Friday, September 6, 2019

Scarab #2


This looks like the original cover to a Philip K. Dick book where you just knew the editor and publisher had no idea what was happening so they commissioned some artist to just paint some "crazy fantasy shit."

I gave everybody ample opportunity to praise me for my commentary on Scarab #1 and I was met with crickets. Luckily I'm confident enough to realize that it was because nobody cares about this comic book from 1993 and not because my commentary is uncomfortable, childish, and probably less funny than my mother told me it was. Oh, who am I kidding? Even my mother doesn't read this blog!

In the meantime, I began listening to Eaten By A Grue, a podcast where two guys play Infocom games. And because I used to play Infocom games, I decided to try to play the games before listening to the podcast. The first episode was about Zork which everybody of a certain age and geekiness played years ago. So I didn't revisit that one. The next one was Ballyoo but I wanted to listen to it more than I wanted to start playing Infocom games so I didn't play that one either. The third episode was Trinity which is a game I beat without any clues or hints because I'm fucking hard, ladies. The hosts came to the conclusion that it was impossible because they fucking suck at these games. The next episode was Seastalker and that's where I decided to try playing along. But Seastalker is fucking boring and you have to pilot a submarine around an ASCII landscape which I quickly grew bored of doing. So I skipped that game. Now I'm playing Border Zone and writing about it, so that's what I've been doing while waiting for my Pulitzer on my Scarab #1 commentary. If you want to eventually find out what happens with me in Border Zone, you can check out my other blog, Eee! Text Adventure Reviews Daily! Obviously I don't do them daily! How quickly do you think you can you power through a text adventure without cheating, Missus Tough Nuts? Especially if it's an Infocom game!

I'm also trying to whittle down my stack of new comics but I'm far less interested in reading new comics. Probably because I've stopped writing about them. What can I say about Lois Lane #2 except "Fuck you, Lois. Of course everybody is shitting on the media these days because those fuckers won't do their fucking fuck jo-fucking-obs." And I just read Justice League #29 about Jarro which was super cute and gay. You can use gay as a positive adjective, right?


Boredom warning: the protagonist of this comic book is still a super old guy.

Eleanor isn't dead like everybody who read the first issue believed by the end of it. That means about ten people were surprised when they picked up Issue #2 of this series. Logically, I know more than ten people purchased Scarab #2. But if we lived in a world where comic book readers didn't just constantly shrug their shoulders and keep buying every issue of a series simply because they picked up the first issue and actually limited their purchases to comic books that had an entertaining previous issue, my estimate would probably be pretty close to the mark.

Louis has brought Eleanor back into the Labyrinth of Doors to keep her alive because time doesn't work there. I mean, it does work there because people can move around there and movement is a symptom of time. Symptom might be the wrong word but when have I ever cared about my word choices? You either have time or you have stasis. You can't have both! Unless you live in the Phantom Zone and then I don't know what the fuck is going on. Sometimes kids grow up there and other times dogs roam billions of miles unchanged to find their stupid boy. If Louis wanted to be more accurate, he'd point out that life functions seem to slow down to imperceptibility inside the Labyrinth of Doors. If Eleanor seems like she didn't age for fifty years while living there previously, she probably won't bleed out until he can figure out how to work Scarab's super life saving powers on Eleanor, the way he used them after he was thrown out of a second floor window and became an undulating sack of blood and broken bones that somehow wormed his way up two flights of stairs and opened the bottom drawer of a dresser (which is the biggest impossibility. Go lie on your stomach on the floor right now and try to open your dresser drawer. If you were successful, now go belly flop off the roof of the house and try again, smart ass).

Louis admits that Eleanor's soul has left her body so he's really just taking care of a naked empty vessel. The naked part is the most important part of Eleanor's current description. Why else would he want to prolong his grief when he knows she's dead? Now this pervert just gets his kicks off bathing her every twenty minutes.


See? He admits it.

The Phantom Stranger arrives because why not. A writer has to throw something into this thing to attract buyers. Fans of The Phantom Stranger would have been all over this comic book when they saw him on the cover, probably doubling the amount of people who purchased it. Yes, I'm saying there are only ten Phantom Stranger fans.

The Phantom Stranger really is a genius idea for a comic book character. If you call your character a stranger that means you can't divulge too much about that character lest they stop being a stranger. Which means you don't actually have to do any real work building the character, or giving the character motivation, or making any kind of sense at all! You can just have him poke his nose into other people's business every now and...um...help? Maybe not help? Maybe just judge. I don't really know what he does because he's been written so well over the years! I wish I could write a character this popular without ever giving it any defining characteristics or motivation. Oh, excuse me, I suppose The Phantom Stranger does have some defining characteristics. I forgot about the fedora and the trench coat.

Meanwhile, a beam of light that used to be somebody (Eleanor? The Sicari?) flies through God's eye, circles Hell, and winds up coming its brains out in the Internet. I don't know how sexually exciting the Internet was in 1993. It was mostly just AOL chat rooms, bank account draining Neverwinter Nights, and Star Trek bulletin boards. Okay fine. I admit it. Just typing that gave me a boner.

Once DC's Vertigo line was fully up and running with a few major titles leading the way and proclaiming, "This is what Vertigo is!", other titles with newer writers came along and all produced exactly the kind of shit that Vertigo apparently was. I don't know if I can fully articulate what that was, sort of a mash-up of Milligan's weirdness and sensitivity from Shade the Changing Man combined with the stark, metaphysical horrors of Moore's Swamp Thing and the shitty, grim reality and politics of Delano's Hellblazer with a sprinkling of the intellectual topsy-turvy re-tellings of mythic unreality of Gaiman's Sandman. But even unable to really describe it, I fucking know when I read something written to be a Vertigo title rather than written to be a story worthy of being a Vertigo title.


This might as well be a Polaroid of writer John Smith wanking himself off.

The early nineties were full of these kinds of Vertigo titles that just strung together words and phrases trying to invoke some kind of profound weirdness. Even the previous series I discussed, Milligan's The Extremist, came off as one of these books that was just putting on the clothing of Vertigo to make it seem more important. But at least The Extremist used the weird and outlandishly adult story to portray flawed humans considering their lives and how they got to where they were and what the fuck do they do now? There were some really bleak and gut-wrenching moments in The Extremist that I truly loved even if the plot didn't matter much to me. But it was the plot that pulled and pushed the characters to those moments, so who am I to complain? Also there were plenty of titties.

I know, I know! All you high-falutin' comic book nerds don't read comic books to get boners like I do! Well la dee da! Just remember that I'm not judging you for getting your kicks by sticking your genitals in Blue Bonnet ice cream and putting it back in the display case.

Um, anyway, this comic book still has a lot of space so I'm not giving up on it providing me with great moments. And since my tone in this commentary says I'm casually beating the shit out of Smith's writing," I should probably show something I sort of liked. The Phantom Stranger has touched Louis's head to make him relive some of his memories as Scarab. And while it's an easy way to present a bunch of "weird" story fragments that John Smith doesn't have to expound on, I still like this one:


The Non-Certified Spouse tells me "Weltschmerz" means, literally translated, "world pain."

On the left hand, this is just more of that "here's some weird stuff to stick into this magazine to make it Vertigo!" But on the right hand, I'd love for this to actually be a story that Smith thought out and formed into a coherent, deep, and touching two to four issue arc. Maybe Smith jotted it down and thought, "That's really all that needs to be said about that." But isn't that also how pitches start? This is a pitch. The story that could grow from this could be tragic and heartbreaking with all the nihilistic elements to ultimately provide evidence of the uplifting and hopeful nature of mankind. I think maybe this one panel should have been the pitch for Scarab.

Some more of Louis's memories ("Frozen in ice on the dark side of the moon, summoning the Breathing Trees for help" and "Teaming up with Sargon the Sorcerer against the dreaded double menace of Doktor Vortex and The Quote") help establish that the Scarab had weird adventures that, while extruding the essence of Vertigo phrases, also helps ground the Scarab in the Golden Age. Because that's weird shit that you can absolutely see on the cover of comics with huge price tags hanging on the wall behind the counter of any local comic book shop. No difference exists between the two scenarios I just quoted and Batman and Robin battling "The man who saw with his fingers!" Smith is definitely evoking the Golden Age here. And, of course, Vertigo because that Auschwitz thing.


Look at me! Reading into and explicating the evidence of the text when I could have just kept reading ahead and had John Smith say it to me plainly.

The Phantom Stranger tells Louis he needs to become the Scarab again because "the world skin is diseased" and "the wheels of chance are turning too fast" and "disorder corrupts the physical plane." But then when Louis is all, "So that's why all this shit is happening!", The Phantom Stranger says, "Well, I mean, it's hard to tell for sure. But, you know, maybe somebody sent the Sicari. It's a possibility. But then, maybe not. Who knows? But just do what I say, just in case! I'm sure if Madame Xanadu were here, she'd totally agree with me."

Meanwhile, the light that actually is Eleanor isn't in the Internet at all. When it said it had entered "the Net" while orgasming harder than it's ever orgasmed before (take that, Louis!), I simply assumed Smith was being all cutting edge in 1993. But he just meant the "net of life" or whatever. She's just connected to everything now. That's probably a better path for this story since the Internet wouldn't get interesting for another year when Geocities came along and The X-Files fan pages started to proliferate like cancer cells.

Louis's only desire is to find Eleanor again so if becoming Scarab can help do that, he'll take it back and maybe he'll get around to saving the world too. The Phantom Stranger just remains silent because that's what he does best. As if he knows anything! He's totally acting like he knows stuff by not saying stuff but really looking like he knows that stuff while he really don't know any of that stuff. Like knows like, my man, and I see you!

The Phantom Stranger leaves and Louis asks the scarabaeus (that's the thing that turns him into the Scarab which I also probably spelled incorrectly) to make him young again and it works! Issue #3 is going to be more exciting simply because the protagonist isn't an old man anymore! Me and six other people can't wait for it!

Scarab #3 Rating: B. Enh, it wasn't so bad! Sure, I had plenty to criticize. But in the end, it's a story about mortality and longing for the expansive freedom and possibility that fall further and further into a person's past until all they have left is the end of fatigue promised by death! I can totally relate to this shit.

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