Target 2012
May 12th, 2020
Paul Jon Milne – Guts Power #1-6
Dan Cox and John Riordan – Hitsville UK
The gospel was told, some souls it swallowed whole
Mentally they fold and they eventually sold
Their life and times, deadly like the virus design
But too minute to dilute the scientist mindWu-Tang Clan – ‘A Better Tomorrow‘
Spacing (notice that this word speaks the articulation of space and time, the becoming-space of time and the becoming-time of space) is always the unperceived, the non-present, and the non-conscious. As such, if one can still use that expression in a non-phenomenological way; for here we pass the very limits of phenomenology.
Jacques Derrida – Of Grammatology
Two comic book series, both started before the world ended in December 2012, both completed some time after the apocalypse. So far so standard. What makes them both remarkable is how prescient they are about all the ways the world has continued to end and about how we might continue to live regardless.
To be brief: they reek not just of knowledge but of foresight.
The sixth and final issue of Paul Jon Milne’s Guts Power spends most of its time getting ready to go out for the party. When I last reviewed this series, only the first four issues had been published but the mood of the comic was well established, its grimly eroticised kitchen sink misery distinguished from all the other neurotic indie comics out there by virtue of Milne’s seeping imagination:
I’m stuck on Milne’s style, on the use of that old fashioned alt-comix grossness not as a mode for outrageous straight white guy funtimes, but as a way to genuinely queer the Sex-Men experience.
With its tentative dance floor adventures, “Pepto-bawbag particles” and alluringly grotesque cast, Guts Power manages the rare trick of making one man’s whims, stray thoughts and fancies seem like a genuine delight, probably because the combination feels fresh and true; would that the same could be said of all such ventures.
By the time issue #6 starts, death and romance have already happened and everyone is gearing up for some sort of revolution. You can practically feel the wee white dots form around you in the air, feel yourself being drawn back into the radiant possibility of a blank page, right up until the moment your cat farts and you’re left sitting on your couch alone with your own misery.
Having sprinted through enough dodgy deals, guilty secrets, Beatific visions and nazi incursions to fill 23 issues of a normal comic, Hitsville UK crosses the finish line of its seventh issues with a sense of perspective that’s bound to baffle all traditional metrics. Last time I checked in on the comic, I found myself racing to keep up with its evolution, with the way that it had left my initial concept of the series as a referential but not reverential pop fun somewhere way off in the distance:
What I will say is that the issues of Hitsville that have been published since then have had an increased sense of urgency to them. The boys may not have set out to create a fantasy of communal resilience in an age that seems increasingly under threat by undead attitudes, shambling zombie racism, and the endless monetization of your every passing daydream, but fuck me if they didn’t do it anyway!
The conclusion of Hitsville UK gives you some sense as to who’s pulling (or should that be playing?) the strings and some idea as to why. We still don’t know why the world ended in 2012, or why it persists in this form, why even blogs have somehow been allowed to continue, but all of this prompts a question: why did the children of The Invisibles decide to persist in their endeavours, knowing that the end would come before anyone could finish their stories?
Indigo Batman: Leviathan Prime
February 6th, 2012
1. Endtroducing
Flashback to 2011 and the world is ending. Again. The signs are easy to interpret now, when they require any interpreting at all: a news anchor blathers away on TV, building up so much expectation that the large hadron collider, suffering from a fit of performance anxiety, unravels and takes reality with it; meanwhile, under the sea in a parallel Earth, an archaic supervillain announces that he has “hung a deadly necklace of deadly meta-bombs around the world like precious pearls“; on the internet, or rather in a dated parody of cyberspace that resembles nothing so much as X-Box live for “edgy” business folk, a rapidly mutating program tries to take over everything.
Responses to this are equally typical: standing in a futile crowd beside a fatbalding awkwardman, a disinterested woman holds up a sign informing everyone that “THE END is NIGH!“; a bloodied hero crawls forward, trying to save the world again, knowing that all he has to do is push a button, but that even this might be to much for him now; elsewhere, tough men decide to make tough decisions with predictable results.
I’m talking about Batman Incorporated and Indigo Prime here, because they were the two garish fantasies that played best for my (semi-informed, heavily solipsistic) sense of panic throughout 2011, that end of season finale of a year.
After all, if you feel like everything’s falling apart, sometimes it helps to be able dress these feelings up in twisted words and garish costumes instead of focusing on the garbled socio-economic truth.
Spacetime becomes jelly.
The walls of reality buckle and fold.
Higher Dimensions intrude into the supersymmetry.
Dark Matter condenses as worlds collide.
Mmmmm, yeah, that’s the stuff.
The neonomicon rereviewed via Swamp Thing
September 1st, 2010
the sleep of cthulhu, aeons deep.
i’m not sure this is a really straight ahead argument, so much as it is a series of reflections and ruminations, and i’m sorry it’s all in lower case. it’s a bad habit, one of which zom, probably quite rightly, does not approve.
Rogue’s Review #6: Poison Ivy
August 11th, 2008
Yes, that’s not the poster – I’m not sure British television in the 80s did posters. Especially not for a series as outright miserable and cheap as Day of the Triffids. Instead what we got were real suburban streets, sets hungover from the seventies, and parochial British accents. The show was so bloody scary because the world it inhabited looked and sounded so depressingly like our own. The triffids were like some vile full stop on the end of contemporary British life – we were defined by the moment of our extinction and we turned out to be parochial, small, insignificant and suffering. The fact that mankind was to meet its fate blind (after a freak meteorological event) just served to underline the point that the universe is merciless, uncaring, uncompromising, and alien to all human feeling. What better monster to take on the role of apocalyptic deathbringer than one which has no anthropomorphic qualities: that skitters along on it’s roots, and feeds on blood, that, as a consequence of its inhuman nature, negates the value of culture, thought and emotion?
Fuck yeah, triffids are nasty.