I have to preface this post by stating that this piece of prose will be very difficult, or at least very inconvenient to track down, but absolutely worthwhile, as is most of Harlan Ellison's work.
The story originally appeared in "Chrysalis" a science fiction anthology released in 1977. I came across it in the November 1977 issue of Heavy Metal Magazine.
The story is delightfully offensive, and poignantly comedic in it's social commentary on sexuality, and social hierarchy. It is also biting in its satire of the "pulp" science fiction medium.
The story begins in a laboratory of "TimeSep Central" a futuristic analog to NASA or another similar government branch for space and time exploration. At TimeSep headquarters, the exciting return of the first man to travel to another "time/universe", was turned to horror when the "temponaut", Enoch Mirren, is found in his capsule, mid-coitus with a "disgusting thing". This "disgusting thing" is firmly attached to the Mirron's, genitals and a series of hilarious schemes to disrupt the sexual embrace is concocted by the TimeSep team. The most amusing being, attaching a team of Percherons to one body, and a team of Clydesdales to another, and pulling in opposite directions to no avail.
To the bewilderment of the Mirren's superior officer he cannot understand why he will not suspend his sexual indeavor. Naturally, TimeSep calls in a gentlemanly expert from Johns Hopkins, who after sequestering himself with the two lovers for three days emerges only to state Mirren has brought back with him from the alternate reality, "the most perfect fuck in the universe". He does reveal that the alien is neither male nor female, and is "equipped to handle anything up to chickens or kangaroos with double vaginas," and the ability to keep and man or woman sexually aroused using a secretion from its genitals. Although this information is mainly useless, the expert happily issues his hefty bill to TimeSep and their officers.
In a possibly satirical take on science fiction, and its propensity to "magically" fix plot points, the TimeSep team, after two months, breaks the sexual hold on Mirren by using a sequence of sound waves to disrupt the alien's energy that allowed him to keep the grip on Mirren. During a strange line of questioning given to Mirren in a sequestered padded cell, you learn that the alien lover has the ability of transportation, and telepathy. It is through these abilities it found Mirren, and for reasons that fluster and irritate Mirren's superiors Mirren began to make love to the alien because it felt like a "good" idea. The questioning is interrupted by an alarm, which is sounded by the escape of Mirren's alien lover. Quickly thousands, and millions of aliens begin appearing and proceeding to make love to every being on earth, until all humans, and animals are participating in unending and eventually deadly act of love making.
Ellison's hilarity reaches its peak as he runs through the variations of encounters. From the top members of the "Presidium of the Central Committee of the Supreme Soviet Socialist Republics", to Queen Elizabeth's guards who find her performing an act that "was nothing regal, imperial, or remotely majestic." Also, the Quaalude popping Truman Capote, who's alien partner became so intoxicated by the dope in his system it, "strained himself into his urethra and hid himself in his prostate", or William Shatner who so desperately bored his first alien partner that he was left alone, only to be taken by another "less discerning" partner who proceeded to mount Shatner, "dislodging his hairpiece".
As another jab toward typical science fiction tropes, our heroic protaganist does not attempt escape until a week after being abandoned in the interrogation room. It is when he is unable to locate any feasible escape from the room that he recalls the "pulp fiction" he read as a kid. He remembered waiting a whole month to see how the heroes would escape from the impossible situations at the end of stories, only to be cheated by the author who simply had the hero escape with no logical explanation. In similar fashion, Mirren magically escapes simply by Ellison simply stating "Later, after he had escaped".
Mirron emerges from his prison to a post-apocalyptic sex-scape, where every living thing other than himself and cockroaches are either dead from the unending sexual embrace of the alien visitors or still in their deadly embrace. You find that through the aliens' telepathic communication, they have 86'ed Mirron for his harsh disruption with his previous partner. Also, it was his partner who was a kind of "scout" for the race to find a planet of sexual partners, and it Mirron's fault that his planet is now defunct of human life. However, the only living things on earth that the creatures still could not stomach for the act of sex is cockroaches.
As he sends his letter in a bottle knowing it is only he and a planet of cockroaches left to inherit the earth, he thinks although it was he who caused the end of the human race, at least "for a little while, in the eyes of the best fuck in the universe, he had been the best fuck in the universe, and there wasn't a cockroach in the world who could claim the same."
Below is the English language publishing history of the story according to Wikipedia:
"...first published in 1977, in the first volume of the Zebra Books anthology series "Chrysalis". It was subsequently reprinted in Ellison's 1980 collection Shatterday,[2] ... Two illustrated versions have been published: one with art by Tom Barber, in Heavy Metal in November 1977;[6] and one with art by Eric White and an adapted script by Faye Perozich, in the Dark Horse Comics-published Harlan Ellison's Dream Corridor, in August 1995."
Tuesday, September 1, 2015
Wednesday, June 3, 2015
Chuck Palahniuk and Cameron Stewart's "Fight Club 2"
Slightly above average.
Many people, like myself, will enjoy this comic purely because it's just more of the fantastic story, and characters that they may have never expected to return (at least I didn't). Although the writing and art were both well done, this story does not make me jump and down for joy like the ending of cinematic version of "Fight Club" did. I know, I know, I shouldn't be expecting this, but if they're going to write an arguably unnecessary sequel. I ask - Why shouldn't it? For this reason, is why the story does so little for me. The triumphant finality of "Fight Club" (at least the movie), I feel is a perfect end point. At the end I didn't feel there was much left unsaid, or threads left untied, the ending delivers, leaves you satisfied, and maybe even with a small tear of joy. Full disclosure, I have to admit, I have only read parts of the book, mainly the very beginning, and the last chapter. I know this cheapens my critique significantly, however, I am certain I am one of many who will read this comic, having only seen the movie.
The premise that "Sebastian" (the name of the main character's "straight" persona) has settled down with "Marla" (his lover from the first novel) and his son in a quiet suburban lifestyle cheapens the original story. The ending that I loved so much, now means very little, there was no great overthrow, the great legend of "Tyler Durden" is still alive, and living a complete lie. Marla however has become tired of this benign existence and has began to secretly replace Sebastian's medicine with sugar pills, in hope to unleash "Tyler Durden," the wild leader of Fight Club and Sebastian's sociopathic split personality. The comic winds down with a barrage of panels showing that Marla may have been depriving Sebastian of his stabilizing medicine for some time, meanwhile allowing"Tyler" to construct political and social turmoil around the globe. The very last pages revealing the possible death of Marla's and Sebastian's son.
Overall the layouts, and visual story telling is excellent, the expressions, and likenesses are spot on. The story is something that will keep me interested in the next issue, however, it isn't something that completely blew me away. That being said, it is only the first issue, and if there is anything to be learned from reading Palahniuk's work, is that his finishes are usually well worth the wait.
Many people, like myself, will enjoy this comic purely because it's just more of the fantastic story, and characters that they may have never expected to return (at least I didn't). Although the writing and art were both well done, this story does not make me jump and down for joy like the ending of cinematic version of "Fight Club" did. I know, I know, I shouldn't be expecting this, but if they're going to write an arguably unnecessary sequel. I ask - Why shouldn't it? For this reason, is why the story does so little for me. The triumphant finality of "Fight Club" (at least the movie), I feel is a perfect end point. At the end I didn't feel there was much left unsaid, or threads left untied, the ending delivers, leaves you satisfied, and maybe even with a small tear of joy. Full disclosure, I have to admit, I have only read parts of the book, mainly the very beginning, and the last chapter. I know this cheapens my critique significantly, however, I am certain I am one of many who will read this comic, having only seen the movie.
The premise that "Sebastian" (the name of the main character's "straight" persona) has settled down with "Marla" (his lover from the first novel) and his son in a quiet suburban lifestyle cheapens the original story. The ending that I loved so much, now means very little, there was no great overthrow, the great legend of "Tyler Durden" is still alive, and living a complete lie. Marla however has become tired of this benign existence and has began to secretly replace Sebastian's medicine with sugar pills, in hope to unleash "Tyler Durden," the wild leader of Fight Club and Sebastian's sociopathic split personality. The comic winds down with a barrage of panels showing that Marla may have been depriving Sebastian of his stabilizing medicine for some time, meanwhile allowing"Tyler" to construct political and social turmoil around the globe. The very last pages revealing the possible death of Marla's and Sebastian's son.
Overall the layouts, and visual story telling is excellent, the expressions, and likenesses are spot on. The story is something that will keep me interested in the next issue, however, it isn't something that completely blew me away. That being said, it is only the first issue, and if there is anything to be learned from reading Palahniuk's work, is that his finishes are usually well worth the wait.
Monday, June 1, 2015
Alan Moore and Jacen Burrow's "Providence"
Coming into this latest release by Moore I was a bit skeptical, after being significantly disappointed in his other recent Avatar Press release: "Crossed + 100." In the last ten years, most comic industry critics have approached Moore and his current work with either dismissal or passive aggressive distaste. Although some of his recent interviews, and most of his recent work have been discouraging, and sometimes hard to read, "Providence" seems to show more promise than anything he has released in recent memory.
We begin with a close-up of a hand written letter to a lover being torn in half. The letter is dated August 12, 1919, the lovers, as indicated by the name and context of the note are two gay men. Almost immediately, there is a sense of familiarity to other Moore work, first in it being a period piece, secondly it's inclusion of social taboos, leading into the familiar piece of Alan Moore social commentary. Anyone familiar with Moore know that except in rare cases, Moore's work almost always includes a heavy thread of social commentary. This often enhances his pieces, and according to some of his own work on the subject of writing fiction, it is a practical requirement. Unlike some writers who include social commentary as a way to create the illusion of sophistication, Moore's commentary is often the building blocks to his narrative which few writers can match in his elegance.
The story continues to a full page panel inside a early twentieth century newspaper office. A conversation between the main character, Robert Black, his editor, Ephraim Posey, fellow journalist Freddy Dix, and secretary Mrs. Turner are discussing a late minute story needed to fill space in the coming edition. A mysterious story named "Sous Le Monde" is discussed as a potential subject because it supposed power to make any reader commit suicide. It is decided that Robert is to look further into the story and interview a local writer/doctor, Doctor Alvarez, who had written an essay on the mysterious story. On the next page we return to the concurrent story that led off the issue, watching the man who tore the letter walk into a domed building in the center of radiant city park. On the following page we are introduced to yet another concurrent thread recounting Robert's departure from his home of Milwaukee, Wisconsin, while watching his journey to the home of Doctor Alvarez.
Robert is greeted at the door of Doctor Alvarez's home by an elderly woman. She leads him to Alvarez's room which he is told needs to stay exceedingly cold due to his "illness" that is kept in a shroud of mysterious. Robert begins to ask Dr. Alvarez about the supposedly deadly "Sous Le Monde," Alvarez dismissively refers to the story as quite a comedic piece, and expresses much more interest in the referral to an 9th century Arabic alchemical text named "Kitab Al-Hikmah Al-Najmiyya" or "The Wisdom of the Stars." In which Alvarez claims a colleague was once given a transcript which still resides in the United States that explores ways to extend life, and even raise the dead. The conversation turns to this text and Alvarez's use of the text with his colleague that lead to his supposed "illness." It is in this conversation this issue's, and potentially the series main theme is revealed. Robert in an awkward attempt to change the subject states the doctor's illness his certainly in his right to keep private. In response introduces one part of the main theme "secrecy" Alvarez shares his belief that there is a "secret America," one in which very few Americans recognize or acknowledge, but all participate.
The secret homosexual lifestyle of our protagonist is the obvious the central conflict of the series. In the concurrent panels running throughout the issue you see the man in the the first panel sit down in the domed building in the city garden listening to an early twentieth century phonograph. You also see the disintegration of the Robert's heterosexual relationship, leading to the reveal that the author of the love letter from page one was indeed Robert, and the reader, the man who had walked into domed building in the garden, was found dead of an apparent "suicide." The final pages of the issue is an entry from Robert's diary further emphasizing the protagonist's secret lifestyle. Although in some ways this extended exposition is a bit redundant, it does offer depth to the character that is not otherwise hinted to within the story's panels.
Overall, this first issue does what good first issues should, leaves you wanting more, establishes intriguing characters, and introduces a compelling plot, that offers intricacy and depth in both execution and content. The intrigue into the life and mind of our protagonist, shows there will be an inevitable conflict between his public and private life. It leaves you wanting more of the mysterious Doctor Alvarez and his mystic Arabic tome. Also, wait, what the hell happened with Robert's lover? He entered some garden listening to a record and shows up dead?
For those of you asking "You have said not one word about the art, what is wrong with you?" To be honest I barely can draw a stick figure, so my critique or opinion on art carries even less weight than my critique or opinion on writing. With that said, the art is better than average, and although Moore is known for his obsessively intricate page layouts, Jacen Burrow's renders the visual story quite beautifully. His art offers a realism and attention to architectural detail that gives you a true sense of time and creates a dark mood.
We begin with a close-up of a hand written letter to a lover being torn in half. The letter is dated August 12, 1919, the lovers, as indicated by the name and context of the note are two gay men. Almost immediately, there is a sense of familiarity to other Moore work, first in it being a period piece, secondly it's inclusion of social taboos, leading into the familiar piece of Alan Moore social commentary. Anyone familiar with Moore know that except in rare cases, Moore's work almost always includes a heavy thread of social commentary. This often enhances his pieces, and according to some of his own work on the subject of writing fiction, it is a practical requirement. Unlike some writers who include social commentary as a way to create the illusion of sophistication, Moore's commentary is often the building blocks to his narrative which few writers can match in his elegance.
The story continues to a full page panel inside a early twentieth century newspaper office. A conversation between the main character, Robert Black, his editor, Ephraim Posey, fellow journalist Freddy Dix, and secretary Mrs. Turner are discussing a late minute story needed to fill space in the coming edition. A mysterious story named "Sous Le Monde" is discussed as a potential subject because it supposed power to make any reader commit suicide. It is decided that Robert is to look further into the story and interview a local writer/doctor, Doctor Alvarez, who had written an essay on the mysterious story. On the next page we return to the concurrent story that led off the issue, watching the man who tore the letter walk into a domed building in the center of radiant city park. On the following page we are introduced to yet another concurrent thread recounting Robert's departure from his home of Milwaukee, Wisconsin, while watching his journey to the home of Doctor Alvarez.
Robert is greeted at the door of Doctor Alvarez's home by an elderly woman. She leads him to Alvarez's room which he is told needs to stay exceedingly cold due to his "illness" that is kept in a shroud of mysterious. Robert begins to ask Dr. Alvarez about the supposedly deadly "Sous Le Monde," Alvarez dismissively refers to the story as quite a comedic piece, and expresses much more interest in the referral to an 9th century Arabic alchemical text named "Kitab Al-Hikmah Al-Najmiyya" or "The Wisdom of the Stars." In which Alvarez claims a colleague was once given a transcript which still resides in the United States that explores ways to extend life, and even raise the dead. The conversation turns to this text and Alvarez's use of the text with his colleague that lead to his supposed "illness." It is in this conversation this issue's, and potentially the series main theme is revealed. Robert in an awkward attempt to change the subject states the doctor's illness his certainly in his right to keep private. In response introduces one part of the main theme "secrecy" Alvarez shares his belief that there is a "secret America," one in which very few Americans recognize or acknowledge, but all participate.
The secret homosexual lifestyle of our protagonist is the obvious the central conflict of the series. In the concurrent panels running throughout the issue you see the man in the the first panel sit down in the domed building in the city garden listening to an early twentieth century phonograph. You also see the disintegration of the Robert's heterosexual relationship, leading to the reveal that the author of the love letter from page one was indeed Robert, and the reader, the man who had walked into domed building in the garden, was found dead of an apparent "suicide." The final pages of the issue is an entry from Robert's diary further emphasizing the protagonist's secret lifestyle. Although in some ways this extended exposition is a bit redundant, it does offer depth to the character that is not otherwise hinted to within the story's panels.
Overall, this first issue does what good first issues should, leaves you wanting more, establishes intriguing characters, and introduces a compelling plot, that offers intricacy and depth in both execution and content. The intrigue into the life and mind of our protagonist, shows there will be an inevitable conflict between his public and private life. It leaves you wanting more of the mysterious Doctor Alvarez and his mystic Arabic tome. Also, wait, what the hell happened with Robert's lover? He entered some garden listening to a record and shows up dead?
For those of you asking "You have said not one word about the art, what is wrong with you?" To be honest I barely can draw a stick figure, so my critique or opinion on art carries even less weight than my critique or opinion on writing. With that said, the art is better than average, and although Moore is known for his obsessively intricate page layouts, Jacen Burrow's renders the visual story quite beautifully. His art offers a realism and attention to architectural detail that gives you a true sense of time and creates a dark mood.
Thursday, October 16, 2014
Number One.
Ok, here it is, the first post on this steaming pile of dog dung. It's 7:34 AM, I'm on the clock, and really needed to do something more productive with my time. I should probably feel lucky to be able to do this while working, but honestly, fuck this job.
Enough of that. This is a receptacle for my views mainly on comic books, music, probably current politics, and any other bullshit your willing to read about.
This should be a weekly or bi-weekly thread, but honestly nobody is reading this, so who cares.
THIS IS THE INFERNAL SPREAD.
Enough of that. This is a receptacle for my views mainly on comic books, music, probably current politics, and any other bullshit your willing to read about.
This should be a weekly or bi-weekly thread, but honestly nobody is reading this, so who cares.
THIS IS THE INFERNAL SPREAD.
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