same nationalistic, nostalgic tune.


***

[From Volume One, All Over the World and Other Stories

05.00 An homage to the 70s paperback reissues of Doc Savage stories, the years faded into the black background are years that Doc Brass, shown here, would have missed out on, spending the time in a cave, pointing guns at a door no one was coming through.

05.01.02 The scratched look of Brass’ skin, and the stiffness of his hair, lend to the metal motif of this stand-in for the Man of Bronze, himself a precursor to everyone’s favorite Man of Steel.

05.02.01 The spot illustrations are done in black and yellowing wash. How better to illustrate an old pulp hero than a semblance of old pulp paper?

05.03.01 The Century Babies, including Brass and Snow, here, are extraordinary men and women who were born at the beginning of the concept of the century. There appears, at this point, to be nothing uniting them except a shared sense of justice, superhuman abilities, and a general slowness to the aging process, though more will be revealed, and the Century Baby is actually shown to be one of the core types of superhuman (hint: it’s the Jesus model).

05.03.03 Jenny Sparks, at this time, was the leader of a new superhuman Super Power, calling itself The Authority, and a Century Baby. She controlled and lived as electricity, in many ways, and was the Spirit of the Twentieth Century. She has since died.

05.04.01 Snow is a very formal fellow in some interesting ways, including insisting on “Doctor” Brass and not the affectionate “Doc” used elsewhere, and referring to the “videotape player” here and “television”, not a VCR and TV.

05.04.02 Snow shows some of the blessed arrogance, with this issue, that Brass mentions later. Here, he’s asking a man who has been isolating inside a mountain for decades, about a recent computer company. But, he also remains silent when called on about his complicity in not informing Brass how long he had actually been trapped in there.

05.05.01 Warren Ellis has mentioned elsewhere, the appeal of Doc Savage’s chemistry set and the fun and games he had with those vials and beakers.

05.05.02 “I was born for it. Trained for it,” reflects what will become a common trope with Century Babies, that they were not only introduced to this life, special, but that they learned to be more special.

The idea of writing “the plan for the Superman,” also feeds into the later revelation that the Century Babies are manifested, made things, put into this world with an agenda behind them. So above, so below. Here, Brass sees himself as the result of a eugenics experiment, up to his birth and then a training regime, a special education, to make him, himself, after that birth.

The incestuous nature of Brass’ parents, may actually make some sense, if one thinks about standard breeding practices and a dwindling lineage. It’s also very much in line with Philip J Farmer’s revision of the Doc Savage mythology, in his Wold Newton works.

05.06.01 H.G. Wells was a science fiction author, social theorist, and general figure of interest, during the late Ninteenth and early Twentieth Centuries. He pioneered the modernistic use of science fiction as social fiction, with, indeed, the social aspect being the one area of science where he frequently got things right enough to still be valid today.

05.06.02 Was the girlfriend Jenny Sparks? Snow says he only met her once, but we learn later, that this was part of his engineered amnesia. And she does get namechecked immediately in the next panel.

05.06.04 John Cumberland, as related on the following page, was a Superman analog from another reality, very much the New Deal ideal, who died in the late 90s flying into a UN orbital platform and going splat, after being used by all sorts of people from all sides of the political jungle gym. Cumberland, like Kent, is located in England.

Just as Snow is claiming to have done in this issue, Cumberland sat out whole decades, maintaining general inaction and noninvolvement with the world.

05.07.01 The shield on Cumberland’s chest is very similar to symbols used to identify extropians or extropy movements. Cumberland died trying to make the world grow up, be fair, and be nice, which are fairly extropian notions.

05.07.03 What is that fabulous architecture behind Brass and Cumberland? Thereby hangs a tale, I’m sure.

05.09.01 The fetal spider-men… Spider-babies? A reference to the film or just happy coincidence?

And, that word, “miscegenated,” really does carry a menace to it here, in the past, which it shouldn’t today. As we’ve seen already, Brass, for all his goodness and good intentions, is not an unbigoted man.

05.10.01 As seen by his ability to fix things by shooting the hell out of them. Which, is also more of the abovementioned “blessed arrogance.”

“Black,” here, although most likely not referring to race, falls in line with “miscegenated” and other words that hold semantic prosody inextricably linking them to race. Quite common in the era of pulp fiction being alluded to with these ink wash passages.

Observe, also, Brass’ narrative extolling the genius of Europe, even as the examples given are Brass’ villainous parents, but America has Emperors and Murder Colonels, Britain has Black Royalty of UnderEngland. The nationalism of Brass’ day and his own psyche is deeply entrenched, and so emic to his perspective he cannot see its machinery working his thoughts and perceptions.

05.11.05 “And that’s a part of the world…” is more of Brass’ blind perception of everything in nationalistic and racial terms.

05.12.06 Of course, the enlightened, exceptionally bred White man with his big guns will tell the Asian guy who is, not only his same age and just as educated, but ostensibly his intellectual superior, that “we’re all on the same planet.” The White Man’s Burden must be very heavy on Brass’ back some days.

05.14.01 “[S]tep into the light” that completes a “secret society.” Of course, Brass’ would be in the light, because, well, light is good. It’s those folks described as black or Black, that you have to worry about.

Despite all of Brass’ maturity and understanding, he still mimics the organization that gave him life, with his club of heroes, here.

Maximilien Robespierre was one of the primary figures of the French Revolution, who developed the notion of a Supreme Being who was a “radical Democrat” from which he anticipated divine messages, and was eventually executed.

05.15.01 Demonite, here, is a reference to the alien species that is commonly known as Daemonites, in the Wildstorm universe that Planetary, for the most part, takes place in. Again, the reference to “cleaning out an enclave” contains semantic prosody and social implications beyond its literal point.

05.16.01 The Charnel Ship is a shiftship, a craft for traveling between universes, via The Bleed, which is what the “blood-colored tides beyond space and time” refers to.

That, Brass and his allies lose here, despite the Special Operator’s success just before on the U.S. West Coast, is a demonstration that this world, unlike the traditional Doc Savage world or most superhero/action hero worlds, allows for failures. For tragedy.

05.17.01 Note that only Brass and Edison are looking at what appears to be a snowflake manifestation out of The Bleed. The rest are looking at the bodies, the poor damned dead. Edison, in fact, seems rather placid about the whole thing, looking directly up at the manifestation.

05.18.02 The damage to Moscow, London, and Los Angeles, is reference to events seen in the first story of The Authority, called “The Circle” and was done by the mindless followers (and de facto children) or a raging Yellow Peril stereotype, called Kaizen Gamorra.

05.18.03-04 “[T]hey were stopped,” hints at the possibility that the best change Brass and his allies made to the world, when they left it, was that tragedy could be corrected eventually, damage could be stopped if not prevented. This world may be self-correcting (which, again, plays into the nature of the Century Babies as we will learn of it later).

05.19.01 The calming, nostalgic effects of The Marseilleise feed right back into Brass innate nationalism and inability to perceive the connections he has to the culture, practices, and even the family that spawned him.

Even Hark’s mode of travel is “black” and “sinister” and sneaky.



[Click here to see further annotations for Planetary]

Monday, October 4, 2010

 
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