I hope you’ll forgive me a little bit of Mindless Self Indulgence here since we’ve already covered the comic in question in some detail, but just try to imagine my surprise when after reading pages and pages full of brilliant, moving stuff about growing older in a world that is indifferent to your bewildered perspective in LoEG Century, I came face-to-face with the young Antichrist and discovered that he was me.
Of course, he was also Harry Potter and Will Stanton and Kevin the Teenager, but as he peeled his way out of the page…
…and started rambling away at our heroes in that deadened voice of his, I began to feel like I was watching myself rip my way through the comic. A spoiled young man raging against the story he’s grown up in?
Fuck! Yeah, okay – guilty as charged!
Andrew: Something I noticed while looking for a reference for something else — that anarchy/heart symbol we were wondering about is the symbol of the superhero flying out of the page in the blazing world section of The Black Dossier. Checking in with Nevins’ annotations of same (reading his annotations for this book before we’ve finished would be cheating, but the old books are fair game), we find that it’s the logo of Ace Hart (a British superhero, not the dog detective), which we all should have known as he appears in Zenith Phase III.
Adam: I like that I couldn’t link it back to a specific superhero, actually. I enjoyed having the space to meditate on how and why it might fit into the kind of space O’Neil and Moore were interested in constructing rather than just see it as a dry reference. So fanwank, yes, but not without purpose. Although the name ‘Ace Hart’ would probably just have added fuel to my reverie’s fire. I imagine Moore would have fun with the symbolic charge there.
Andrew: And one point I don’t think we made before, when discussing to what extent Moore is able to comment on the culture of 2009 as opposed to earlier decades, is just how few characters from 21st century fiction actually appear here. We’ve got the odd background character who doesn’t say or do anything, but in the whole book the only character with a speaking role to have been created in the decade in which the comic is supposedly set is Malcolm Tucker, who’s just a talking head on a TV. Even the Potter characters (none of whom except Potter have more than one line) were created in the mid-1990s — and other than them, there’s not a speaking character in the comic that originated post-1976.
This is a huge change from all the other League volumes, which mixed and matched eras, obviously, but showed a real in-depth knowledge of their time’s popular culture.
Adam: My, isn’t that lava lamp… big.
In case you hadn’t noticed that’s Dr B Coote S.M.B.D: standing for sadism, masochism, bondage, domination one imagines, which sadly loses some of the flexibility of our real world formulation, BDSM. There you’ve got bondage, domination, sadism, masochism or bondage and discipline, dominance and submission, and sadomasochism. More… er… therapeutic options.
Amy: BDSM is considered by some people to be quite an effective form of, well not exactly therapy, but a way of containing and processing painful experiences, particularly those of a sexual nature. Mina has already engaged in mild BDSM with Allan (the infamous “Bite me” scene), probably as a response to the ultimate Dom/Sub relationship she shared with Dracula, so we know she’s the perfect patient in some ways… Saying that, though, it’s hard to imagine anyone as drugged up as Mina conclusively consenting to anything.
Andrew: Notice the spy camera on the corner — a little incidental detail of how the world has changed since the last volume. We grow so used to these things, it’s sometimes hard to remember that in a lot of ways we’ve been in a dystopian future since at least the mid-90s.