Playing Final Fantasy Blackmoon Prophecy part 3

Light spoilers for Blackmoon Prophecy and a few heavier spoilers for various mainline Final Fantasy games

Remember how I said Naddaha Pyramid was like the narrow, winding path dungeons with high encounter rates like in IV?

After you charge a lightening rod for him, Dr. Cid will teleport you across the next leg of the journey to the Wind Shrine. Except his laboratory at the other end of the teleportation device is filled with his malfunctioning, aggressive robots. With a long and winding slog over catwalks and through narrow corridors.

Fuck Jennifer

It is as close to the goddamn Tower of Babil from IV as I ever want to encounter outside of IV.

Not long after, we gather more party members far more quickly than in most 2D FFs. Out of the mainline games, the only one that felt like this was IV. Yet IV didn’t always make the difference between a permanent PC and an NPC obvious, which added credibility to a few scripted deaths (other deaths and resurrections were batshit random). VI had a relatively large playable cast of characters but gathering party members itself was not frequent.

After Ami and Nobumasa, we soon encounter the Blackmoon Prophecy version of a recurring FF character called Siegfried.

Siegfried is typically a bit player. So is his frequent friend and rival Gilgamesh. The one I remember best was from VI. I think the first time I saw him was on the Phantom Train? Dodging traps and being kind of random amid the transmigrating souls? Shows up later at the coliseum in the World of Ruin?

Things get going once we encounter a bridge locked down by the slightly-familiar General Leonardo. Many Gaia nation states possess magical, historical weapons of both heraldic and military value. Cornelia’s own sacred treasure- the sword Excalibur -was lately stolen by the infamous thief Gilgamesh. We learn, from the Cornelian King at his Nideen palace, that the trail leads through the verdant cave system known as Bragg’s Folly. We get Excalibur back, Leonardo lets us cross.

Bragg’s Folly was the first dungeon that felt like it was applying specific pressure to MP management. Every fight requires some sort of massive damage, multiple target attack which means Vera gets to flex a little with the summoning. Storm Breath blue magic is also an asset. To date, ethers (MP restoratives) are only occasionally available at item shops, which is another reason why Laka’s ability to steal comes in handy.

The use of ‘Amarant’s Theme’ (IX) here felt perfect. So did ‘Battle at the Big Bridge’ (V) during the Gilgamesh fight, what with the hammy dialogue and the horns, electric guitars and keyboards gave it a fun seventies grindhousiness (Something with katanas and Kurosawa-like spurting blood? You can steal an Atlas Armlet from Gilgamesh, btw).

Come to think of it, this version of Siegfried feels more deserving of ‘Amarant’s Theme’ than Amarant himself. Amarant himself was not one of the better-written parts of IX.

Siegfried, Nobumasa and Vahn take equal thirds of something comparable to red magic. One way in which Siegfried is distinguished is his ability to learn and use some of Cyan’s Sword Art skills like Dispatch (VI). Siegfried has also- thus far – not been able to recover MP from Ami’s Cheer command.

In the Nightmare Cave, we face the Dreamweaver, who assumes various shapes to exploit mental and emotional weak points. Vahn’s mother Elise is one illusion, who says cryptic things about his father. Another illusion is a man named Davon whose apparition is visibly distressing to Siegfried.

Rather like IV, our foes remain one step ahead of us while we seek the crystals. Having escaped from the Branch dungeons, General Braak of Ivalice beats us to the Wind Crystal.

Now…Vera was one of the other three generals of Ivalice, whom were sent to Mysidia to intercept Darius. Vera is attempting rational interrogation when the other two spontaneously flip shit and decide to start beating confessions out of everyone.

(Local embodiment of Celes, from VI? Both Vera and Celes are generals but Celes was incarcerated and brutalized for speaking out against Kefka’s poisoning of the water supply at Doma. Vera is rescued like Celes but instead we find Vera attempting to exert her own authority to prevent mob tactics in her ranks. This feels significant)

Vera draws the line, the other two turn on her and Vahn and company fly to her aid.

Back in our relative present

At the Wind Shrine, Braak attacks Vera for desertion and a boss fight ensues. While this is happening, Malacore appears directly in front of the Wind Crystal. Braak leaves, as though deferring to him.

Then Darius shows up, furious at having been subjected to mind control. Even with our newly-sane party member, though, Malacore is still able to swipe the Wind Crystal. Only the Earth Crystal at Mount Koltz remains.

I also had my first honest-to-goodness glitch encounter of the play-through at the camp site between the bridge outside of Nideen and Cornelia. I checked out the ability list next to that lil one, then turned the music box beside the moogle on and off. Then I couldn’t leave. The screen would fade to black like the normal transition and then I’d be standing in the central path as though I just entered. I slept in a tent- hoping it might move the game past whatever was going on -but it didn’t work. Had to close out and reload a save. It’s the only glitch I’ve found so far, though, so I’m not worried yet.

Nobumasa learns Mokusatsu at level 14 and Katon at level 15 which will make him way more useful. Both of those hit everyone in the opposing party. Katon is fire-aligned while Mokusatsu does non-elemental damage and may inflict blind and / or confuse. So far, blindness has turned out to be the most useful status effect and- with the monsters in the coming dungeons -you want them landing as few hits as possible.

The nation of Lindblum is the historic custodian of the Earth Shrine and its crystal. The journey is, of course, fraught.

Lindblum is beleaguered on two fronts. On one, the Earth Crystal has been taken to the Underworld by the Fey, behind an impermeable magic barrier. On the other, civil war has broken out. When Regent Gran decided to open avenues of trade and cultural exchange, a rash of militant xenophobia finds its voice in a courtier named Baram. They have, of late, began taking villages and checkpoints and have destroyed multiple bridges (Lindblum resembles a cluster of islands off the southern coast of the southeast continent so bridges are a big deal).

I guess everyone else is also worried about this?

This group- known simply as ‘the rebels’ -appear to be a typical monster-of-the-week at first. Between Cornelia and the Lindblum borders, we attempt to slip through a heavily occupied checkpoint on chocobos.

The sprites of the Narshe guerrillas (VI) now ironically embody fratricidal isolationists. Our first confrontation consists of rushing through them as quickly as possible. The chocobo is constantly running at full speed while we dodge obstructions. Objects in the way deal damage and running into a rebel triggers a fight with some mid-level damage sponges. The obstacle course ends with the apparition of Gylfi and another boss fight with mind-controlled Hans.

Our path to Lindblum Castle takes us through the Arcane Academy, which rests on an islet in the center of a rare intact bridge. Elina and Oalston are ecstatic.

The Kirin magicite can be purchased from a scholar for 10,000 gil. Vera now has healing utility- Kirin gives everyone a big heal and casts Regen on them. I’ve been grinding Elina rather hard, putting her at level 18 at that point (with the average being around level 15), and she was still yet to learn Regen.

A scholar elsewhere in the Arcane Library will hand you the Remora nethicite which offers magic, spirit and MP leveling bonuses. Started off rotating Remora between Vera and Ami but Nobumasa also benefits a lot from Remora since his Ninjutsu abilities are scaled to spirit (the only combative magic that’s spirit-scaled so far).

One may also encounter an interesting lil dude called Laudo, who came to the Arcane Library to make a profit selling ethers. This has not worked out the way he planned and- for a thousand gil -will follow us around. If you elect to hire him, he will sell you cheap ethers anywhere you make camp, mitigating the prior ether scarcity. In the long run, Laudo’s wares will include more diverse and potent ethers.

Before sharing the latest breakthroughs in black and white magic with Oalston and Elina, the master of the Arcane Library wants to test their proficiency.

The two front-row spirits can be beaten according to the elemental affinities and antipathies that their colors suggest. For the one in the back row, you want Elina to spam Dia.

Upon surviving the test, Oalston is permitted to learn Comet and Elina is entrusted with Libra.

Thus far, trial, error and context has served me well with determining things like elemental weaknesses and generalized estimates of HP limits. The acquisition of Libra makes me wonder if this may be less feasible, going forward. Oalston has also acquired a powerful non-elemental attack. With the optional nethicite and magicite in the Arcane Library and the chance to have cheap ethers on hand…this section feels like one big proficiency benchmark. Makes you wonder what’s coming.

Vahn learns Purify at level 15 but I’ve been finding that the majority of non-white magic healing abilities can only be used on the specific character with that ability. Elina remains the most dynamic healer. Vera with Kirin can function fine as a healer so long as you supplement her with Ami’s Cheer ability.

Regent Gran (who is embodied in Edgar’s sprite from VI with a reddish palette swap) fills us in on the situation with the rebels and the Earth Crystal. If the Fey are keeping it in the Underworld…I’m tempted to wonder if something like the Feymarch- my favorite dungeon from IV -is around the corner.

With Lindblum caught between the Fey and the rebels, Regent Gran is in no position to divide his attention. Vahn and Ami mention the possibility of taking territory back from the rebels and Gran is thrilled. There seems to be a certain amount of local sympathy for the rebel isolationists and the Regent is slow to move against them openly. He directs us to Kaipo to meet with his trusted commander Baigan.

Toward these ends, Regent Gran lends us a Chocobo Whistle, allowing us to summon his personal chocobo Bluebell. Being a blue chocobo, Bluebell is capable of crossing rivers and reef-like bridges between landmasses.

Addicted to Bluebell

As we enter Kaipo, Siegfried balks: he absolutely refuses to publicly set foot there. We of course have to anyway and- should one’s party rest at the inn -a conversation can be overheard.

This is another one of those moments that convinces me that the references have a function, thematic and / or otherwise. We have both a town (Kaipo) and a character (Baigan) from IV. Kaipo even looks the same. Siegfried is a perpetually masked background character swordsman. Another masked warrior from VI, Shadow, will sometimes relive moments from his past while dreaming when the party stops at an inn.

Shadow’s recall-dreams begin with his past as a professional thief. These dreams dovetail with the eventual revelation of Shadow’s estranged family: the father of his dead lover (Strago) and his daughter (Relm). What happens next in Blackmoon Prophecy is also reminiscent of Barret’s return to North Corel in VII.

Now this may have been a glitch.

As the party is about to settle down and rest, voices are audible outside. I wasn’t sure if this was a glitch or not, since the party was rather still. I suppose they could have been shocked into silence at the full-blown lovers’ quarrel outside.

Even though Siegfried did not want to be seen in Kaipo, he evidently couldn’t stay out, either. He seeks out his lover Davon, whose appearance was used by the Dreamweaver. Davon is shocked to see Siegfried after two years of absence. The couple’s fortunes took a turn once Siegfried attracted a degree of political prestige. Siegfried seemed to think that this visibility would not be safe for his relationship. Afterward, Siegfried disappeared on an ascetic quest.

He passionately apologizes for disappearing and admits that he is also suffering in Davon’s absence and continues to desire him. Davon admits that two years of abrupt silence is not easy to forgive. In spite of Siegfried’s pained avoidance of the topic among the party, Davon himself seems to have warmed up. If you visit him at his home (minus Siegfried, who won’t go anywhere near there with the party at this point), he says that he intends to wait for him.

Our local version of Baigan needs us to reclaim the town of Dawnmarch. We can set out with our newly empowered black and white mages or we can clear the village with the blue mage and the summoner. For the other two party spaces, you want some people who can both give and take some physical hits. The rebel boss there has a maul that can be stolen.

Baigan then requires several thousand gil to station soldiers in Dawnmarch, to hold it against the rebels. Luckily, there is a nearby forest inhabited by juvenile dragons with gil hoards of a manageable size.

I started this next task the way I did because Ami left the Arcane Academy fuming about how they don’t have anything for a blue mage. I agreed; especially since I had not learned any blue magic since Goblin Punch. It felt like a missed beat and then Baigan sends us on a monster hunt. It seemed to add up.

I managed to steal from three out of four baby dragons. The one that got away was the white one and I never saw them again. I encountered the red fairly quickly and I encountered the blue twice. Between those two was my only encounter with the white and lastly the black. It seems possible that the dragon encounter rate in the forest starts off high, because it’s a mainline story event, then goes down a little each time.

Since the baby dragons are roughly boss-tier, this is a convenient time to mention just how useful Ami’s Cheer ability has been. I haven’t even thought of the Cheer ability since I played X for the first time as a tween…and I’ve replayed X multiple times since. Was it always this useful? It helps when you have someone like Vera, with a single strong healing ability that also casts Regen on everyone. If you’ve been giving her the vigor shards, keeping her close to the Valefor nethicite and buying her current weapons and armor, you won’t need her to do anything for the Regen duration except her standard physical attack.

The Water Ring can be stolen from the blue juvenile dragon. Flame Sabres can be stolen from the red. Black dragons with yellow underbellies drop Miracle Fruits (large and permanent HP and MP increase).

Okay this made me feel a little called out

Oh and I also stole a Flame Sabre from an Allosaurus in the area? And I’m pretty sure all I got from them in the past were Earth Drums (a disposable item that causes Earth damage)? So far this is the first time I managed to steal two different items from one monster. If I’m remembering the Earth Drum correctly, then do the same monsters carry different stuff in different areas? Or has this always been possible and I only just now pulled it off? Even though I’ve been trying to steal from as many things as possible?

Speaking of: in the grassy periphery of the forest, there are ogres whom you can steal Life Shards from.

While Baigan’s soldiers are now financially situated, the rebels have not been idle. According to Regent Gran, they have penetrated the Dragon King’s Roost south of the gil-farming forest. It appears they want to capture and tame some dragons to use as airborne super weapons.

The corpses of the rebels are strewn about the Roost and the survivors panic and attack you if you go near them. As we approach the summit, two pissed off dragons wait for us. The first is Vedrfolnir, who has a Survival Vest you can steal.

Now…whom should we find in the Dragon King’s Roost but Bahamut? The totem / embodied deity of Ivalice?

After Bahamut vaporizes the three rebels, he goes for the party, Megaflares everyone and breaks through the ceiling of the cave.

Some Lindblum soldiers investigate in our wake and bring us back to Regent Gran’s castle. As we’re catching him up, the subject turns once more to the Earth Crystal, which is still in the Underworld with the Fey. A nearby bodyguard is suddenly possessed by Malacore, announcing that the Fey originally secured it for him. Yet the magical barrier has kept Malacore out as surely as it has the human pursuers.

Malacore also passively refers to Vahn as the son of a “tyrant king” while talking about something else. A little question mark balloon shows us that Vahn has no idea what he’s talking about. Before relinquishing the unsuspecting bodyguard, Malacore says “After all, it is your duty as the son of King Branch to allow me this power, is it not?”

Vahn panics and flees from the party as soon as Darius, Vera and Regent Gran attempt to ask him about this. Local chatter in Tzen suggests that Vahn has likely ended up in the Temple of Visions.

Oh- first blue magic since Goblin Punch! The Vibrant Plumage ability item can be stolen from a Zemzelett, outside of Tzen. From this, Ami learns White Wind. Blue magic was one of my original motivations for keeping Laka as close as I have been.

Being a massive VII fan girl, the use of the ‘Listen To The Cries Of The Planet’ music was a pleasant surprise. This dungeon branches off into a left and right path. Both of them end with a treasure chest that contains half of the Crystal Half Moon Key, which is required to unlock the central door.

The shurikens and the Yoshimitsu treasure chests suggest that Nobumasa may have some reason to be here. Sure enough, the Hadesgigas go down fast when you throw shurikens at them (hopefully not before you steal their Spiked Gloves). With Ami having learned White Wind, she can now heal the whole party while Cheering for gradual MP restoration. With Ami’s Storm Breath and Nobumasa having learned Mokusatsu and Katon, you should be alright.

You also might want to fight the monster-in-a-box Almagest, since it drops an Arondight: Darius’ best weapon so far.

With both halves of the key in hand, it is apparent that the party can’t just slide them together. Then I remembered: someone in a village mentioned both the Temple of Visions and the divided key.

I can’t remember what they said though.

No one in the village of Tzen is able to help out with this but they do mention a gambling engineer of renown named Jack. A townsperson says that he lives north of Tzen, so off I went astride Bluebell.

This place…has an almost dream-like quality. The music is your basic video-gamey-casino loop. Tinny, synthesized, brass instrument sounds. It’s not annoying but it’s not dissimilar to annoyance. Reminiscent of insomnia, somehow. Like a casino-themed Sonic level only drunk and just about to start tilting from horny to crying.

Eventually, though…somewhere north of Tzen…I found the suspiciously-named Crescent Rivulet.

Until next time, TBC

Here’s the sauce

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Playing Final Fantasy Blackmoon Prophecy part 2

Light spoilers

When we last left our adventures, they were on the trail of Darius in the Gulgur Volcano. Unbeknownst to them, General Braak escaped Hans, Biggs and Wedge, leaving them to fall into the hands of three enigmatic beings who appear to be capable of mind control. When the Vahn squad catches up with Darius, they find him in conversation with a voice that he is seeing outside of his head for the first time: Malacore, whom Darius released from the Crystal of Water.

A later encounter with the esper Ramah puts much of this in perspective: the crystals are doing their usual elemental control thing (either placed there by the gods or left there as energy siphons for malevolent outsiders, depending on cosmology). What effects the crystals effects the espers. This entanglement has come up in older FFs but here we have an additional layer: elemental guardians, like Salamander and Bismarck- residing either with their crystal or at its former location. Quetzalcoatl is both an elemental guardian and an esper. Quetzalcoatl leaves nethicite behind and Salamander does not. Ramah then introduces a fourth layer: the Archareons, rulers of the Esper World. Presumably beings older and more powerful than Ramah and the other espers seen thus far.

In the distant past, both human and esper worlds were affected by a phenomenon which- on the third dimension -manifested as the disappearance of all light from the sky. Humanity remembered this as the era of the Blackmoon. It choked the biosphere, obviously, yet had consequences beyond it. The espers appear to have been affected just as much and- having longer lifespans and more of a multidimensional perspective than humans -resolved never to allow it to happen again.

Despite their immortality and non-locality, the Archareons can only perceive this event through the dark glass of prophecy. While prophecy on the esper scale may see farther than on the human one, both humans and espers relate to it in the same way. A prophecy, for these purposes, is an amorphous thing: a statement from the future with a limited range of success or failure conditions.

Malacore, who was subsumed by the Water Crystal before Darius released him, is the one who is actually capable of manipulating the crystals in such a way that the Blackmoon Prophecy may be fulfilled. This prophecy specifies that Malacore’s opposition is the axis on which Malacore’s decision will turn. From the Archareons’ perspective, Vahn and the party are the ones actually swinging the axe and therefore they are the ones who must be stopped.

The Archareons are also having non-human pattern-matching issues: Darius was a dragoon from Branch. Vahn is also a dragoon from Branch. As far as they are concerned, “these kinds of humans” appear to be working in concert. Almost immediately after acquiring the ship with which to travel to the continent of the Wind Shrine, they are capsized by an Archareon. This Archareon was summoned by Gylfi: the one we saw fighting Hans, Biggs and Wedge at the Water Shrine.

Now…Malacore shoves, espers push back. Gylfi appeared to comfortably take some responsibility for what is happening both with Darius and the crystals. Is Gylfi a third-dimensional proxy for the Esper World Archareons? Or a collaborator with Malacore? Both seem possible, just now.

Espers also introduce our first actual taste of character customization: nethicite crystals. Obviously magicite exists in this game but its only use appears to be teaching Vera how to summon different esper spirits. Nethicite can be equipped to anyone, bestowing passive buffs and additional points for various stats upon leveling. These are, of course, good for cultivating stat emphases in the long run and circumstantial protection immediately.

So far, I have encountered three nethicite-yielding boss fights in the main plot: Syldra (MP leveling bonus), Quetzalcoatl (defense and HP leveling bonus) and Atomos (magic leveling bonus).

Considering how I acquired the Valefor nethicite on Mount Palumpu, I think this may be a good time to talk about other game play factors that start loosening up. Laka the thief is recruited shortly before entering the Naddaha Pyramid, which I appreciated. I like FF thieves; both for the stealth build and the perpetual item-farming. Goblins can be encountered in the vicinity and an interesting little item can be stolen from them: Goblin Glove, with a little book icon. This comes in handy post-Naddaha once Ami the blue mage (my favorite FF mage class) is recruited. I’m wondering if those book items are how Ami will be learning most of her blue magic? Stealing the items from the relevant monster makes a lot of sense. I can see how this might annoy some people but coordination between thieves and blue mages kinda hits me where I live.

Anyway: Goblin Punch will make Valefor way less scary (Valefor’s nethicite crystal boosts HP, speed and vigor upon leveling).

We also start seeing some recognizable dungeon-design conventions from the mainline series around here. Naddaha Pyramid is a FFIV-style gauntlet of winding paths and high encounter rates. The treacherous swamp of Connal Curach has stone-to-bridge jumps and thick fog, like the shipwreck graveyard from V.

Also during the Laka-to-Ami-juncture- the obstacle transcendence abilities of the party leader have so far appeared to be removing single-tile obstructions. Elina with the Mysidian glyph barriers, Laka with picking locks and Ami with persuading the Moombas of Mount Palumpu to step out of the way.

Yes, I did have to show you each frame of that

The music gets a little more diverse at this point. The Naddaha Pyramid has what at least sounds like the music in Ultimecia’s final dungeon from VIII (on a related note, music in boss fights have been from VIII and V, thus far). Once the party starts making their way through Mount Palumpu toward the Wind Shrine, the music gets distinctly non-retro themed. Like, recognizable low notes on a viola in a distinctly non-midi format. The mines of Kohlingen have a version of the ‘Phantom Forest’ from VI with a lot of woodwind instruments and a bit less harp-plucking than expected. I liked it though.

Since so much of what we are listening to comes from mainline Final Fantasy games, the music choices can sound a little referential at times. I’m still kinda waiting to see if certain associations expand or not, like all the FFVI musical cues happening in relation to the nation of Ivalice. Or the FFV boss music during the fights with Gylfi and his cohort.

It is also impossible not to notice just how many place names and character names are taken from other FFs. Lots of main characters like Balthier and Cecil. The name ‘Vahn’ also comes from a pre-existing game but he’s also the only one with a main character name doing main character stuff.

It is easy for me to imagine certain things. Like each mainline FF takes place in its own tangent universe. These tangents proceed from a convex arc, enabling them to go as far as possible without intersecting. Final Fantasy Blackmoon Prophecy may be a lateral level above or below. If the main character from a mainline FF is, perhaps, causing the mutually exclusive tangent…than Blackmoon Prophecy appears to be a level up or down from there. The souls of the divergence-authors are now circulating in a contained environment, with everyone else. If Vahn got caught in the web of the story, then maybe it is because it could have happened to anyone in this version of Gaia.

Some other things I wanted to mention-

Mount Palumpu

The blue Whip creature on the ground has a tent if Laka can manage to successfully ‘steal’ from it. Laka is level 8, here, with 39 for luck and 56 for speed. Vahn is the only one with a better luck stat and Laka is obviously the fastest party member so far. Laka always moves before anyone else has a chance but she can only steal a tent from a Whip once every few dozen attempts. For now, it looks like the luck stat determines whether the ‘steal’ command works or not, as in most other Final Fantasy games.

Also- the Headless monsters you can encounter between the Rift Shrine and Connal Curach? Kinda look like female Armadullahans? You can steal Spirit Shards from them. ‘Shards’ are basically permanent, single-increment stat boosters, like the stat+ and ‘source’ items from VII. The stat+ and ‘source’ droppers were hidden in the crashed Gelnika, though. The demake of VII for the NES (the Lugia2009 version- not the Chinese bootleg it was based on) had a lot of monsters late in the game that dropped stat+ items, which felt like a way to add some character build freedom near the end. We’ll see how Babineau implements stat+ / shard droppers going forward.

The Headless are also damage sponges who can hit the whole party at once, though, so have fun with that.

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Let’s play Final Fantasy Blackmoon Prophecy part 1

Light spoilers

Final Fantasy Blackmoon Prophecy is an RPG Maker fan game by Daniel Babineau. Babineau began development in 2003 and completed the first playable iteration in 2011. After over decade of patches and updates, a streamlined, final-draft ‘remake’ was released a few days ago. Presently, Babineau is developing a sequel.

The nostalgia and referencing are immediately apparent with some interesting inversions.

The most obvious ones so far riff on FFI and FFIV. A beloved dragoon named Darius has lately been going a lil crazy with wild emotional reactions and inferences about everyone’s loyalty and worthiness. He looses it too hard with a prisoner, threatens to have them summarily executed and bristles when fellow dragoon Vahn tells him that’s not how it works. He storms off, rants to the king about it and gets drummed out of the military. A brief investigation to the Water Shrine ensues and guess who shows back up, eventually?

Vahn’s sprite looks like Bartz from V

Darius’ falling out and expulsion is rather efficient. Irrational person says irrational things, threatens a detainee and strikes a fellow dragoon. Everyone agrees on this and they get rid of him because they respect the rule of law. Last time things went this smoothly in a 2D Final Fantasy, Kefka was on the brink of reshaping the face of the planet and terrorizing everyone into worshipping him.

Our main character Vahn shares his first name with the main character from FFXII. XII and XII: Revenant Wings are set in a place called Ivalice along with FF Tactics and Vagrant Story. In Blackmoon Prophecy, Ivalice is a known location in the wider world. We learn in short order that the people of Ivalice worship the dragon Bahamut as a deity and that Ivalice is at odds Branch, where our player characters start out. An Ivalician general named Braak was the prisoner that Darius threatened.

I suspect the majority of music in this game comes from the Pixel Remaster versions of I-VI and a few of them have abrupt splices in their loops (copy right protection?). Excepting, of course, the music that’s obviously from PS1 through present, like ‘Who…Are You?’ from VII during a dramatic moment and the FFIX Chocobo Forest music for the, uh…Chocobo Forests.

The majority of musical cues are from IV, like the basic fight music and the Baron Castle music for Branch Castle. A lot of FFVI cues are associated with the nation of Ivalice but not exclusively (an early non-Ivalice village has ‘Kids Run Through the City’).

The random encounter rate is suspiciously low for a retro-style Final Fantasy game, at first, but ramps up once you get out of your backyard. So far, combat abilities are learned from a pre-existing roster for each character with occasional ability-and-stat-bestowing items.

Vahn’s ‘jump’ command also seems to have a clear purpose, early on. I know that the turn-skip was always supposed to be a risk-vs-reward mechanic but it actually works that way, in these early battles. Vahn leaps into the air, skipping his turn and taking no damage. Either Hans or Oalston have to just take all the hits during that beat so you have to keep them alive until Vahn descends with his massive physical attack.

In IV, there were a lot of temporary, scripted NPC party members early on. The point was to give you an early taste of what different classes can and can’t do before the permanent, “real” bearer of the character class showed up.

(Possibly…? A few of them turn out to still be alive and playable later which always struck me as kind of pointless..especially after having more competent party members to do that stuff longer by the end game period)

Blackmoon Prophecy clearly uses a similar approach to character class ‘tutorials’. The dragoon character class eventually gets a dedicated exploration with Hans, Biggs and Wedge. I dunno yet if this game has a red mage class but so far the dragoons seem to have most of the ‘red magic’ stuff going for them with an occasional ‘jump’ button, like Freya from IX.

Oh hey- when you finally have a full four-member party in Mysidia (judging from its portrayal in IV, is Mysidia supposed to be the FF version of Mystara?) you can choose your own party leader. Different pcs have different obstacle transcendence abilities, like Elina being able to remove Mysidian glyph barriers.

The four-member party also makes it clear that the ‘defend’ command has more than one function. This game is inspired by early Final Fantasy so the absence of an active time bar lines up. Nonetheless, there is such a thing as turn order determined by everyone’s relative speed stat.

This, here, is an ideal case in point. Context from FF in general tells us that restorative magic is lethal to undead. Thus it is here. So Elina casts Cure on the Fossil and takes it out in one shot. Oalston should also be leveled enough at this point to one-shot a normal Bomb with Blizzard. That leaves the purple-tinted Grenade, which seems to have more HP and hits harder when it blows up.

Unlike most classic Final Fantasy, our summoner Vera has a firm melee emphasis (vigor seems to translate into physical attack and it’s her best stat). Buy the Mythril Blade while you’re in Mysidia, equip it to Vera and you’ll notice that she can usually one-shot the Grenades before they can cause trouble.

But– Vahn has been leveling since before any of these three were recruited. That gives him an inconvenient speed stat, here in the Gulgur Volcano. With Elina, Oalston and Vera, you could probably end the battle in the screenshot up there in one turn. If you just plug in a ‘fight’ command with Vahn, though, he will act before any of the other three have a chance to. This could have a few consequences. Depending on who Vahn strikes first, the Grenade might have a chance to explode. Ending the fight as quickly as possible depends on Vahn using the ‘defend’ command.

You’ll probably find the magicite that allows Vera to summon Shiva and a Blizzard Staff for Oalston, eventually, which will make things easier. Until then, you’ll probably spend less time dying and using up healing items if you pay attention to who is good at what and how the speed stat effects turn order.

That was a neat little tutorial segment without needing to be told what’s happening. Good job, Babineau.

I’m pretty sure this fight has a scripted loss but…if you manage to inflict poison on one of the two beings in the front, it will do fifty-thousand points of damage each turn. I couldn’t resist playing through it three times since I kept wondering if the poison status effect was a secret route out of the scripted loss

Here’s the sauce

Here’s the next post

The angel from ‘Nightmare Country’ (Sandman Universe lore stuff)

Unrestrained spoilers for Nightmare Country, Hellblazer: Dead in America and the original Sandman

Could Elliot Garner- aka Dr. Diablo -be the angel? A proxy for Dream, like those employed by Desire and Despair.

It looks like Garner’s soul was devoured by demons in ‘Dead in America’ but…there is a resemblance between Garner and the “angel” from Nightmare Country.

This theory rests on that resemblance, which is admittedly vague. Garner does not have many moments in ‘Dead in America’ where his face is clearly visible. He always has those thick, owly glasses and there are a lot of flashbacks to him at varying ages while wearing the glasses.

Between the angel and Garner, there is a loose similarity of face, head and body. During the flashbacks to Garner’s younger self, the part of his hair is always combed over. When Garner’s memories return to him in Hell, his hairline sometimes looks like its thinning in the way that the angel’s hair is thinning. At other times in Hell (post-memory recovery), his hair looks like he smoothed it over the thinning spots in the front.

Covered hairline in Hell
Uncovered hairline in Hell
Angel with his hair smoothed over his bald spots?

They are both blonde. They both like to wax poetic about the collective subconscious and the use of stories for social engineering. John Constantine is shocked by Garner’s drive to collect and hoard the dream sand without any stated plan for it. The answer could be something so simple that it isn’t factored into the elaborate conspiratorial stuff. Like snorting it to get high.

Now…about Garner’s soul-

Daniel Dream had a clandestine meeting with Garner before he got roped into the plot of ‘Dead in America’. As soon as a demon attempted to rip out the eye of his astral body and eat it, Garner’s soul explodes. We learn, gradually, that the Kindly Ones from the original Sandman began as rebel angels, beside Lucifer, who fell when he did. Etrigan calls them “angels of hate.”

The Kindly Ones evidently escaped from Hell some time before they became the characters we first met back in ‘Preludes & Nocturnes’, when they tell Dream where the pouch, helm and ruby are located. They are not originally dream-kind but they appear to have been enmeshed in a dream-kind psychic environment, like Lucifer in his own SU story.

So Daniel Dream appears to hold Hell responsible for the death of Morpheus Dream and sends them an exploding package to make a point about it. Because of their dream-kind entanglements, Daniel Dream realizes he could summarily wipe the Kindly Ones from existence and only holds back because Constantine convinces him to.

What job did the Kindly Ones originally do in Hell? Guard duty, like Cerberus. They are then returned to this role, leaving John in a good position to ask for a favor later on.

Since the Kindly Ones went back to work while owing a debt to a human…and at least one soul has been empowered to walk out of Hell (Constantine) because of it…

Hell has lately been humbled and subverted by Dream. How much latitude could such a thing afford? Could Dream have just yoinked Garner’s soul back, like a yo-yo? Or at least a fragment of it, which Dream could use to fill in the blanks, as he has in the past with other beings?

One other being, anyway: the Corinthian. After uncreating him in ‘The Doll’s House’, a tiny skull from one of the Corinthian’s mouth-eyes falls to the ground. He picks it up and uses it recreate the Corinthian in ‘The Kindly Ones’.

If Dream were to attempt to restore a fragmented soul by filling in the blanks with dream substance, the human would basically be turned into dream-kind with a bit of human lineage. Dream is empowered to create and uncreate dream-kind but he enjoys creating nightmares, in particular.

(Speaking of: didn’t Dream turn two or three human souls into dream-kind in Nightmare Country? Maybe more if we count things from the original, like Matthew, Lucien or Prez Rickard?)

Once Garner regained his discarded memories in Hell, he remembered that he hid the rest of his limited supply of dream sand in the concrete of the Hollywood Walk of Fame.

If Dream “recreated” Garner as dream-kind based on a fragment, it is possible that the “new” Garner may remember the Walk of Fame. He could potentially re-collect the sand. Would Dream not demand it back, though?

Maybe. Daniel Dream is interested in establishing a reputation and boundaries: to re-dignify his authority after the collapse of his former self.

Like his prior self, Daniel can be far-sighted and goal-driven. Perhaps Garner’s use of the dream sand lines up with Dream’s plans. Or perhaps Garner is allowed to keep it as payment for something. In ‘The Glass House’ (second Nightmare Country volume), the angel’s stash of dream sand appears to be a personal secret.

By the end of ‘The Glass House’, Thessaly knows that Dream is pulling strings in this and that the angel is an apparent ringleader. She makes a move on the angel and is intercepted.

The sand in the possession of the angel could be both payment and strategy. Garner may simply enjoy having it around to snort. Much of Dream’s magic resonates with and attracts other sources of it. Allowing the angel-shaped-dream-kind to keep the sand could unwittingly turn them into a bloodhound, capable of detecting other forgotten dream magic that needs to be dismantled or reclaimed. It would explain why the Smiling Man is always just within the orbit of the angel but never close enough to encounter.

The Smiling Man appears, at times, to be a dream-kind in the company of Mr. Agony and Mr. Ecstasy. A Dreaming-side informant or collaborator. Mr. Ecstasy and Mr. Agony are Desire’s agents in the third dimension. The Smiling Man may be Despair’s agent on the astral plane, covering her half of the plan.

The voice in Mr. Agony’s stopwatch has Morpheus Dream black word balloons and white lettering, just like the Smiling Man. Agony and Ecstasy might not know where the voice in the stopwatch comes from. If it comes from the Smiling Man, than maybe both the Smiling Man and Ecstasy/Agony are equally blind to each other but used for a concerted purpose by Desire and Despair. The angel could represent Dream’s natural and appropriate participation (like the contest for Joshua Norton’s soul in ‘Three Septembers and a January’) or a quiet infiltration of Despair and Desire’s plan. (‘Three Septembers and a January’ is referred to by implication in the first Nightmare Country volume and explicitly in the second).

Some framing concerns-

When Daniel Dream shows up at the end of ‘The Glass House’, the angel asks “do you know what I am?”

Dream says that he knows what he is and what he has been saying he is. We then learn that- in this instance -the demon Azazel was shape-shifted into the angel’s appearance. So Dream was simply calling out Azazel.

When Thessaly tries to squeeze the angel for answers at the end, she is intercepted by Mr. Agony and Mr. Ecstasy who promptly beat the crap out of her. This is revealing, in and of itself. Thessaly is a three-thousand year old witch who may well have no equal among mortals. Among humans, she is unstoppable. The last time we saw her get snatched and jerked around (SU Dead Boy Detectives) it appeared to be the work of one of the Endless (Despair). She can only be outstripped by god or Endless tier beings.

Anyway-

Mr. Agony says “This is the witch. The one we mustn’t kill.” So they leave Thessaly curled up on the pavement.

The pair wanders over to the angel- rescued but hardly any more at ease for it. Mr Agony says “And this, Mr. Ecstasy, this is the one we mustn’t hurt.”

Mr. Ecstasy, to the angel: “Our employer is well aware that you have been playing with their things. That you wanted a piece of their power. (…) They know what you want, and have told us to tell you that you can have it. (…) But you will have to do it for them.”

Angel: “What if I say no…what if I won’t be that thing’s pawn?”

Mr. Ecstasy: “In that unhappy circumstance we would have to hurt you terribly. But I think you’ll find if you look inside your heart, that you’re not quite as intransigent as you previously believed. (…) I think you’ll find you want to help them.”

The angel screws his eyes shut in frustration and opens them- now relaxed and rather curious.

Yes, Dream could have rescued Garner through re-creation but we actually saw John get out of Hell, right? If Dream was going to recruit a proxy, wouldn’t John be a better choice?

Maybe, Maybe not. Death, the eldest sister of the Endless, is respected and feared among her family. When she tries to collect John’s soul, he does his little confidence game shtick in Hell with the passive cooperation of the Kindly Ones, returns to Death and then disappears under her nose. If John won’t get in line for Death then how is her little brother supposed to pull it off? To say nothing of the fact that John told Daniel to his face that his smile is creepy.

The fate of John in ‘Dead in America’ also raises questions about canon. Neil Gaiman met Alan Moore in the mid-eighties, when Moore was working on Swamp Thing. The two knew each other around the time that Moore created Constantine for that story. I could go on, or you could just go to the ‘comics’ section in the menu and read my Swamp Thing reaction. Put simply: there is a ton of world-building connections between Swamp Thing and The Sandman which feel too authentic to be a coincidence.

If we acknowledge this relationship…that leaves John Constantine in a rather tight spot.

A recurring theme in the original Sandman are the long-term consequences of things that ‘felt normal at the time’. In ‘The Kindly Ones’, Delirium says that- if one of the Endless travels to Earth and stops to look at a lightening strike -people will be stopping in that place and looking up for generations. Dream’s realization of the size and scope of these entanglements was a factor in his eventual suicide.

On his secluded island, Orpheus was guarded by generations of Greek caretakers because Morpheus inspired them through their dreams.

If we take this seriously, we admit that Morpheus may have affected Constantine’s bloodline simply by associating with his ancestor Johanna. If we factor in the short-lived Lady Constantine comic, then Lady Johanna eventually acquired the Wych Cross estate, to be renamed Fawny Rig; the name it bore when Morpheus Dream was imprisoned there.

The shared universe between The Sandman and Swamp Thing may have existed in a nascent state before Jamie Delano made Constantine the main character of Hellblazer. This makes it possible that John’s life would not have turned out the way it did if Morpheus had never met Johanna in the eighteenth century. In the Sandman Universe comic run, the echoes of cause-and-effect surrounding Morpheus are beginning to reach Daniel in indirect (and at times inverted) ways. In ‘Waking Hours’, Daniel is assessing this. In Hellblazer: Dead in America and the two Nightmare Country books, Daniel has moved on to acting on his assessments. ‘Dead in America’ sees him exercising direct control over both Swamp Thing and John.

Then there’s the prophecy mentioned by Clarice Sackville in the first SU Hellblazer volume which describes “the true and final death of John Constantine.”

Meanwhile, old currents of cause-and-effect from Morpheus are appearing around Daniel. Daniel might decide to take charge of those currents and either contain or neutralize them. Of course John is going to get swept up and of course it’s going to have consequences. If John originated in the shared universe of eighties Moore and Gaiman, he could easily meet his end in that universe.

This reminds me of the online buzz when ‘Dead in America’ was first published. There were rumors that DC/Vertigo was choosing to officially merge the Hellblazer canon with the Sandman canon. If there was anything to that speculation at all, then it sounds like DC/Vertigo intended to officially recognize that shared universe. The SU Hellblazer stories are no longer digressions: they are the main plot, sort of how the Rick Veitch Swamp Thing comics are included in the Hellblazer omnibuses.

I find that intriguing but…DC has welched on stuff like this before. They tried to perma-kill Superman in the early nineties and brought him back due to fandom reactions. This “final” Hellblazer story could be subverted just as easily. John’s whole presence in the Sandman Universe comic run hinges on the timeline split in Books of Magic. If DC wanted to retcon it, all they would have to do is say “Nevermind; that was a divergent timeline.”

Freedom of speech

There are Americans alive, today, of voting age, who never knew McCarthyism, the crackdowns of the sixties, the AIM movement or the Satanic panic. Who have never known an America where attending a protest lands you a multi-decade prison sentence. Now they have. They are experiencing this for the first time in their lives. Inevitably, someone asks why.

A trans-eye glimpse of the vanishing point between perception and probability

Almost three years ago, there were a round of Gallup polls on typical liberal v. conservative culture war issues. 51% of respondents stated that being transgender was wrong, in and of itself. As a trans person myself, that 51% deserved the headline. I chose not to post about it at the time because I was afraid I would sound paranoid. It even sounded like a strangely granular parsing of the issue for an outfit like Gallup. A part of me wasn’t quite convinced it was real.

Obviously I was naive.

Commentators stressed the distinction between classifying something as morally wrong and advocating discrimination. That, to me, sounds like the same kind of bullshit as ‘hate the sin not the sinner.’

Gallup also grouped the data into clusters of political affiliation and people who know trans people and those who do not. The number of those who know one of us was consistent with the percentage of those who said that being trans was morally acceptable: 30%-40%.

The irony is that anti-trans activists are afraid that medical transition will catch on like a social movement. If that were true, approval would be the only limiting factor.

We are not a social movement, though. None of us know why we are trans. If there was a ‘why’, as with a reasoned belief, this whole conversation would be easier. My belief is that we’re genetically predisposed. That is why we are always a statistical minority. It just doesn’t occur in nature very often. Since we do not often reproduce, the number slims down even more.

That also means that the number of people who “know a trans person” is always going to be tiny. Hopefully, whether or not we’re allowed to suck wind won’t always depend on our numbers.

https://news.gallup.com/poll/645704/slim-majority-adults-say-changing-gender-morally-wrong.aspx

Hellblazer: Lady Constantine

Spoiler warning

John Constantine’s ancestor Johanna first appeared in the Sandman story ‘Men Of Good Fortune’. Dream of the Endless meets his friend Hob Gadling at the same inn they’ve been frequenting for centuries when Lady Johanna shows up. She attempts to bully Dream like she would a human or a demon but things go well for them anyway. She has a rather more swashbuckling vignette later in ‘Thermidor’.

Johanna has had guest appearances in various Hellblazer stories but these four comics from early 2003 are her only solo ventures to date.

Since discovering ‘Dead in America’, I’ve read a chunk of Jamie Delano’s original Hellblazer run. I last left off at the end of the latter-day epilogue of the Newcastle incident, which alternates with Swamp Thing’s succession story. I didn’t care for the simultaneity of those two arcs: they seemed to step on each other’s toes rather than dance together.

So. Two short stories from The Sandman are Johanna Constantine’s actual point of origin. If we go into this with Hellblazer goggles though-

John Constantine is a mess of a wizard who is known to do the right thing occasionally. He’s just as dangerous whether he does or not, though, and has a near-endless capacity for moral hairsplitting.

In Lady Constantine, Johanna is poor, hunted and desperate but nowhere near the hot mess of her twentieth century descendant.

She travels with a girl she calls Mouse, with whom she is firm but nurturing. Mouse has typical, child-like outbursts but never cuts loose hard enough to cause trouble: Mouse might know the practicality of survival firsthand, Johanna may have taught her well or both. A belligerent landlord kicks in the door, demanding rent. So far, so sympathetic. When she later looks Mouse in the eyes and says “trust me”, you could just about see her as the kind of hero whose intentions always keep pace with their abilities.

The name of the comic has a point, btw: this short would-be opening arc ends with the restoration of her family’s title and estates. Johanna thereby acquires the wealth and proximity to power she has in The Sandman at a thematically appropriate cost.

Because of the gritty chaos of early Hellblazer, a fragmented delivery of John’s early encounter with the demonic at Newcastle makes sense. It is a bad memory that refuses to stay buried.

Relative to the original Hellblazer, Lady Constantine is an eighteenth-century period piece. Rather than a buried memory, Johanna’s binding guilt unfolds in the narrative present. Does she then have her own “Newcastle”?

You could say that. The haunting debt and the lingering question of whether or not it could ever be paid would be the jumping-off point for whatever happened next, rather than a long dark shadow from the past.

Another temporal reimagining: the relationship with ‘Swamp Thing’, here called Jack In The Green. The money and the political connections come later. Before then, Johanna exists much like her descendant: living on the harvest of the last con long enough for the next. One major asset she does have is leverage over Jack In The Green.

At the start of Lady Constantine, Johanna has been doing this for a while and Jack is losing patience. Since Jack is our Swamp Thing, he is capable of coming and going from plant matter or anything made from it, such as boat wood. The last few drops of grace left in the friendship is the only reason why Johanna is able to accept a contract to salvage the cargo of a sunken ship.

That sounds like a retrospective comment on John during his first appearance in the Swamp Thing comics. John trades on his name a lot and on circumstantial leverage. Yes his influence in the American Gothic arc turned out for the better but all he ever had were the other people he was roping in…and he only roped them in because he extorts and pieces out information.

If a story has both a version of Constantine and a version of Swamp Thing, then there will probably be astral travel. While we don’t see Hell here, we see a rough equivalent. The box that Johanna’s been tracking the whole story contains a host of eldritch horrors. The ex-custodian of the box, Pandora (ta-da!), wants to drag it up and break it open.

That person is connected to the Wych Cross property which ends up awarded to Johanna at the end; to be renamed Fawny Rig, after the means which led to the contract. That could have implications for the old British mage families like the Burgesses and the Cripps, if DC/Vertigo ever cared to flesh it out. In the twentieth century, Fawny Rig is known as the historic home of the Burgess family, where Dream was imprisoned. Perhaps the Constantine bloodline had something to do with that development- even if it’s losing the place to someone else.

The plight of the kiddo who gets trapped in the box had a lot of potential for future stories, to. It makes sense that John Constantine would have a mage or two in his lineage. It also makes sense that he would have ancestors with personal memories of infernal dimensions, such as Johanna’s daughter.

I do miss the ads from comics back then
The font for this reminds me of the ‘Hard Time’ arc, which I’ll probably review here

Reading The Wicked + The Divine (part 3, end of blind reading)

Big’ol spoiler warning

From ‘Mothering Invention’ onward, much of the narrative slides into flashback mode, which makes sense. The plot depends on a lot of things that happened off-camera and- if I hadn’t read ‘Old Is The New New’ between ‘Mothering Invention’ and ‘”Okay”‘ -I don’t know how the story would have hit me. Since the stories in ‘Old Is The New New’ were equal parts experimental fun time and retrospective storytelling, I wonder if a lot of fans simply went from ‘Mothering Invention’ to ‘”Okay”‘ during the original run.

Minus ‘Old Is The New New’, the majority of the plot does take place in the twentieth-to-twenty-first century. I’m starting with a nitpick because I’ve wrestled with similar issues in my own writing, lately. Sometimes there is no convenient place in the central narrative for things with too much distance from the main plot. In the absence of an opportune flashback occasion, what else is there to be done except simply write more stories covering the remote-yet-meaningful plot points?

Situating the ‘Old Is The New New’ anthology as volume eight in the collected editions makes sense…but it can also hit like a recap of a bunch of information that should have been better integrated. I suppose it looks conspicuous to me because there simply wasn’t that much non-linearity beforehand. Yes there have been big, complicated, explosive plots with lots of things to pay attention to…but it was all rather linear. The most obvious breaks from this are the flashbacks with Ananke and her sister, six-thousand years ago, in ‘Mothering Invention’.

Yet those ‘Mothering Invention’ flashbacks can function as a bridge.

Before then, The Wicked + The Divine never got metafictive but it played footsie with it. The 1234 panels in the early books remind me of conventions in comic-scripting. A few of the collected editions contain Kieron Gillen’s scripts at the end and he writes with care and intention: relatively few older comic-writing conventions are present. But those 1234 panels really remind me of certain Alan Moore and Neil Gaiman scripts, divorced from the actual comics. Panels are often numbered to denote sequencing and there are a lot of scripts where the most common things an illustrator will read are ‘panel 1…panel 2…panel 3…’. The 1234 panels also tend to appear during the moments that feel the most non-linear, like Dionysus’ first appearance in the story at the rave.

Another metafictive slow burn is the presence of the Pantheon fandom. No, characters dressing up as each other is not definitive metafiction but it’s always happening in the background. ‘Mothering Invention’ then foregrounds the possibility that the prior incarnations of the Pantheon all had loose resemblances to each other anyway. Sometimes, the appearance of one 2014 divinity may have been inherited from a prior incarnation of another one.

Then there’s the mystery of Ananke’s sister and the god of her sister. Six-thousand years ago, Ananke resolved to choose the divinities that “take the children”. Her sister adds that her god will always be among them. Once Ananke’s sister returns for the first time, a familiar topic comes up:

Ananke: “Would…you like to sing? It is your greatest gift.”

Sister: “To sing? It’s all I ever wanted.”

Then snap, like Persephone. Sixty-five times, over the millennia. Chapter 36 begins with sixty-six panels across eleven pages. Sixty-five of them are snap panels and nine of those depict Ananke’s sister escaping with a familiar set of tongue-tentacles in evidence (in an unfamiliar shade of green). Eight others show the “I’ve missed you” hug.

Chapter 37 starts with ninety panels of black across nine pages, beginning with Egypt 3127 BC. Directly after the 37 title page, there are a pair of distressed blue eyes (or eyes covered with blue transparency).

Among the sixty-five snap panels at the start of 36, one of them is dated Egypt 3128 BC. This is one of the panels with Ananke hugging her sister, saying “I missed you.”

Back in 37, another transition waits after the ninety black squares, dated Crete 3037 BC. Each one of the chapter 36 panels was marked with a date and location consistent with the intervals between recurrences. The black panels in chapter 37 are just one successive year after another, until Crete 3037 BC. If chapter 36 started with the recurrence intervals from Ananke’s perspective, then chapter 37 is portraying her sister’s perspective on an early interval between recurrences.

Crete 3037 BC brings us to a girl or a woman with blue eyes and reddish hair, kneeling on a beach and raking her face with her fingernails, saying “Never again.”

To me, that girl resembles 2014 Amaterasu. Yet 2014 Morrigan is known to claw at her face with her fingernails.

Shortly afterward, the visual pacing and panel arrangement slides neatly back into typical narrative context. During the Morrigan and Baphomet’s break-up fight, there is a succession of battle images and older relationship images. A positive relationship image circles around, Baphomet’s resolve wavers and the Morrigan claims the win. That’s at least one instance when the reader perspective is equated with a character perspective. This has happened before this point but not very often.

Then we step a bit closer to the fourth wall again, with Ananke meeting Robert Graves in 1944, which was a fun scene to read. The only Robert Graves I’ve ever read were the novels I, Claudius and Claudius The God but it was still cool to see him in a comic. He is approached by a mysterious stranger and they spend a night drinking and talking:

“The first of the gods was my sister’s. Maiden, mother, crone. An effective slight of hand. Easy to fall for. I thought…one could use that, eh? (…) Oh, I was everywhere. The things I’ve seen and the things that have seen me. This quiet white goddess, wandering around… (…) I offer them godhood. Choose the right verse, the divine poetry to recite. Of course they can’t resist it. (…) It’s our secret language. Like…trees? We’re like trees? I told the druids something like that…Twelve trees, and the thirteenth, the elder tree, which is death.”

At a glance, it looks like the perpetuating of the White Goddess lore and her connections to the triple goddess made by Graves was orchestrated by Ananke. She planted the idea in his head to give her chosen ruse the appearance of universal, mythic relevance.

Oh, wait…the last recurrence cycle before that point ended in ’23, didn’t it? Is there any reason in particular why Ananke might be either unusually desperate to cement her hold on the Pantheon, as well as feeling the need to vent to a sympathetic ear? Such as seeing something that conforms to a six-thousand year old lie that her sister left her with?

From ‘Of The Devil’s Party’. Is it just me or do the “cubist”, physics-defying freak-outs of 1923 Dionysus resemble the head-splodey illustrations from the same story?

In both 1923 and 2014, a psychic amplifier is built by Woden and the Norns which can easily be used for mind-control. Earlier, in ‘Of The Devil’s Party’, Ananke implies that gods do not create art: their existence and their actions are their art. The ripples of cause and effect from short, powerful lives.

Put a fucking pin in that, btw.

Baal, Set, Woden and the Norns agree with Ananke’s assessment of gods and art. They believe it generalizable to humanity, whom they see as entering an age of decadence, democracy, electric light and creative exuberance. This is the degenerate zeitgeist of the masses and it is- to their horror -in ascension.

Determine to head off this trend, Set and Baal begin killing other gods to siphon their powers and their remaining time, ala Prometheus gambit. Roughly five gods are sacrificed to create an apocalyptic summoning, to put humanity on the right track again. Woden dies with his hands on the machine, which may or may not function as a sixth sacrifice. Later that year, the four remaining Pantheon members agree to commit suicide as a means of countering the apocalyptic wish. It won’t cancel it out completely but- according to Ananke -if they can reduce five-to-six wishes for the apocalypse to one or two, then that can be managed eventually.

It may seem dubious to equate the 1923 amplifier with the 2014 amplifier…but they both have the same being locked in their cores.

This being dates back to the 1831 story ‘Modern Romance’ which was, for me, one of the sweetest moments in the whole comic.

In 1831, the Pantheon is mourning the passing of Hades. Not Lucifer- the Greek underworld deity called Hades. Lucifer himself is occupied trying to resurrect Hades.

According to context, the resurrection cannot be done because of Ananke’s harvest: such a thing would entail drawing the life force of Hades back out of her, which isn’t happening. What emerges is, in the words of romantic era Woden, a new being, made by the Pantheon. For the first time in their history, the Pantheon members reckon the prospect of familial legacy:

Woden: “It is not a monster. It is not Hades, returned. It is one who was created by us. (…) It is new. It deserves better. (…) You are alive. You will go on long after we are gone. (…) Do you understand?”

Romantic-era Woden disappears at the touch of the purple being and it assumes her likeness. Inanna approaches them. They say “You killed three children. You did it…as part of an accord. For power. For Glamour. For this…”

She extends a deadly hand to Inanna who begs mercy on behalf of the child of Lucifer, whom she carries in her womb. The new being with the lavender word balloons and pale letters withdraws her hand. She says “You are not my sister” and walks away.

Much later, in Inanna’s journal:

“I find myself dwelling on my sister’s final words…whatever we made was not a monster but a creature. (…) Creatures are all that is created by God. Monsters are those that God rejects. (…) Instead, this creature rejected its gods.”

She goes on to muse about what to name her child when Ananke shows up with the snap.

Inanna: “I thought perhaps you would let us escape.”

Ananke: “No, Inanna. No one escapes. (…) Especially not you.”

‘Modern Romance’ made me question the origin and nature of 2014 Inanna. 2014 Inanna is the only one before then who had purple word balloons with white letters. 1831 Inanna speaks in normal black-and-white word balloons and her journal writing is white-on-purple.

It is obvious, at this point, that no Pantheon member has ever given birth to start a family of their own. Because of the six-thousand year old stipulation of her sister: sister’s god is always among those that “take the children”. I may have my sequencing wrong but I thought her sister’s stipulation about her personal god was a fundamental part of Ananke’s ruse over the years. Some variation of the triple goddess is always present and Ananke’s successive lifetimes hide in the shadow of the triple goddess. The triple goddess is the only Pantheon member whose name and nature could specify a woman at any stage of her life, after all, whose universality could function as an interpretive back door.

So no normal child-bearing families for the Pantheon but one of them inevitably does procreate. Ananke claimed the ability to specify the soul-harvester in each generation and her sister claimed one of those slots to forever belong to her god. Ananke simply stops this from ever happening by only permitting one child which she makes the avatar of Minerva- her younger self. No specific origin for any one Minerva is ever shown which almost makes me wonder if Ananke herself simply gives birth to Minerva each time.

Ananke’s sister told her something else, though. Before her first death, the divine sister is traveling with her grandson, whom she tells not to worry.

Divine sister’s grandson: “What final magic have you?”

Divine sister: “Oh, a simple lie. (…) It will lead her astray, as she thinks that my lie alone is what can eternally defeat her. The only hope is that one of the children will find the real way out of the trap.”

This lie was the last thing she spoke before dying: if her god ever gives birth, the recurrence will end. Ananke will be claimed, for all time, by a “great darkness”. Ananke considers this and says “The mother begetting a child other than me means, by definition, I will not be the child any more. The cycle breaks. I see. I can handle that.”

After that point, Ananke trots out the story of the great darkness now and then to keep the Pantheon in line. Ananke had no reason to consider the existence of such a thing until 1923, when the Baal-and-Set-gang enact five-to-six wishes for global catastrophe. This was also the first actual use of the purple girl amplifier. Ananke incorporates both the amplifier and its destructive magical payload into a great darkness puppet, should an object lesson be called for.

So…do I have to belabor the Frankenstein references, from ‘Modern Romance’? That story deconstructs both the Promethean myth that Frankenstein partakes of as well as an oft-repeated anecdote about how the book was written. Mary Shelley-Wollstoncraft, Percy Shelley, John Polidori, Lord Byron and Lord Byron’s wife are holed up for the winter and pass the time writing horror stories. Female Woden maps onto Mary Shelley, male Morrigan maps onto Mary’s husband Percy and Inanna and Lucifer are, of course, the Byrons. Maybe this is superficial but I liked it. Romantic era Lucifer tries to resurrect Greek Hades, fails and creates a beautiful and deadly enigma. Lady Woden is the only one of them to recognize how unprecedented this is and attempts to take the child in hand. Woden, in this comic, is quite the techie and romantic era Woden is like any of the others. She has robot ravens on her shoulders with visible rivets. Her missing eye has a mechanical replacement. There’s just something poetic about super-scientific Woden playing the role of Mary Shelley, welcoming the newborn into the world.

Eventually, though, the newborn is imprisoned and used to create the fictional great darkness. Ananke undoubtedly had the idea as part of her manipulation but I wondered if maybe she was playing catch-up with her own fears. A terrible moment in 1923 when she wonders if the great darkness was always real before getting it together enough to incorporate the new development. Perhaps she thought that the apocalyptic conspiracy of the Set-and-Baal-gang was, itself, the apparition of the great darkness.

This actually goes hand-in-hand with one of the oldest strengths of the comic: making the obvious less obvious. 2014 Woden was open about being a pervert and megalomaniac and being out for number one. He shouted his motives from the rooftops but almost nothing else about who he was or what he was doing was portrayed for the first half of the story. Of course he used the purple girl machine to turn hundreds of people into slaves. A good stage magician knows how to direct the attention of the audience, after all.

Another wonderful use of apparent truth and expectation is tongues. It is not immediately apparent what tongue-singing is but it is apparent what everyone thinks of it. It seems to be purely a matter of interpretation until Laura awakens as Persephone, with her black tentacles that appear whenever she sings (not to mention the only character who uses tongue-singing in combat). Before that confirmation arrives, though, we get a tiny and painful scene with Tara; known to all as Fucking Tara. At the time of her apparent death, she also appears to be the only Pantheon member whose performances are not immediately pacifying. If anything, the crowd hates her worse than anyone else. It’s easy to chalk up her devastation to frailty but no other Pantheon member ever experienced this. The average human has nothing bad to say about listening to the tongue-singing of any Pantheon member. Organic unpopularity is a factor but it cannot be the only one.

Tara had decided to actually compose music with intention. That was the problem. She simply chose to write music instead of singing tongues. In Tara’s journal she writes “If I had another second, I’d play another chord. (…) I’d write another line. (…) I’d try to drag what’s up here…” indicating her head, “…out here.”

Ananke also said that her nature as a member of the Pantheon is inscrutable to her. To Ananke, Tara just looks like a blob of random, echoing no particular god from antiquity. At the same time, Ananke needs four heads for her regeneration and Tara is a suicide risk. A vain, stupid blob who is too weird for comfort. No great loss.

I believe Ananke didn’t recognize Tara (nor anyone else) because Tara did not fall into an archetype like the others. The others all saw and heard things that they wanted to worship and embody.

There is a precedent for Tara, though: Ananke’s divine sister. Tara is the one character who actually heard the voice of the divine like Ananke’s sister did. Tara practices magic and spirituality through direct experimentation and observation. But the authenticity of discovery has no value in a world full of ideas of what the divine and the spiritual should be- not to mention the divinities who literally broadcast their psychic fingerprints.

Six-thousand years ago, the triple goddess had no wealth of names; only the solitary perception and the solitary spiritual practice of Ananke’s sister. Tara had the worst run out of any other 2014 Pantheon member but- by the end of the final volume, when all the other characters have decided to live normal human lives and be happy about it -Tara is the only one left with both a shot at immortality and an appetite for it.

The endings of all the other characters still make sense, though, and the meaning of Ananke’s name can tell us why.

Why do most people end up reducing themselves to definitions and functions to the exclusion of their souls? Necessity…or something close enough to be mistaken for it: the evil of convenience. The need to fit into the bullshit because ‘it’s the way things are.’

In the absence of those definitions, Laura and Cassandra fall in love in the long run. It’s interesting to me that only Persephone was able to reach Lucifer on the level she needed to be spoken to, in the end. Shortly before then, Laura saw Cassandra kiss her other Norn-selves goodbye and was momentarily jealous. Laura-Persephone has things in common with the triple goddess emanations like the Norns and the Morrigan. Like the triple goddesses, Persephone has concentric selves that loop through others.

Persephone’s emanations outside of herself appear to be what enabled her to make intimate psychic contact with Cassandra, Ananke and Lucifer. If a looping of selves has anything to do with that, though, it cannot be everything. Persephone is very much aware of how close her innermost self is to the other. I don’t think she would have been able to seduce Lucifer back to humanity if she didn’t respect the other enough to love them.

Reading The Wicked + The Divine (part 2)

Spoiler warnings for ‘The Faust Act’ through ‘Imperial Phase Part 2’

Something that I meant to spend more time on in the last post was “tongues”.

In The Wicked + The Divine, gods perform. There are tours and residencies and multitudes of people who follow these events. There are possessive and tribal fandoms. There are diverse movements and trends among them. No one (as of being about six books in) thus far has been able to describe what a divine performance consists of.

Externally, a big part seems to be standing around with your mouth open- apparently vocalizing. Our privileged narrative perspective reveals that everyone is receiving an outpouring from the deity. When Laura sees Amaterasu (her manifestation only a “couple of weeks” old at that point) for the first time, her mental narration says that “I don’t understand a word she’s saying. Nobody does. (…) All we know is that it means everything. (…) She’s been doing this for an hour, and it’s been all climax. (…) Every second is the best of my life so far…”

Laura realizes that orgasms and masses are pale three-dimensional shadows of the higher reality before her. A moment’s eye-contact with Amaterasu breaks a dividing line in her head: “I want everything you have.” The pure impact leaves a pure void: adoration and identification blended into child-like, frenzied desire.

What happens during these performances is an exertion of power but not control. A god becomes the center of gravity and the subjective quality of the performance varies depending on the personality and state of mind of that god. That is not the same as control. The performing god is often a fellow traveler on the journey; at most a conductor. More often, they are simply a conduit.

None of these experiences are the same as a hivemind- that specific talent is unique to Dionysus. Yet the resemblances are striking. In the Morrigan’s first ever interview (the beginning of ‘Imperial Phase Part 1’), the journalist finds herself alone with the Morrigan but far from lonely. The domain of the Morrigan includes a sequence of selves; communion with a line of yourselves going backward and forward through time. In the Morrigan, the interviewer sees versions of herself and others like her.

Also- the whole ‘selves through time’ thing? Is there a reason why it is usually portrayed, in fiction and folklore, as a feminine experience? Not that it necessarily must be, by any means- but there are a ton of female characters who go through stuff like this. In the cosmology of Frank Herbert’s Dune novels, Paul Atreides is unique specifically because he is a man who is capable of ancestral memory, which (the story posits) is a necessary ingredient for prophecy.

We’re also reading a comic with two simultaneous portrayals of the triple goddess: the Morrigan and the Norns. Two characters who routinely have conversations with themselves and others. Whose other selves address other people. Perhaps the natural resonance between gods and humans simply attracted the personality of a prospective worshiper to the Morrigan interview. Maybe this is how conversations between humans and gods usually go, anyway. In any event, that journalist did not simply see the Morrigan’s other aspects in her minds’ eye. She saw other versions of herself, reaching through time and space. Maybe this is not, specifically, a tongues moment but it feels kind of like one.

Meanwhile, the Norns? The other triple goddess? Her manifestation vector (Cassandra) has long insisted that the tongues are an ordinary group-think experience and nothing more. Even after she awakens as Urdr of the Norns, she does not experience it any differently until Persephone catches her off-guard.

Why does she do this? To show Cassandra memories. That appears to be a one-off use, though. ‘Rising Action’ starts with Persephone’s first concert after manifesting through Laura. She stands onstage like the rest of the Pantheon, opens her mouth like the rest of the Pantheon…and everyone feels the touch of darkness. Everyone is alone and in Hell, like Persephone. With Urdr of the Norns, though? It works as direct thought-transfer.

When Persephone is alone in the underworld with Baphomet, the panels are still divided with the black intertwined tentacles from when Persephone sent her memories to Cassandra. This is still part of the memory-transfer but the chapter-break nearly implies a scene change. The chapter with Persephone and Baphomet is called ‘Persephone In Hell’, as though Hell accompanies her thoughts and her heart no matter where she is. Y’know, kinda like not having free-reign on the surface after eating the pomegranate.

Persephone is also distinguished by the possible relationship between her tongues and her combat. The black tentacles appear everywhere she wants them yet the imagery is also paired with listening to Persephone’s tongues. She is the only Pantheon member who uses tongues in battle.

The mystery of tongues lends intrigue to ‘Imperial Phase’ parts one and two. ‘Rising Action’ was a perfectly good culmination of Ananke’s early villain arc. Ananke, a figure whom heads of state deferred to, was publicly revealed as the force behind the deaths of Lucifer, Inanna and Tara in the same breath that her death was announced. The erratic behavior and the violence was tolerated for the sake of spectacle but also because the world, in general, saw Ananke as the “adult in the room” who keeps the Pantheon from getting out of hand. As Dionysus put it: “We need a reason for people not to be afraid of us.”

(Speaking of: note how Amaterasu starts calling Persephone “the adult” after that point. I suspect a meaningful mis-recognition is at work)

A big’ol unprecedented tongues concert with the aid of a large, mysterious machine is definitely one way to approach that. Since the tongues performances often convey a sublime sense of oneness, perhaps it’s even a decent idea. Especially since Dionysus- a beloved performer whose tongues open a direct hivemind with all present -is at the center of things (with a giant machine understood only by Ananke and Woden). Maybe more to the point: after Persephone kills Ananke, Amaterasu asks “What do we do now?” Persephone: “Duh…(…) whatever we want.”

That line is huge foreshadowing for the end of ‘Imperial Phase Part 2’.

I just finished that book so this is all pretty fresh in my mind. Lots of obvious things happen by the end. Things that seem like they should have been obvious. Why weren’t they, though?

Because ineffability. The ineffable is intrinsically hard to define and are often described by reference and analogy. Once you get used to representations, it becomes possible to lose sight of things representing themselves. By the end of ‘Imperial Phase Part 2’, no one has behaved out of character. Everything everyone did in the end lines up with everything that they said, up front, about their motives.

Just to keep things neat: let’s define the ineffable as that which is real but either exceeds context or is distinct from it.

Baal is a Boyscout, at heart. He likes his house to be in order and errs on the side of tradition, precedent and authority. He obeys Ananke on principle until Baphomet tells him something that he could only know if he were close enough to see what happened during Inanna’s death. Baal wastes no time after he realizes that everyone else is right about Ananke.

Still…afterward, there is a vacuum. The Pantheon is used to having a single, authoritative voice and Baal readily steps into the role. They also want to make sure that all of their usual boundaries are in place and intact and that they still have the power to control internal information and dynamics. This is why Sakhmet wasn’t told about Persephone’s role in Ananke’s death. It wasn’t to exclude Sakhmet; only to maintain elective control of the information during a transitional era in their family. Someone is stepping in to do the same things that Ananke did…but what of it? We found out where his true loyalties were in ‘Rising Action’ and he’s cool, right? The Pantheon has no precedent for this and they’re doing their best with what they have. Why shouldn’t they use the old way of doing things as a jumping-off point?

The entire Pantheon appears rattled by Ananke’s death. None more so than Woden who limits his perspective to a very specific research project with Dionysus: the tongues machine. Maybe Baal’s example- a former underling of Ananke doing the right thing once they know better -helps us ignore certain motives of his, which he never kept hidden in the first place (come to think of it- his motives are the only thing he’s ever been open about, aren’t they?).

Later, the Morrigan tells Persephone to keep her distance, after Baphomet revealed their fling. “He never should have told me. Beware the honest, Destroyer… (…) …they will hurt you just to feel clean.”

Sakhmet is the other end of the spectrum. One reason why Baphomet has a single, exclusive partner and confidant is because he cannot keep things to himself and- if he must choose a side -desires only to be on the side of the Morrigan. If even pragmatic secret-keeping is more deception than Baphomet has stamina for…maybe that says something about what he has in common with Sakhmet.

Baphomet has one relationship that he prioritizes over everything. That is how he manages both his boundaries and his lack thereof. Sakhmet is not exclusive- she is promiscuous. Everyone else is either equally in or equally out and she is always number one. Persephone has had a number of flings and crushes. Early in ‘Rising Action’, I wondered if Baphomet and Persephone were going to be a Thing. Baal started out as a sky god and was eventually reclassified as a demon with the rise of Abrahamic religion. Baal has slept with Persephone. No, Baal is not an underworld god but there is still a certain consistency with Persephone being with him. Neither of those hold and Persephone’s first, sustained relationship of the comic is with Sakhmet, after Ananke’s death.

Baphomet controls his feelings by controlling his circle. Sakhmet controls hers by treating everyone like (either mortal or sexual) prey. Then she gets a partner who’s not part of her usual orgy nest. She brings her unregulated feelings to Persephone like she brings them everywhere. Like Baphomet, she is honest: her boundaries and standards are simple. Don’t hurt her and don’t lie to her. Then she finds out (from sweet, well-intentioned Amaterasu) that Persephone killed Ananke and starts ripping out throats. Sakhmet might not live in a black void like Baphomet and the Morrigan but she is just as paranoid about who she gives her trust to. Baphomet cannot keep secrets; he simply does not have it in him. Sakhmet does not have it in her to tolerate any level of exclusion or secret-keeping. Much less concerning secrets that leak to several other people before getting to her.

Amaterasu has nothing but good intentions…but she was still the one who told Sakhmet something that Sakhmet interpreted as a collective lie perpetrated by her family. It doesn’t go well. This divides resources and surveillance at the worst possible time during the tongues-machine concert, brought to you by Dionysus and Woden. Remember when we first met Dionysus, at the beginning of ‘Fandemonium’? Woden fumes because all he can do is create things for other people. On that level, he would rather be any other Pantheon member than himself. Dionysus can thread his consciousness through anyone who hears his tongues. How did Laura-Persephone put it? “Woden thinks he’s got the worst hand…you’ve got the best.”

Woden appropriates what he can’t emulate. Also, what do people go to the tongues-concerts for if not to experience the ineffable? Something that is often described by comparison to something else?

I feel like there is something going on with Amaterasu that began on the first book and ended on ‘Imperial Phase Part 2’. Amaterasu awakened within Hazel a “couple of weeks” before ‘The Faust Act’. The story, thus far, may have covered all of Amaterasu’s life and career in the Pantheon.

A few days ago I saw a YouTube video about Kate Bush. The story behind the song ‘Cloudbusting’ jumped out at me: an anecdote from the autobiography of Wilhelm Reich’s son Peter. According to Peter Reich, his father took him out to test a machine built to force clouds to rain. A ‘cloudbuster’. Peter avowed that this was what he and his father were doing when Wilhelm was detained by FBI agents and driven away. The incident was played down as a case of mistaken identity; evidently another man named Wilhelm Reich lived in the area, who was suspected of distributing communist literature. Wilhelm Reich had been persecuted in Nazi Germany over his research but this was, evidently, not one of those times, even if it did leave an indelible mark on his son.

Kate Bush herself portrayed the young Peter Reich, opposite Donald Sutherland as Wilhelm. It was the kind of creative decision that usually appeals to me. It reminded me, vaguely, of one of my favorite movies: Les Enfants terribles, in which Renee Cosima plays both a male childhood friend of the main character and a woman whom he falls in love with in adulthood. None of these things really add up to why it stuck with me, though.

No matter what the historical facts of the situation were, the emotional tone of Peter Reich’s anecdote and Kate Bush’s song prioritize strength and brilliance in the face of overwhelming odds. In the magazine section of ‘Imperial Phase Part 1’, the interview with Amaterasu is called ‘Cloudbusting’. The interviewer and Amaterasu herself wrestle with the question of the Pantheon’s apparent hubris.

The interviewer writes that Amaterasu “makes the world she believes in real by sheer force of will. The perpetual crescendo of her shows, like a sunrise that somehow lasts for hours -it is driven by the urgency of someone who is trying to save us all, and buoyed by the joy of someone who is sure that they will. You could call this hubris. You could also call it faith.”

This feels relevant to the mystery of tongues. Dionysus is one of the greatest tongues-singers and he understands that tongues cannot be purely alpha-beta: the god is also a participant, shoulder to shoulder with everyone else.

I still wonder how much of all this tongue stuff holds true for Persephone. Her tongues are unlike anyone else’s. After awakening as Persephone, she only got to sing tongues for a few seconds before someone tried to kill her.

Click the right hand arrow down there for the end of the reading

Ah Pook Is Here: the graphic lit project of William S. Burroughs and Malcolm McNeill

Content warning

William S. Burroughs and Malcolm McNeill spent a solid chunk of the seventies working on this only to lose the interest of every prospective publisher. It was not to be a typical ‘panels and word balloons’ comic nor a prose book with accompanying illustrations. According to Burroughs, there would have been roughly a hundred pages of art with no text- thirty of which would be in full color -and around fifty pages of only text and an unspecified range of combined images and text.

In the spring of 1970, Malcolm McNeill began publishing Cyclops: an adult comics anthology in his native England. McNeill met Burroughs when they began collaborating over mail on a comic strip called The Unspeakable Mr. Hart.

The tone of the collaboration changed once Burroughs got his first glimpse of the comic. McNeill seemed to have drawn the villain-protagonist John Stanley Hart with a surprising resemblance to Burroughs himself, with no prior knowledge of what the author looked like. After that, Burroughs insisted on an in-person meeting and the project grew.

I, at least, wonder if the Unspeakable Mr. Hart strips from Cyclops would have made it into the finished product. The art is memorable but obviously dated. If there’s anything that looks like this in modern comics, I’m not aware of it. It is vaguely reminiscent of the black-and-white drawings of Moebius from the late seventies. It also reminds me of a certain kind of black-and-white art style common in pornographic comics from the early twentieth century through (I suspect…?) the eighties. Seventies and eighties issues of Heavy Metal were full of comic strips that looked vaguely like The Unspeakable Mr. Hart. I remember watching the movie The Green Mile which featured an abusive prison guard with a fondness for so-called “Tijuana Bibles”- short pornographic comic strips from the early twentieth century, usually depicting scenes with the famous faces of the day. In the visual language of The Green Mile, that Tijuana Bible is a visual cue that this is not the present.

Maybe those art styles didn’t look quite so antiquated in the seventies…but the antiquated vibe fits the time travel themes. Especially in a story about manipulating the psychic intersection between language and time.

Ah Pook Is Here encapsulates several fixtures that date back as early as The Yage Letters and the word hoard (Naked Lunch, The Soft Machine, Dead Fingers Talk, The Ticket That Exploded and Nova Express).

In those sophomore works, the collective subconscious is gate-kept by non-corporeal outsiders. The psychological and metabolic need of addiction is a leash that humans wear when their demiurgic keepers take them out for walks on the astral plane. This is a recurring narrative through-line in the word hoard but it is also the backdrop for several of the word hoard’s most memorable uses of visual language.

One of these is the consistency of colors up and down the dimensional ladder. One of the more memorable establishing instances from The Ticket That Exploded happens in the ‘in a strange bed’ vignette. ‘In a strange bed’ begins with two characters- Lykin and Bradley -arriving on a foreign planet after the controls of their craft were seized by an outside force. Lykin surveys their surroundings:

“-A fantastic landscape of multicolored rock carved like statues of molten blue lava interspaced with stalagmites of a pearly white intensity he had never experienced in his previous explorations – The sky was like a green ocean – There were four suns on the horizon around the plateau, each sun of a different color – Blue, green, red, and one (much larger than the others) a brilliant silver -“

Lykin accepts an adaptive mutation from two humanoids in a swamp and the viewpoint character is now different- a boy called Ali, in a separate, recognizably urban, Earthling environment. All of the colors which were simultaneous in the prior section are now paired with separate, sequential dimensional planes explored by Ali. Throughout the word hoard, these dimensional color pairings remain consistent (most visibly within Nova Express).

Similar uses of color and layout are evident in Malcolm McNeill’s art for Ah Pook Is Here. Many of these instances are expressed through reflections of the sky visible in water or within implied symmetry in images without reflective surfaces. This starts out fairly normal with reflections within mud puddles and large bodies of water and develop into imaginative, dream-like panoramas that spread both vertically and horizontally.

This nuance feels particularly relevant since a glimpse at this material inspired Alan Moore to write Watchmen. Moore believed Ah Pook Is Here mapped out the far boundaries of what is conceptually possible through picture-and-text storytelling. He then wanted to write his own exploration of those boundaries which eventually developed into Watchmen. Similarities between the art of Malcolm McNeill and Dave Gibbons are apparent in how horizons look throughout Watchmen, the Black Freighter comic-within-a-comic and in the alternating colors of the panels and divided halves in the chapter ‘Fearful Symmetry’ which is eventually worked into the overall comic.

In the text Burroughs wrote for Ah Pook Is Here, inside/outside color associations are established in events that immediately succeed the exploits of Mr. Hart.

Now, the core of the plot: sympathetic magic. Summoning or establishing contact through the resonance of mirroring. To modern humans, the limits of psychic energy can only be discerned through the conceptual limits of language. A belief based on external observation becomes linguistically codified and its reality after that point is most readily expressed through investment in the linguistic architecture of belief.

What follows from this point depends on Burroughs’ own idiosyncratic reading of the Mayan codices. According to Burroughs, divine concepts such as the Seed God, the young Corn God and the Death God began as observational categories of cyclical events but eventually became monoliths of belief. A monolithic belief summons its own reality. Because of the hermetic seal on literacy dividing the Mayan priesthood and the rest of the population, these symbols were only read and interpreted by people who were taught the context of the cosmology and the calendar system through which these concepts first emerged. Thousands of years of data, distilled into a condensed symbol system to be read only by people who are trained to read it. This granularity allows the priesthood to know what they are looking at but- because of the messiness of knowledge transmission -these categories become abstracted over time (however specific the data behind those abstractions may have been). This priesthood also had strict control over the symbol systems that ordinary people could regularly read and interpret and all such symbols were necessarily derived from the priesthood. The uniformity puts unanimous weight behind the factor of sympathetic magic.

Burroughs seemed to describe these things as inferences that followed his reading of the Mayan codices, rather than literal content. I’ve been an avid reader of Burroughs for much of my life and I can only explain what he thought of the Mayan codices. I can theorize as to why he thought those things but I certainly can’t speak to degrees of literal accuracy or inaccuracy.

In any event- Mr. Hart makes the same connections and resolves to use the symbol system of the Mayan codices to control and neutralize death itself. Death itself is a condensed concept / symbol because death necessarily entails the amount of time behind the existence of things it acts on. Death, in this paradigm, has no face without contact via identification. A startled face beholding the end. The repetition of symbols associated with the deity Ah Pook in response to Mr. Hart’s studies and machinations are one of our major visual themes in both the treatment within Ah Pook Is Here and other texts and The Lost Art of Ah Pook Is Here by McNeill.

Teeth and eyes come up a lot. While studying the Dresden Codex, Mr. Hart “glimpses the death formula. Across the table a gawky youth drops his glasses on the floor. One lens is broken.”

Mr. Hart kills his friend and companion, Clinch Smith, to maintain control over his discoveries. He then decides to play it safe and simply wipe out the entire Smith family. A younger brother named Guy flees to South America where he “joins Audrey Carsons in a remote finca in the Andes.

Audrey Carsons: Eerie ghostly rotten vulnerable reckless he possesses at the same time the cold intelligence of Mr. Hart. He is Hart’s alter ego and nemesis.

Guy Smith: He is the buck-toothed Mayan Death God before the face was broken and twisted by altered pressure, features wrenched out of focus, body emaciated by distant hungers. A face where time has never been.

Old Sarge: Has the close-cropped iron-gray hair and ruddy complexion of a regular army man. There is also a suggestion of the Polar Star God in his appearance.”

Earlier, after John Hart shot Clinch and then asked nobody in particular “‘How did this happen?’

Ghost voice of Clinch Smith: ‘Death asked to be paid in kind, John.'”

Sure enough, Clinch’s younger brother Guy becomes a partial avatar of the Mayan Death God.

Audrey Carsons is “Hart’s alter ego and nemesis.” Remember how McNeill drew Mr. Hart with an uncanny resemblance to Burroughs, sight-unseen?

In other letters and conversations, Burroughs said that Kim Carsons, the main character of The Place of Dead Roads which he wrote later, was the closest thing he ever wrote to a character that represented himself and his aspirations. If Audrey is a forerunner of Kim and Malcolm McNeill actually did unknowingly draw Burroughs’ face onto Mr. Hart…that would be some rich synchronicity.

It is just as likely, though, that McNeill’s rendering of Hart was simply an uncanny coincidence which planted a seed in the mind of Burroughs.

This is one of the things that makes me wonder about the shadow cast by Ah Pook Is Here over Burroughs’ latter-day trilogy Cities of the Red Night, The Place of Dead Roads and The Western Lands…not to mention earlier work like The Wild Boys and Port of Saints. Old Sarge is one of the first characters introduced in Port of Saints. Five novels, at least, between the late seventies and the early nineties, were influenced by Ah Pook Is Here or derived from it (we could, if we wanted, split hairs about The Wild Boys and Port of Saints, since Burroughs said later that they would have made more sense if they were published as a single novel).

A preoccupation with the Mayan codices and their alleged insights into timeline manipulation were present in his work going back to The Soft Machine. Related concepts were detailed in Naked Lunch but The Soft Machine contained the first specific references (as far as I can tell). The Soft Machine also marks the first explicit mention of the possibility of things from other timelines (diseases and other forms of life, weather phenomena, etc.) punching through into ours in ‘Pretend an interest’. The very last reference to this in Burroughs’ bibliography was in Ghost of Chance (“I will loose on them the blood of Christ!”).

The story treatment by Burroughs and the images of McNeill begin to line up more specifically after Mr. Hart is gone from the center of the narrative. An “iguana boy” called Cumhu often occupies the foreground after that point. Like the resonances between Lykin and Ali in The Ticket That Exploded, Cumhu’s visionary journey sends ripples through adjacent timelines, usually in the vicinity of other emanations of his own soul.

The vignettes detailing the travels of Cumhu and his cohort (other humanoids such as Jimmy the Shrew and various other-timeline versions of Audrey and Guy) sometimes alternate with the version of Guy in the timeline we last saw him in, who is engaged in similar astral travel. Like many psychic visionary testimonials, there is mention of being shut out, as though your brain can make phone calls to other planes but- if no one picks up the phone -you’re just kind of stuck waiting. Guy enters a familiar but empty estate where he “hardly expects Audrey Carsons to be there.” Sure enough, Audrey is gone, as though the ‘phone call’ with the location denoted by the finca imagery is now over with.

The works of Burroughs furnish other possibilities, of course. Usually, when this happens in Burroughs, it signifies the foreclosure of a timeline; a moment in which someone realizes that they survived a timeline edit. What that means is that the circumstances that shaped you are now gone from the past but the consequences remain in your perspective, such as in ‘Hauser and O’Brien’ at the end of Naked Lunch or at the beginning of Dead Fingers Talk.

After Cumhu steals the timeline manipulation texts from his father, he is assailed by “two pot-bellied green guards” whom he promptly shoots full of arrows. Later, in Cities of the Red Night, Burroughs would write of Venusian combatants called the Green Guard. “Genetic eunuchs: pot-bellied and strong.” Cities of the Red Night also features characters called Audrey Carsons, Clinch Todd and a later arrival called Guy.

Given the importance of ancient linguistic constructs invested with the psychic energy of belief, I suspect the blank-verse fragments in Burroughs’ treatment represent markers on a temporal map, accessed through associative resonance with whoever hears them. Since these sections are derived from earlier text within Ah Pook Is Here, the original placement and meaning is clearly meant to inform the cut-up / fold-in meaning; creating an effect comparable to associatively-spliced film.

Cracks in the surface of space-time above temporal fault lines appear to be a factor in how avatars of deities manifest through currently living humans. Deities are timeless beings. When their timelessness is forced to intersect with the third dimension, it makes sense that their personalities would simply “gather” around corresponding three-dimensional occasions. No divine avatar mentioned in Ah Pook Is Here (or anywhere else in Burroughs) was specifically born to be that avatar. Anyone could be an avatar depending on circumstance. It follows that avatars such as Guy Smith and Old Sarge were occasioned by the timeline fuckery of Mr. Hart. Guy Smith appears to have embodied Ah Pook / Ah Puch as a direct consequence of his brother’s murder.

Oh hey- another name listed for Ah Pook in the notes republished in The Lost Art of Ah Pook Is Here is The Undoer. What’s one of the key experiences written about by Burroughs? Surviving timeline edits. Realizing that the past occasions for your present self no longer exist. In other words: the realization that a fundamental part of your existence has been undone. Both forceful influence and undoing can proliferate on the same associative, linguistic basis.

Ripples through other timelines soon accumulate and effect the timeline of origin and Mr. Hart is back at the center of things, doing his best to fight back which serves only as engagement bait for his opposition throughout the space-time continuum. He does not fare well in the ensuing timeline shuffles. His proxies are haunted by shadow-people-like entities called Black Captains, which causes him to drum up racist fervor at “American First” rallies (I shit you not: this was in a story treatment for a comic from the late seventies. Check out Ah Pook Is Here and other texts if the rare book prices aren’t too scary).

The proposed narrative ends with a scene reminiscent of the early chapters of Cities of the Red Night

“Red brick buildings and a blue canal where the Mary Celeste floats at anchor. The boys, with sea bags and costumes of 19th century seamen, walk up the gang plank. The Garden is a red glow of ruined cities in the distance. The sails are raised and the anchor hoisted. Young Guy plays taps as the sun fades and blue twilight settles. The boat is moving. The boys wave from the rigging. An 1890 reporter rushes up.

‘What about Mr. Hart?

Audrey is in the crow’s nest with a telescope. He points with his left hand.

Mr. Hart’s deserted and ruined mansion, graffiti on the walls.

AH POOK WAS HERE

Here lived a stupid vulgar son of a bitch who

thought he could hire DEATH as a company cop.”

Cities of the Red Night and The Place of Dead Roads both revolve around the sudden editing and the sudden foreclosure of timelines. The Western Lands may feel like a quieter read since there are less radically imaginative and immersive settings. Much of The Western Lands feels like a ‘creative non-fiction’ approach to the same material.

‘Creative non-fiction’ is a phrase that usually describes the subjective gray areas in things like autobiographies and memoirs in which personal subjectivity takes the foreground. The content of a brain is most readily known to others through personal testimony. We all have a personal point of view. We know others have them largely through inductive reasoning from our own experiences. Personal thoughts and reactions happen but- in the context of something like a memoir -they have to be taken on faith. Many of these ideas were real and deadly serious to Burroughs himself.

While The Soft Machine may mark his first explicit comments on timelines and the Mayan codices, they intersect with other ideas which go back further in his work. Burroughs was also fond of the painter Bryon Gysin’s remarks about how painting was decades ahead of writing. Many of Burroughs most daring literary experiments depend on treating literature and linguistic constructs like three-dimensional objects: something that can be turned around, looked at (and perhaps entered) from various angles. After the death of Gysin, Burroughs threw himself into painting (his reverence for Gysin was such that he dared not paint while Gysin was alive). He gave David Cronenberg his blessing for adapting Naked Lunch but declined to participate in it. Before then, Burroughs attempted several other breakthroughs into visual mediums without success and Ah Pook Is Here was likely his most ambitious and full-hearted effort.