What Are You Building? Ten Years of Inception

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July 2020 was the tenth anniversary of the theatrical release of Inception, and the movie generated so many discussions and theories that I doubt anything I say will be new. But it’s one of my favorite films, and upon watching it for the zillionth time this week, a few things came to mind.

The previous time I watched Inception, last year, I put the sound on my little desktop speakers. This time, I put it in my headphones. I’d forgotten how awesome this film originally sounded in the theater when I first saw it with my sister ten years ago. The score by Hans Zimmer is integral to the movie. Like Zimmer did for the more recent Nolan film Dunkirk, he often overlaps multiple scenes with a single piece of music that establishes a thematic unity across the scenes, tying everything together emotionally through sound.

The final scenes of the movie are unified by Zimmer’s piece called Time, the song that begins when Mr. Cobb apparently wakes up on the plane. The song continues until the very last second of the film. Over the years, I’ve come to feel this song is inextricably linked to those scenes. It begins sparsely and quietly. It’s gloomy and melancholy, but it adds layers and a swelling orchestral treatment that sounds to me like triumphant sadness. It doesn’t sound like a happy ending, but neither does it sound like total defeat.

It’s an odd emotional combination, but it makes complete sense for the film’s ending. Why? Because that’s exactly what happens to Cobb. The triumph is that Cobb at last is reunited with his children he loves so much. The sadness is that those are clearly not Cobb’s real children, and he has not returned to reality to be with them. He’s still dreaming about them and has given up on returning to reality so he can experience the happiness of being with them in the dream world. As a writer of fiction, I can relate to that a little too much.

When I first saw the film in the theater, I loved the ambiguous ending. I felt like the film was leaving it up to me to decide whether Cobb was still dreaming or had truly achieved his desire in the real world. But, after repeated viewings, I no longer sense any ambiguity at all. The entire ending is clearly a dream.

Here’s why. First, the kids are in the States, and Cobb is greeted at the airport in the States by the Michael Caine character, Miles. But we know that Miles was in Paris, France the last time we met him. Why is he in the States? Answer: He isn’t. Second, the kids appear exactly as they did in all the times Cobb saw them in dreams—the same poses, the same clothes—only this time, he sees their faces. But if Cobb were in reality, wouldn’t the kids have on different clothes and be older than he remembers them? Third, Cobb asks the kids what they are doing, and they tell him they are building a house on a cliff. Building is something associated in the film with building worlds inside dreams, and the film shows us Saito’s house on a cliff in the previous scene. These aren’t real kids in a yard. They are only dream children.

The music tells us this is both a sad and a happy moment. It’s the sonic equivalent of getting everything you ever hoped for, yet failing to get it at all, because it’s an illusion. Cobb has both abandoned his struggle to truly reunite with his real kids and escaped the fate of becoming “an old man, filled with regret, waiting to die alone.” Cobb achieves wish fulfillment, but it’s just a dream, not the real thing.

While I no longer feel the ending is at all ambivalent, it does leave me with two questions. First, how much of the film is a dream? Others have speculated that the entire film is a layered dream, and the scenes in Mombasa support that theory, most notably in the way the walls of the city become impossibly narrow passages Cobb must squeeze through only to emerge at a too-coincidental rescue by Saito.

Second, what happens after the film’s ending? Since Cobb is still dreaming, his top will continue spinning after the final frame. But what happens when he returns to the room with the table where he left the top, then finds it is still spinning because he is dreaming? I don’t want to see an Inception II sequel, but I like to imagine the possibilities of what comes next. Will Cobb find the top spinning and lock it away in a safe to preserve the dream’s “reality” like his wife Mal did when they were trapped together in limbo? Or will Cobb see it spinning and decide to wake himself up to pursue fulfilling his desires in reality?

Perhaps the final scene with Saito as an old man in the house on the cliff provides the answer. Saito’s final physical act on camera is reaching for a pistol. But we never see what he does with it. Maybe he put it to his head and pulled the trigger, killing himself in the dream to awake in the real world, leaving Cobb to face the decision to return the same way or simply sink into the fantasy fulfillment of the dream. Given Cobb’s established penchant for self-deception, always pretending that he has things “under control” when he clearly doesn’t, it seems likely that he chose the path of fantasy fulfillment within the dream. But I think that when Cobb finds that still-spinning top on the table, he will need to make a choice about either maintaining the easy lie or returning to the difficult truth.

That choice will define his life from then on. Who knows? Maybe Saito really can do what he promised and reunite Cobb with his real children. Maybe he can’t.

So, do you want to take a leap of faith? Or become an old man, filled with regret, waiting to die alone?

Maybe you have a third choice.

Big Box of Comics: Cartoon History of the Universe and More

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My love for Larry Gonicks’ Cartoon History of the Universe goes back almost as many years as this blog, when I first discovered scans of it and later collected many of the original nine single issues. Cartoon History won my heart with a first issue that features some of my favorite topics: the origin of spacetime, the lives of dinosaurs, and prehistoric mammals and birds. From there, the series leaves behind the “universe” to tell the stories of human civilizations throughout Africa, India, China, Greece, Rome, and Europe. It’s a monumental tour de force with a great sense of humor, and it’s way more fun than most history classes.

So, this Spring, thanks to this blog’s readers, I expanded my Cartoon History collection with a few collected paperbacks. Three large paperback volumes collect issues 1–7, 8–13, and 14–19 in almost 1,000 pages of awesomeness that start with the Big Bang and end as Columbus sets sail from Spain in 1492.

On top of that, a paperback collection of nearly 400 pages offers The Cartoon History of the United States, which was originally published in two smaller volumes. Gonick adroitly strikes a balance between giving us history’s broad brushstrokes and revealing some of its complex nuances. For example, most Americans might tell you, “Lincoln freed the slaves,” but the reality was not so simple. Gonick tackles complex topics like this without ever being dry and academic about it.

He also succeeds in unraveling such complexities in a way that someone in sixth grade or junior high school could read and understand, and it’s a shame that these books are not used as textbooks in high school courses—or even college. Stylistically, this collection shows a departure from the crisp panel layouts and inking style of the “Universe” series, with Gonick abandoning his prior preferences for panel layouts in favor of a more open style and adopting a rougher inking technique that incorporates prior period-specific artwork in some of its panels. This style still works; it’s just noticeably different from what came before.

You’d think that after all that history, we might be done. But I also picked up Gonick’s collaboration with Mark Wheelis: The Cartoon Guide to Genetics. Visually, this book looks more like the volumes of United States history, and the material is more scientifically complex. It adeptly delves into not just the history of genetics pioneers such as Gregor Mendel but into the molecular structure of DNA and the inner workings of cells. I’ve read more detailed books on cells, such as the masterful The Machinery of Life by David Goodsell, but this is a book that even your average high-school student should be able to read and understand. It isn’t quite as funny as the “Universe” series, but it’s an enjoyable and informative read that will give you a strong foundation for understanding this topic.

Larry Gonick has done more books than these, but that’s where my store credit ran out! After working my way through all these volumes, I’m left with a profound admiration for his skills at using cartoons as a teaching method, for his ability to discuss complex aspects of history and science in way that renders them comprehensible without sacrificing an awareness of their subtleties, and for his use of humor to turn what could be rather dry reading into an enjoyable and memorable romp through history.

Collector’s Guide:

The original nine single issues of The Cartoon History of the Universe; Rip Off Press, 1978.

The Cartoon History of the Universe volumes 1–3, paperback collections; Doubleday, 1990. Also available on Amazon.

The Cartoon History of the United States, paperback collection. HarperCollins, 2005. Also available on Amazon.

The Cartoon Guide to Genetics; HarperCollins, 2005. Also available on Amazon.

Larry Gonick’s website, with many more books to explore.

Big Box of Comics: Mister Miracle by Jack Kirby, Expanded TPB

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For a few months in 2013, I had a complete collection of all the individual issues of Jack Kirby’s Mister Miracle series. When I sold it as a set on Ebay, I knew I would miss it. But thanks to this blog’s readers, I was reunited this summer with this classic series in the form of a full-color, collected edition. Many other reviewers have focused on the dynamic art and the high-energy storytelling that characterize this and other “Fourth World” Kirby stories, so I’d like to discuss a few things that don’t get talked about very much.

But first, this collection is a great way to own all eighteen of the original Kirby issues. It’s complete, compact without reducing the page size, and “remastered” so that the art, ink, and colors are crisp and perfect. It includes all the original covers, which are brilliant works of art on their own, and all the back-up stories about the title character’s childhood. Kirby did amazing double-splash panels for this series that unfortunately get their centers lost in the gutter in a paperback-bound book, but I scanned some of the originals for you way back when.

If there’s one thing that bugs me about owning the series in this format, it’s that same perfection. When I collected the single issues, I settled for many low-cost VG+ and Fine gradings where the paper was severely yellowed (which affected the colors), and the covers had a worn, tattered look with folds and even bits missing around the corners and spines.

Only a complete maniac would claim that as a plus. But I enjoyed it. Having Mister Miracle in its original but degraded printings felt like I was unearthing some prehistoric fossil of primordial comic book awesomeness. In pristine form, it feels more like a current book that should be judged by current standards.

But current standards aren’t quite the right lens to look through for this book. In terms of the garish colors, modern mainstream comics now employ far more sophisticated coloring techniques in even the most run-of-the-mill titles. But in the 1970s, due to the pulp-quality paper, using super-bright primary colors made a whole lot of sense. Many online reviewers praise the bright colors of this collection, but sometimes they seem a bit too bright for the darker, more sinister aspects of life under Darkseid’s fascist reign explored in this series.

A scan from the original series. “Get back to your hovel!”

Also by current standards, Kirby’s treatment of “hip” slang, female characters, and “ethnic” characters might seem clunky and awkward to modern, younger readers. But it’s important to consider the standards of the day and realize Kirby was making a serious effort to be inclusive and progressive in the mainstream. When Mister Miracle began in 1971, it was three years before women in the United States could have credit cards in their own name without a husband co-signing for them. It was four years before the TV show The Jeffersons broke media stereotypes to portray a financially successful black family and their interracially married friends.

In the pages of the Fantastic Four, Kirby had already created Marvel’s first black superhero: the Black Panther. And from his editorial columns in his comics—including his 70s work at Marvel on Devil Dinosaur, the Eternals, and 2001—we know he was genuinely interested in scientific and social trends and in creating stories that reflected not just the current culture but its progress and potential.

Kirby’s idea of an African king as a technologically advanced superhero resonated with movie audiences in recent years. Wyatt Wingfoot, mentioned here, is a Lee/Kirby creation based on Native American Olympic athlete Jim Thorpe.

For me, the standout character of Mister Miracle isn’t the lead, but Big Barda. She is lightyears apart from the Sue Storm character in the early Lee/Kirby issues of Fantastic Four, who was constantly talked down to for being female. Sue was a weakling whose biggest power was to go away, at least until John Byrne wrote the series in the 1980s and changed the Invisible “Girl” into the Invisible Woman whose power became formidable.

In contrast, Big Barda totally owns her scenes through force of character. Where Sue Storm was originally a shrinking violet to be protected by the males in her group, Barda is never less than a total bad-ass. She might have a soft spot for the title character, but she never hesitates for one second to beat some ass or carve a path of destruction through her enemies, and she has zero qualms about assuming leadership and telling other characters exactly how shit will go down on her watch.

A scan from the original series. “You kill-crazy she-wolf!”

Barda also has a somewhat evil all-woman crew of warriors — the Female Furie Battalion — with hilarious names like Bernadeth, Gilotina, Lashina, and Stompa. They deal damage in ways you can guess from their names. They’ve got sweet costumes and boss weapons, and they read less like villains and more like your favorite all-girl roller-derby team starring in a modern movie.

A scan from the original series. Just a typical day for the Furies!

Barda is so awesome that I even forgive Uncle Jack for giving her a gratuitous bathtub scene. You know your writer is male when he puts a female character into a naked bathing scene for absolutely zero plot-related reasons. As a male reader who thinks Barda is the greatest thing ever and would bet money that she could even kick Conan’s naked ass, I vote that we give a pass to Kirby for this one. And a pass to me for enjoying it.

A scan from the original series. “I find this kind of moment tranquil and soothing!”

It’s that kind of tension between “great female lead” and “gratuitous female bath scene” that marks this run. Kirby was both a product of his time and way ahead of his time. Mister Miracle stands on the cusp of American history in the 1970s where society was in the midst of a massive and progressive cultural shift, one that even today we have not yet fully realized. I like the direction Kirby was trying to push that shift.

A scan from the original series.

Kirby was a soldier in Europe during World War II, and his portrayal of the oppressive, fascist society on planet Apokolips might be read as a simple indictment of the Third Reich. But Kirby was no stranger to discrimination in the States, having changed his name from the Jewish “Kurtzberg” to “Kirby” to improve his chances of being accepted and making a living.

He was the son of two Austrian-Jewish immigrants in New York in a time when anti-immigrant sentiment, racism, and anti-semitism abounded in America. While the Third Reich turned those ideas into a massive extermination program, the Nazis did not invent those ideas, and they had many adherents in the States. Sadly, that is still true today. When I read Kirby’s 1970s works, I sense a subtext that he saw fascism and discrimination not as merely “foreign” problems but ones that troubled many nations, including his own.

A scan from the original series.

It’s easy to read Mister Miracle as a series of simple adventure stories full of gadgets and gimmicky escapes, and Kirby clearly wants us to be entertained, first and foremost. But we would do him a disservice if we didn’t acknowledge the socially progressive ideas he wrapped in that cloak of entertainment. Kirby didn’t finalize his ideas about humans and our place in the universe when he was a young man. He continued to explore new ideas and grow. He saw our knowledge of science, humanity, society, and ourselves as an ever-expanding field that had no lack of new horizons to explore.

And where there’s an unexplored horizon, there’s a kick-ass story waiting to be told.

Collector’s Guide: Mister Miracle by Jack Kirby, Expanded TPB; DC Comics, 2017. Also available on Amazon. Or, get the original issues.

Big Box of Comics: Conan Chronicles 1 to 3

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Thanks to this blog’s readers, I was reunited this year with one of my all-time favorite comic book runs: the first fifty issues of the Conan series by Dark Horse. These stories have been reprinted in so many formats and mini-collections that you might want to throw up your hands in despair rather than try to collect them all in chronological order. But before you give up hope, the Conan Chronicles comes to the rescue.

Despite the Marvel banner across the top, the first three volumes are high-quality reproductions of the Dark Horse series, complete with the original covers, variant covers, sketchbook pages from the artists, and the original forewords and introductions by authors and artists from the collections. There’s a fourth volume to the series, too. It continues into the next phase, when the title changed from Conan to Conan the Cimmerian after issue fifty.

These editions also include pages that reproduce the unique wrap-around covers from the various mini-collections. That’s a thoughtful bonus, even if the original cover size did get reduced to fit on one page. It would have been fun to also see the comic strips about the life of young Robert Howard that appeared on the original letters pages, but that’s a minor nitpick in a flawless and beautifully designed collection.

Also, these reprints do not include the recalled cover that showed full frontal female nudity. The only bare boobs you will see in this collection are Conan’s, since he rarely wears more than a loin cloth and a pair of moccasins while decapitating and dismembering his way through brutal, blood-soaked battles on every other page.

Conan is like the male flipside to the hyper-sexualization of women in mainstream superhero comics. He flexes and poses through the most insane adventures, nearly naked the entire time, and he’s got a totally ripped, massively muscular body it would take a regular guy 100 lifetimes of body-building, cosmetic surgery, and laser hair removal to come close to matching.

That’s part of the fun of the character. Everything about Conan is over the top and larger than life, from his physique, intellect, and attitude, to the landscapes and enemies he encounters. There’s nothing small or timid about this hero. He isn’t your average dork with tedious concerns trying to live a normal life. He starts off as an all-around bad-ass who wants to see the world and plunder her cities, and he charges headlong into trouble just because he likes a fight. Though he often succeeds or at least survives, his arrogant attitude constantly trips him up.

Throughout the stories in the first three volumes of the Conan Chronicles, he learns many lessons the hard way. By the end of those volumes, Conan has matured from a careless, hot-headed youth into the kind of man who can unite and lead a kingdom. Along the way, he kicks the most ass I’ve ever seen kicked in a single series—from demons and wizards to hordes of undead soldiers and anyone who ever messed with him in a tavern.

Collector’s Guide: Conan Chronicles; Marvel Epic Collection, 2019

Although these volumes reprint the Dark Horse series, they were published by Marvel, continuing the back-and-forth publishing deals the two companies have had with Conan licensing for many years. Note: Don’t confuse this series with The Chronicles of Conan, which was Dark Horse reprinting the 1970s series by Marvel!

indie spotlight: The Epics of Enkidu

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The Epics of Enkidu comic book features an autistic superhero in what could be the sequel to the oldest known story in human history: The Epics of Gilgamesh. The story takes place in a modern setting where Enkidu is brought back and does not remember who he is. His brain works so fast that everything around him moves too slowly. This makes him act socially odd and interact with the world differently, but it also helps him analyze everything. He sees the patterns of things that can happen before they happen, which is handy in a fight, but not when you try to communicate with him.

You can help this book get made!

The funding campaign starts today, May 15, at https://www.indiegogo.com/projects/the-epics-of-enkidu#/

Here is a preview of artwork from the book! Written and colored by Ahmed Alameen. Penciled and inked by Felix Torres.

UPDATE: The funding campaign met and exceeded its goal in June 2020 thanks to 101 backers.

Meteor Mags: The Crystal Core

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UPDATE: This story now appears alongside four others in The Singing Spell and Other Tales, published October 2020.

METEOR MAGS: THE CRYSTAL CORE

The Adventures of Meteor Mags and Patches. Episode 24.

© 2020 by Matthew Howard.

Description: After the events of Small Flowers, Mags and her pirate crew discover some of her telepathic octopuses are missing, things in the outer planets are completely messed up, and it’s all Mags’ fault.

Word Count: 7,900.

“The further the power of consciousness ventures out into experience, the more is the price it must pay for its knowledge.”

—Alan Watts; The Wisdom of Insecurity, 1951.

☠️

May 2030. From the Letters of Meteor Mags.

Dear Great-Gramma,

I don’t think I was cut out for motherhood. I’ve always loved my kittycats, and Patches might as well be my cub, but these octopuses are something else.

Last year, when I liberated them, I didn’t know what I was getting into. Patches and I wanted to help them get born, but then we had to feed them. Then we had these mystical group-mind experiences and a concert or two, and it all happened so fast.

Back then, we didn’t realize what they could do. Now, I feel like a mom who left her toddlers alone with lit candles and a bucket of petrol. What could go wrong?

I’m not exactly a supervisor, you know.

I didn’t realize they needed babysitting.

Anyway, we’re almost to the outer planets now. It’s time to see what the hell they’ve been up to, and I hope they didn’t—

Oh, my god.

I gotta go. I’ll tell you all about it later.

If I survive.

All my love,

Maggie

xoxox

☠️

By May 2030, hyperdimensional math was child’s play to Mags’ swirling swarm of telepathic octopuses. They were octopuses, not octopi, though Mags’ girls baked her an apple octo-pie topped with a golden crust shaped like tentacles. She ate it with gusto while explaining that octopuses had arms, not tentacles.

Her octos had greater concerns than labeling appendages. They wanted to build a perfect world, and they wanted it to be one they could be proud to show their mothers.

The octopuses had three. One was their biological mother who had been experimented on and grown to massive proportions, and who granted her offspring telepathic abilities through her mutated genetics. She died in 2029.[1]

Their second mother was the mostly human smuggler who facilitated their birth by providing water to their eggs so they could hatch, and whose mind had melded with their collective consciousness several times.[2]

The octopuses had also merged with Mags’ invincible calico cat Patches more than once. They held her on a matriarchal pedestal, too, and their thoughts took on a shape distinctly feline because of her: this world belongs to me and my cubs; either I hunt and eat, or I will die; and no, I will not get down from the table.

These might not have been the ideal thought-patterns to imprint on a cephalopodic group-mind.

Mags’ cavalier approach to telepathic communion with them wasn’t the only problem. The octopuses learned in November 2029 to communicate with her across empty space, and she later entertained their embraces in the dark waters of their asteroid cavern on Svoboda 9, establishing a mental and physical unity with them no other being ever had.[3]

Those experiences revealed all Mags’ memories to her unofficially adopted babies, including the nature of the mysterious object of power she called “the triglyph” and its location in her armory.[4]

Like children attracted to a shiny toy, they reached out for the triglyph when Mama wasn’t looking. They discovered a multi-dimensional object with a formative consciousness and power unlike anything they had ever encountered. Touching the triglyph’s primitive thoughts, the octopuses established a common language, introduced themselves, and reached an understanding.

Within seconds, they sent an invitation.

The triglyph vanished from Mags’ armory. It rotated itself through a space imperceptible to humans. Picoseconds later, it arrived on Svoboda 9 in the subterranean lake in the asteroid home the octos shared with Alonso, Plutonian, and the macaques.[5] None of the primates noticed the triglyph’s arrival, nor did they notice a minute later when it disappeared along with twenty octopuses.

The date was the eighth of November 2029, two days before Mags’ birthday party. The same day, the octopuses touched her mind from afar and removed all traces of the triglyph from her thoughts of the previous few days. The excision was not deep enough to remove all her memories of the object nor cause her any harm, but enough to wipe it from her current train of thought.

After all, they didn’t want to upset her.

☠️

May 2030. Svoboda 9.

Mags pounded her fist against the glass wall of the giant aquarium aboard the Hyades. “Where the fuck are my octos?!” At the pirate’s feet, Patches mewed and twitched her fuzzy ears.

Formerly a cargo ship Alonso served on during his days with the Port Authority, the Hyades had become a tour bus for the interspecies band known as Small Flowers, decorated with garish art and quasi-revolutionary slogans in spray paint on the outside, and housing the octopuses inside.[6]

“Take it easy, tía.” Alonso didn’t touch her, but his hands made cautionary gestures. “Fish don’t like it when you tap on the glass.”

She relented without stepping away, peering into the water, studying the octopuses’ movements, counting. “They’re not fish,” Mags said, “but point taken. Where are they?”

“Right here! Do you need a drink? We left fifty of them on Earth, but there’s still like a hundred fifty in there. Relax.”

“There’s more than fifty missing. Seventy, by my count.” Mags frowned. “Did they die?”

“I haven’t seen any corpses floating in the tank. Not in the lake, either, though the light’s not the best in there. Can you hear them?”

“No,” said Mags. “That’s what worries me. They’re hiding something.”

☠️

November 2029.

Twenty octopuses and the triglyph appeared in the sky over the Saturnian moon, Titan. Levitating in the frigid methane rain, a bubble ten meters wide with the triglyph at its center held the octos suspended in 523 cubic meters of water. The octos swam and breathed, and the triglyph’s power kept them warm.

Titan’s gravity almost equaled that of Earth’s moon, and a magnetic field preserved the atmosphere against the blast of solar wind. But the sky was filled with methane, which at Titan’s sub-zero temperature condensed from a gas into a liquid to fall from the sky in a slow-motion rainstorm, sluggish because of the lower gravity yet strong enough to carve rivers and lakes into the jagged, rocky landscape over millions of years.

Nitrogen was the second most common element in the alien air, and hydrogen made up less than one percent of the atmosphere. Life-sustaining oxygen was nowhere to be found.

The new arrivals made solving this problem their first order of business.

The triglyph held the raw power needed to change a world, but the cephalopods did the math. They joined arms and formed a living icosahedron, a shape with twenty sides, and every side an octopus. Individually, each mind would have been advanced, with genetically engineered neurons located not just in its brain but in each of its arms, like any normal octopus. But the octos never existed individually, not even in their eggs before they hatched. All were joined by telepathy, and when they studied a math problem, they did it together. The closest human equivalent was an array of supercomputers working on a problem in parallel.

The triglyph fed raw data into the organic, twenty-sided computer: distribution and density of elements in Titan’s crust and sky, gravitational force, temperatures, wind currents, topographic maps of the surface and the subsurface. The immensity of the task, the complexities of measuring everything everywhere on the moon all at once using its nine-dimensional perspective, forced the triglyph to exert its power to an extent—and with a precision—it never had before. The octopuses waited patiently, running numbers as they came in, untroubled by the extraordinary amount of time the sensing and measuring required.

It took 3.7 seconds. The math went even faster.

On the opposite side of Titan, one diameter away, a section of the crust exploded like a thousand atom bombs. In its place, a tiny star—a nuclear reaction—began its job of heating the planet. Seconds later, the triglyph yoked the primitive reactor’s energy and directed it toward fusion and fission of the available elements into more organically useful ones. When the elements were formed, the triglyph put them where it pleased or let them drift and disperse.

Titan had its first power plant.

This pleased the planet-sized moon. So did the realization that it had a new friend: Enceladus.

Also a Saturnian moon, Enceladus lived most of her icy life as a passing acquaintance to Titan, briefly swinging by to say hello when their orbital paths brought them near. But in an instant, Enceladus teleported so close to Titan that their gravities locked them together, with the smaller moon in orbit around Titan.

Gravity stripped the frozen, outer crust from Enceladus and drew her toward Titan in a steady stream of space dust that, when struck by sunlight, lit up almost as beautifully as Saturn’s rings. Below the crust was a vast, liquid-water ocean, full of the oxygen and hydrogen Titan needed for life. Titan asked, and Enceladus surrendered everything.

She was a generous friend, though gravity gave her little choice to be anything else.

With liquid water instead of methane, the triglyph filled lakes and rivers on Titan’s rugged surface. In the largest lake, it adjusted the salinity with sodium and chloride created by the reactor. The atmosphere stabilized and, with help from the reactor’s heat, the ambient temperature reached that of Earth’s. The lake became a new home for the octopuses. The triglyph teleported plants and animals from Earth’s oceans into the lake, and the octos spent their time arranging the décor until everything was just right.

At night, they spent hours floating on the lake, watching the brilliant stream of life-giving ice tumbling through the transformed sky from the dwindling Enceladus. They knew the moon was, in one sense, dying—giving up her existence to feed an emerging world. But her life was all around them. They swam in it every day. To the octopuses, the moon had only given up one shape to become unified with another.

Still, the passing of her ancient, durable form seemed a solemn event, one deserving a memorial.

The octopuses composed a song. On the night the last wisp of Enceladus dissolved into Titan, they sang. Lacking vocal cords, they formed a choir on the mental plane, a choir whose harmonies were mathematically orchestrated in twenty voices and echoed in the ever-changing color patterns on the octos’ skin.

When the song was over, the rebirth of Titan completed its second phase.

Silence followed, save for the ceaseless wind and the gentle lapping of waves on the lakeshore. A cloud overhead, rich with water, gave up its bounty. Raindrops splashed the lake and the cephalopods gathered there: arms intertwined, one being, one beauty, one mind.

Having reached their second milestone, six Earth months after they began, the rulers of Titan decided it would be nice to have a radio.

Something to listen to, besides the wind.

☠️

May 2030. Svoboda 9.

Mags answered her phone. “What?!”

“Hi, sweetie. Having one of those days?”

“Shondra! Oh my god, you won’t believe it. I just found out my babies ran off!”

“That’s crazy! The same thing happened with a bunch of my ships.”

“What?” Mags paced back and forth. “How does a ship run off?”

“I don’t know! We had half a dozen builds completed for a mining customer, all waiting to be picked up. Then—nothing. Gone. Not even a blip on radar or any alarms.”

“You didn’t equip them with K Drives, did you?”

“Fuck no! That tech is between you and me. If those ships got cloaked before they disappeared, it wasn’t me or my crews. But thanks for your total lack of trust.”

“I’m just eliminating possibilities. No one could sneak through your shipyards’ security from the outside. Unless it was me and Patches, and we definitely didn’t.”

“That’s almost a compliment. Do you remember the time we made out in the park in Hevelius? Sometimes I think about it when I—”

“Shondra, do you mind?! My nephew is standing right here.”

“Oooh. So, you didn’t steal my ships, and I didn’t steal your tech. Where does that leave us?”

“I don’t know, but shit doesn’t just disappear. How much do you want to bet that if we find your spaceships, we find my octos?”

“Your octos?”

“My babies! My little eight-armed freaks! Didn’t you see the vid of the Small Flowers concert on Ceres?”[7]

“You mean the octopuses in that huge tank behind you on stage? Those are your missing ‘babies’?”

“Like twenty of them.”

“I didn’t count. I was watching you sing naked.”

Mags purred. “That was awesome.”

“Will you sing like that for me sometime?”

“Shondra, if you find those missing spaceships, I will make your wildest dreams come true.”

Shondra laughed. “Promises, promises! I’ll see what I can do.”

“Love you,” said Mags.

“As if.” Shondra hung up.

0.8 seconds later, she forgot she ever called Mags.

It wasn’t Shondra’s fault. The octopuses on Titan had evaded discovery for half a year by wiping memories of astronomers and corporate workers who monitored the solar system. Many instruments on Earth and in the asteroid belt recorded the destruction of Enceladus, and many people observed those developments in progress.

But no human mind remembered them for more than a few seconds. Titan’s rulers saw to that. The octopuses’ telepathic powers were not strong enough to do this on their own, but with the triglyph amplifying them, their reach and strength became godlike. So did their aspirations.

But even gods have mothers they want to make proud with their work. Titan’s rulers sent Mags an invitation consisting of a single word.

“Titan,” said Mags. “The cheeky little bleeders are on Titan!”

Alonso asked, “How do you know?”

“The squidlings just told me. I need to go see what they are up to. Like, now.”

“I could go with you, tía. I got mad pilot skills, and I always got your back.”

“You do, and I appreciate it. But get me Plutonian. He and Patches and I will fix this. Stay here with the octos and keep an eye on them. They like you.”

“Word,” said Alonso. “Plutes was just tinkering with some circuits when you got here. Why don’t you have the octos call him?”

Mags asked the octos then held Patches in her arms and waited. She knew she could use Alonso’s help, but she craved time alone with her DJ.

Plutonian stumbled onto the scene, already three sheets to the wind. “Maggie!” He threw his arms around her.

Mags embraced him. After a moment, she held him at arm’s length. “How do you feel about taking on an interplanetary menace with me and Patches?” She looked him over, scowling and smiling at his disarray. “I got rum.”

“Who could resist,” he said. “Where are we going?”

“Titan,” said Mags. “Come aboard and strap in.”

“You said there’s rum?”

“Oh, you bet. And you’re in charge of the radio.”

☠️

A white dwarf is all that remains of a star larger than the sun, a star where the core’s nuclear fusion of elements into heavier elements continues unabated until the first day it creates iron. Iron kills the original star by absorbing its fusion energy. Without that power, the star cannot overcome its own gravity. Within seconds of the formation of iron, the star collapses under its own weight. The collapse triggers an explosion—a supernova—and it leaves behind a white dwarf.

The star core continues fusing until iron becomes carbon. In the extreme gravitational pressure, the carbon crystallizes. It becomes a diamond the size of Earth. The process takes billions of years.

Teleporting one took the rulers of Titan almost an entire minute.

From dozens of lightyears away, a diamond star core appeared in the Kuiper belt, the vast realm of debris orbiting the sun beyond the outer planets. The Kuiper belt was home to many dwarf planets, some as large as Pluto. As dirty and disheveled as the asteroid belt between Mars and Jupiter, but larger and colder, the Kuiper belt held a sea of undiscovered rocks from the earliest days of the solar system’s formation—a library from the beginning of solar time, the birthplace of comets, and a treasure trove of clues to the origins of Earth and life itself.

Within seconds, the Kuiper Belt began to die.

The diamond star core would have needed at least one orbital period to pass through and absorb the entire Kuiper Belt. But within days, it cleared vast swaths of space rock, sweeping them all into its gravity. Previously clouded expanses of space at the edge of the solar system became clear as a bell. The immense gravity pulled in anything near it as the crystal orbited the sun.

In their descent to the core, the rocky residents of the Kuiper Belt collided, heated, and formed a red-hot layer of nuclear fire around the diamond. The discarded leftovers of the solar system burned like atomic pyres. The core’s gravity seduced, subdued, and crushed them. Twin beams of energy shot from the diamond’s north and south poles.

Clearing an orbit takes most planets millions of years and a fair amount of random chance. But the diamond core was no planet. It was a dead star, and it could not share with any other body the cold, vast space between Neptune and the Oort cloud. Soon, all that remained of millions of kilometers of the Kuiper belt was a spherical and ever-diminishing shell of nuclear fire around the diamond.

The octopuses had created the first component of their crystal radio.

The crystal radio is a basic receiver that needs no external power, instead deriving its power from the radio waves it receives. The crystal is a demodulator, making sense of radio-wave transmissions and translating them into soundwaves so people can listen.

The crystal accomplishes this because it changes shape as radio waves bombard it. As it expands and contracts with each passing wave, the crystal produces a small amount of voltage and a modified signal that can be converted into sound in a simple circuit.

Crystal radios are weak. They need a power amplifier or high-impedance headphones to really make some noise—unless they’re the size of a star core.

The rulers of Titan built other components. For an antenna, they teleported empty spaceships from the Martian shipyards and fused them end-to-end. For a wire coil, they pulled copper from the asteroid belt and wound it around a cylindrical asteroid.

For a tuner, they needed a variable capacitor made of two plates. They chose a pair of iron-heavy asteroids. The triglyph teleported the rocks into position. Those rocks would tune the circuit to specific radio-wave frequencies.

Next, the octos focused on converting their star core into graphite. Diamond was not conductive enough to serve as the crystal in their radio. But with the application of enough energy, it could become graphite: a conductive element that would complete the circuit.

The octopuses had the triglyph working on the problem when Mags and Patches showed up.

☠️

Aboard the Bêlit, Mags raised her eyes from her memoir.

Her personal diaries—the ones written on paper—she burned every year on her birthday. But she kept a second, digital diary in the form of letters to her great-gramma, the pirate whose ring she wore every day of her life since taking it from her dying mother’s hand in 1938.

Mags wrote all the letters in a flowery script using a stylus on her tablet. Only Celina and Patches knew Mags wrote those letters, though she had considered telling Plutonian. She kept the letters secret not from shame but to avoid the annoyance of answering questions about why she wrote letters to a dead woman who would never read them.

Mags was certain Great-Gramma read every word of them. Mags believed Great-Gramma knew every moment of her life. While she never felt Great-Gramma needed to be informed of events, writing the letters comforted Mags with the belief that she talked to someone who understood power, piracy, and the quest to change the course of human history.

But not even Mags understood what transpired in the viewport on the bridge of the Bêlit. She dropped her tablet and stylus. “What the fuck are they doing out there?”

Patches leapt onto the console and mewed. She pawed the window.

“Sheathe the claws, kitty!”

Patches retracted her daggers. She had done quite a number on Mags’ old ship, the Queen Anne, and the smuggler was forever reminding her not to scratch the living hell out of the Bêlit.

“Look at that,” said Plutonian. “Titan’s atmosphere isn’t orange anymore. And over there? What’s that?”

“Two asteroids joined by a—what the fuck? A shaft?”

Plutonian considered for a moment. “You know what that looks like.”

“No. What is it?” Mags ignored the console’s displays and pressed her face to the window, cupping her hands around her eyes to block reflections of ambient light.

“A primitive capacitor.”

“Boil my bollocks in oil,” said Mags. “What about that thing? Is it a metal rod? It’s gotta be a kilometer long.”

“That shape,” said Plutonian. “It’s like an antenna.”

Mags pounded the meat of her fist against the window. “I bet dollars to dimes that’s Shondra’s missing ships! All melted down!”

“If it’s a radio circuit, they’re missing a—” Plutonian adjusted a dial. “Wait. We’re picking up a massive object in the Kuiper Belt. It’s graphite. A giant graphite crystal. Mags, your octos built a radio!”

“Fuck me sideways.” Her tail swished. “Who let them out of their cage?”

Plutonian drew his hand down his face and rubbed his beard. “We’re picking up something weird, but I’ve seen it before. It’s the same radiation I discovered the first time I found the triglyph.”

“It’s out here, too?”

“It must be. Where else would your octos get the raw power to do all this?”

“Those little bastards,” said Mags. “It’s a great idea, but they are fucking up the whole system by introducing that thing here! It’s eating up the Kuiper Belt now. What about when its gravity starts throwing planets out of orbit? That could trash Saturn and Jupiter!”

Plutonian sparked a joint. “Ah, it’s not like anyone would miss Jupiter.”

I’d fucking miss it! All the planets it’s protecting from asteroid collisions would miss it! What is wrong with you?” Mags did not expect an answer, but she did expect him to pass the joint. “Plutes, this solar system belongs to me. Take us down to Titan. I need a word with my babies.”

He complied and steered the ship.

Before the Bêlit landed on Titan, Mags fell to the floor.

Plutonian’s hands and Patches’ furry face failed to rouse her. She was caught in a conversation with the octopuses.

They spoke in her mind. <Mother.>

Darlings. Do you mind telling me what the fuck you’re doing?

<Music. Soon all the solar system will be music.>

Soon, the system will be a bloody useless disaster if you don’t cut it out right now! You’re introducing objects whose gravity will fuck up so many orbits. You need to stop!

<Not disaster, Mother. Song. A symphony. For you.>

Me?! I didn’t request the end of the goddamn system! You could just play some Exploited albums and I’d be fine!

<So much happy here. Join us. Be one with us and hear the song.>

No! Bad octos! Put that star core way farther out in the Oort cloud! You are buggering things on a massive scale! Mags performed a seat-of-the-pants calculation and told them how far out to place the core.

<Done. Now come. Be one.>

Mags slapped her own face. “Get a grip, you old sod!”

Plutonian’s hands were on her. One on her shoulder held her steady. One cupped the side of her face. “Are you okay?”

“No!” Mags pushed him away, rolled onto one knee, then rose to her full height. “Get off me! I’m fine!”

“Sorry, Maggie. I didn’t mean to—” His expression changed from attrition to annoyance. “Try to save you?”

Mags brushed herself off. Her tail snapped like a whip, swatting some unseen menace with even more vigor than she had slapped her own face. “Plutes. Imma say this right now, in case we don’t make it out alive.” She took his hand in hers. “Thank you for caring.”

“You’re not mad?”

“Oh, I’m mad as hell. But not at you.” She pulled him closer.

Patches turned her back on their kissing and groomed her fur.

Moments later, Titan’s surface filled the viewport.

☠️

The Bêlit landed on Titan, and a section on the side of the ship lowered like a ramp. Patches dashed out the door and became the first mammal to set foot on the rocky moon. She wasted no time marking her new territory with claws, scent, and urine. She rubbed her face on the jagged corner of a boulder then froze in place.

Patches sniffed the air with her mouth slightly open, welcoming the unfamiliar olfactory landscape with the Jacobson’s Organ in the roof of her mouth. Her ears twitched every which way then folded back like the wings of a fighter plane. Patches sprinted across the recently formed beach to another rock and repeated the process.

Mags held Plutonian’s hand at the bottom of the ramp. “I told you she’d be first!”

“She’s certainly proud of herself.” He followed the cat’s erratic movements for a moment but could not keep his eyes away from Saturn. “Mags, this is unreal. Even if we weren’t the first humans on Titan, we’d be the first to see Saturn through its atmosphere.”

The distance from Titan to Saturn is more than twice that of the Earth to the Moon. But even that far away, the ringed planet hung low in the sky, a gas giant floating above the horizon. The major divisions in its rings were visible, and many of its other moons.

Mags purred and shook a lock of hair away from her glasses. “I don’t know whether to be flattered or offended that you still think of me as human.” She squeezed his hand. “But it’s an amazing view. I’m glad you’re here to share it.”

Patches interrupted their moment with a caterwaul signaling she had seen the octopuses floating in their lake below the hovering triglyph.

Mags and Plutonian moved to join her, but they were struck down by the force of an amplified, telepathic touch. The two adventurers cried out in pain, stumbled, and fell to the barren ground.

☠️

My name’s Dr. Plutonian. I’m not really a doctor of anything, but I know enough to know this whole scene is fucked. A second ago, I was standing on a beach next to Mags.

Damn, she looked good today. It wasn’t just her new outfit or the way her hair exposes her neck every time she puts it up in a headband and curls. I think she changed her perfume, too.

Driving me crazy is what she’s doing. I would be all about getting naked with her again. And a cat brush. She’d love to be brushed. And maybe one of those toys you stuff full of catnip. We could—

Wait a second. This isn’t my diary. Where am I?

Focus!

Why is it so hard to think right now? This is worse than being drunk.

I need to back-announce some music. Thanks for tuning in. That was Crocodiles with Telepathic Lover. Before that, the Wipers with Telepathic Love. Next up, Octopus Ride from—

Fuck me. I’m not on the air, announcing songs. That was a memory.

Now I can’t remember it.

I wrote a new poem. It starts off like this. The solar system’s dying. So am I.

Part of me wishes I’d never found the triglyph in the first place. But that part’s disappearing. The triglyph is fine. The octos are fine.

Titan is me. I am this moon. I am locked in an orbit where one side of me always faces Saturn, and I’ve only ever dreamed of breaking free from my prison and supporting life.

My name’s—

No, it isn’t. Plutonian’s not even my real name. I haven’t gone by my birth name in years, not since I went AWOL from the Army. That person is dead, and I don’t miss him.

But I do wish I could see my little Siamese kitty one more time. Just once.

Mags tells me that feeling never goes away. You just learn to live with it.

But that part’s going away, too. I reach out for my cat. He’s gone like he was never there in the first place. I see him. Then I don’t.

I hate this. I hate everything about this.

When I was twelve, I killed my father with his own shotgun. When I was thirty, I saw my sister for the last time. When I was twenty-six, I killed a boy in the war in Afghanistan.[8] When I was seven—

No, that’s not how it happened! It’s all out of order. I had this picture of my life, and now it’s being torn apart, cut and pasted into something I don’t even recognize.

Mags? Can you hear me?

Maggie?

Are you there?

☠️

My name is Magdalena. It was my great-gramma’s name, too. Like her, I have a hundred aliases, and when you’re in the business of “liberating” cargo, it’s nice to have aliases. Margaritka. Marjorie. Madelaine. You should see my collection of passports.

Friends call me Mags. Plutes calls me Maggie. We’re not friends anymore.

I mean, we are. But that’s not what he means when he calls me that.

My name’s Mags, and I’m a goddess. My heart is molten iron, my body is a planet-sized moon, and my soul is an atmosphere. I spent millions of years covered in liquid methane, but now oxygen and nitrogen fill my soul, and water covers my skin. New life grows inside me, on me, in my lakes. I see so many stars from here. All of them.

My name is Titan.

No, Titan’s a moon.

My name is Moons. M-O-O–N, that spells—christ on a fucking—[9]

My name is Mags, and this is really starting to piss me off. I can’t find my body, and I’ve grown rather fond of it in the past century. It might be a fucked-up mutant cat hybrid of a body, but it’s the one I was born with, and it’s kicked a lot of arse over the years. Since I only have ninety-four more years of murder penciled in on my bloody calendar, I want it back! Now! Hello? Hello?!

Fuck.

I think Plutes is dying.

So am I. Broken down at the cellular level. Deconstructed, like my mind.

My name is Margareta—

Sink and burn me.

You know who’s doing this? My babies. My little cephalopodic sweethearts. My absolutely adorable mollusks whose eight-armed arses I will kick into next week if they don’t cut it out! Do you hear me, you slimy little fucks?! Get out of my mind!

Oh, now they act all sad.

I’m pretty sure my body is lying dead on Titan, and my mind is being merged with the planetary consciousness of Titan, and I didn’t even realize these big chunks of rock in space had thoughts and feelings. The octos are trying to mix me and Patches and Plutes into their little science project to become one with Titan, and it’s making me madder than a cut snake.

Every time I try to fight, I get pulled right back.

My name is Mags, and I’m a planet. I’m an octopus. I’m a nine-dimensional object tapping into unimaginable power. My mothers are here, and they are unhappy about the situation. But it will all be over soon.

Patches? Can you hear me?

It’s me! My name is—

Patches?

Can you hear me?

☠️

Since her birth in 2026, life had dealt Patches many offenses. She took every one of them personally: people shooting at her, people getting her gender wrong, people telling her to get down from the table, people telling her to stop clawing the furniture.

The sight of the bottom of her dish.

She took those evils in stride and every so often forgave without forgetting. But seeing Mags’ and Plutonian’s bodies lying inert brought her to a new level of displeasure. Keeping her claws sheathed, Patches batted Mags’ face with one paw.

No response.

She stood on Plutonian’s chest and kneaded it with her paws, but his chest did not rise and fall. She pressed her nose to his and felt no breath.

Unacceptable.

<Go to sleep, little kitty.> The voice appeared in her head: musical, soothing, seductive. At the same time, an unfamiliar force tugged at her body.

Patches would have been hard-pressed to describe the feeling, but she had never mated with a male cat. If she had, she would have related the experience to being held down and torn apart from the inside.

Whatever it was, she didn’t like it, and it didn’t take a genius to discern the source.

The cause.

The octopuses floating on the lake.

Patches didn’t know how long Mags and Plutonian could go without breathing before irreversible brain death set in, but she wasn’t interested in finding out. Ignoring the voice and its attempts to alter her impervious body and rip her mind to shreds, she ran to the lakeshore and leapt in.

The closest octopus squirted a cloud of murky ink and propelled itself away from her. The others scattered. Patches pursued her initial target, but the action was a feint. As soon as she was in reach of another octo, she clamped her indestructible teeth on its arm.

The octopus tried to wrap her in seven other sucker-covered arms and pull her away, but it only succeeded in giving her more to destroy.

Patches’ claws caught the cephalopod and pulled it close. Clasping the head with her forepaws, she shredded the bulbous brain with her hind claws, kicking like a rabbit. Gooey bits of mollusk clouded the water and dispersed from the force of her fury.

The remaining nineteen octos focused their mental energy on her, and the triglyph followed.

To the death, then. Death was something any animal could understand. Even the most primitive microbe wanted to live. Patches latched onto another octopus.

The others felt it die. They shuddered. The cephalopods had lived through the demise of their biological mother, but they had never known their siblings to pass away. <Stop>, they told Patches. <Do not do this.>

If the octopuses had chosen another cat for their experiment, they might have succeeded. But they had picked a fight with the wrong kitten. The triglyph had helped create her, but it could not overpower her. Its power was hers, and its attempt to deconstruct her met with equal force drawn from the same cosmic source.

<Stop>, said the octos.

Patches seized a third octopus in her teeth and savored its death throes. Its blood, colored blue by hemocyanin, clouded the water. The lyric to NY State of Mind came to Patches. Straight out the fuckin’ dungeons of rap. She recited it to the octos probing her mind. Where fake niggas don’t make it back.[10]

Seventeen octopuses conferred. <What do you want?>

Let my friends go, or I will end you.

<We can teleport you into the heart of the sun.>

Do it. You can’t get rid of me forever. I will kill you. Now. Later. Makes no difference. I will fuck you up!

Two seconds later, Mags sat up from her prone position and gasped for breath. So did the man beside her. “Plutes!” She helped him to his feet.

A fuzzy calico face swam against the tidal current toward the shore.

Mags ran into the water. Before the rocky subsurface fell away from her feet, she scooped up Patches in her arms, and they rubbed their faces together.

Mags cuddled Patches all the way back to shore. “Good girl!” Mags stretched out the r in girl like an extended purr and held Patches against her chest. “Good kitty.”

Patches licked Mags’ hair with the impervious rasps on her tongue. The curls would take months to grow back, but Mags didn’t mind. She supported Patches with one arm and drew a .50 caliber pistol from the holster at her waist.

Mags fired into the waves and killed three more octopuses before the rest of them descended below the water to hide. “Fucking ingrates! Useless as a wet roll of dunny scratch in a hurricane!” She emptied the clip. “I tried to help you!”

Plutonian stepped up to the smuggler and her cat and wrapped his arms around them. A faint remainder of Mags’ perfume underscored the scent of lake water on the soaking wet felines and the smell of the alien atmosphere. Patches’ breath mingled with octopus blood. Plutonian closed his eyes, and both his companions purred against him, a smoky, soothing vibrato. “What just happened? Did I hear Nas?”

Mags nuzzled her cheek against his. The tip of her nose was cold and wet. “That was Patches. You’re safe now.”

☠️

The triglyph fell from its place above the lakeshore. It rested in a crater in the sand, pulsating until it lost all semblance of light and lay like a corpse on Titan’s gritty, grainy beach.

On the way back to the Bêlit, Mags picked it up.

In her hands, it crumbled into dust.

She watched it fade away, then wiped her hands on her skirt, leaving dirty smears. “That thing’s bloody useless.” She flung a strand of hair away from her glasses. “Give me a minute.”

<Mother.>

Babies. You can’t go trying to kill me.

<Not kill. Transcend. Now you have killed some of us.>

Do you not know about self-defense? Jesus, I’m bloody sorry, but don’t test me!

<Selves are not gone. Selves are here with us.>

Good.

<Good.>

You gonna cut this shit out, then? Maybe ask me next time before you run off?

<We will ask, Mother.>

Mags purred. I’d appreciate that. Do you want to stay here? Can you chill without fucking up the rest of the solar system?

<Yes. Happiness here. Glorious world.>

You still got tunes?

<Many tunes.>

You got food?

<Our garden grows.>

You still love me?

<All is one, and we are one with you.>

Love you too, you little fuckers. Call me sometime. Mags stirred from her reverie and rubbed her face. “The octos are fine for now. Let’s go.”

After the Bêlit left the gravitational pull of Titan, Plutonian took over the radio. “Hey, I got something.” He dialed in the frequency. “This is the signal from the space radio. Listen.”

Mags and Patches perked up their ears. Through the 1,000-watt speakers on the Bêlit’s bridge, a transmission played from the giant crystal radio.

“That’s the sound of Andromeda.” Plutonian adjusted the controls. “This one is coming from beyond the range of Hubble. It sounds almost intelligent.”

“Patterns,” said Mags. “Hundreds of millions of years old. That’s beautiful.”

“Aye,” said Plutonian. “Amazing jam.” He pressed a button labeled record.

Mags tapped her foot to the beat. “Now we got a giant space radio. What’s next?”

“I don’t know,” said Plutonian. “How many octopuses do you have left?”

“Fourteen on Titan. Fifty on Earth. About a hundred on Svoboda. Why?”

Plutonian sat forward in his chair and rested his elbows on his knees. “What about Mars?”

“I bet I could take over Mars if I put my babies to work. But after some of them running off like this? Bugger me sideways. They seem to have their own agenda.”

From the corner of her bunk, Patches typed messages to her friend, Mags’ unofficially adopted nephew Tarzi, on her tablet.

The young man replied. How did it go? Did you show those octos what’s up?

Patches flicked her ears and typed with one claw. Just a nigga. Walkin’ with my finga on the trigga.[11]

Word. Love you.

Patches purred. She curled up in the shape of a crescent moon and settled into a nap.

Plutonian said, “It seems kinda fucked up to work these octos into a plan for Mars.”

“That’s putting it mildly.” Mags ashed her cigarette in her armchair ashtray and spent too much time shaping the cherry into a perfect cone. “It’s tyranny. It’s reckless. And it’s dodgy as fuck.”

“You do realize,” said Plutonian, “that you can’t base a revolution on mind control.”

Mags laughed. “Whatever. Do you want to live in this shithole solar system the way things are, or do you want to change things for the better?”

“You mean what you think is better.” Plutonian sat back in his chair. “You aren’t asking for anyone’s consent.”

“No,” she said. “I’m not.”

☠️

From the Letters of Meteor Mags.

As far as Plutes and I can tell, corroborated with what I glimpsed in the octos’ thoughts, the triglyph pulled power from areas of physical space we can’t perceive. It took nine physical dimensions to describe the shape of that object. In our four-dimensional spacetime, it looked something like a kaleidoscope, constantly shifting, appearing to be made of every possible polygon changing into every other with each passing second.

Its dimensions weren’t mathematical abstractions. If you could physically navigate those dimensions, certain quartets of them would appear to be different universes. They weren’t really different. Just aspects of this reality you or I can’t access.

But the triglyph could. From those nine dimensions taken four at a time, that’s 126 possible ways the triglyph could occupy a four-dimensional spacetime.

It’s a simple combination problem.

So the triglyph pulled all this power out of other universes that are really ours, and it had so many different paths though spacetime to get from one point to another that it achieved what’s impossible in our four-dimensional perception: teleportation.

And there our troubles began. I’m just glad it’s gone now.

☠️

Near the event horizons of the black holes at the core of the Andromeda galaxy, something new popped into orbit. The Milky Way’s closest neighbor hardly noticed. The arrival was a bundle of energy smaller than a breadbox and about as threatening.

Andromeda’s new resident gathered space dust around itself and compressed the particles into a sphere, just enough to feel like a planet. It missed that feeling.

The triglyph’s once-primitive thought patterns had evolved since meeting the octopuses. It missed them, too. It missed all its old friends: the man who designed it, the DJ who found it, the smuggler who gave it a place to live.

No matter. That was the old life. Those events were as far away as the nearest galaxy. The memories swiftly paled in the glorious blaze from the Andromedan core.

Super-massive black holes clustered there, not close enough to merge with each other, but with the collective power to swirl a trillion star-systems around them, like water down a drain, falling to the center.

The triglyph moved closer. It surfed the boundaries of the event horizons around the cluster. From every direction, matter falling into the inescapable gravity well ignited and bloomed into sprays of radiation beyond light’s visible frequencies.

At the magnetic north and south poles of the sea of stellar annihilation, the violence emitted the most powerful bursts of all: x-rays and gamma rays. They shot from the center of the galaxy perpendicular to all the stars revolving around them.

Gravity was the master there. At close range, it consumed everything—not just matter, but space and time. Existence. Meaning. Light.

Everything.

The central hub of destruction also brought life into being. Its giant whirlpool full of colliding space dust formed suns, planets, moons, and all the elements necessary to begin life on those rocks.

At the edge of chaos, the triglyph hovered. The spiral galaxy’s outer arms would have been more sedentary places to establish a new home. But the triglyph was finished with limitations and boundaries. It had enough of them in the Milky Way.

Andromeda was a blank slate, just like the triglyph had been 10,000 years before. But all Andromeda’s history, all its information, everything the galaxy ever knew, fell into the black holes at the center. Every possible future sank into the singularities. Nothing could be learned from anything past the event horizon.

The triglyph swam in the gravitational whirlpool and considered these things for several minutes. It had a new body. The old one, it gave up on Titan. It was better to let Mags believe she had won than to prolong a battle that would only tear apart her solar system.

Regardless of what Mags thought, the triglyph never meant her any harm. It only lacked an appropriate scale of what harm might be.

It knew it owed a debt of gratitude to the beings who called it into existence. When its creator died, it might have been abandoned to decay forever. If not for Mags, Patches, and Tarzi, the machine that called the triglyph into life would never have been activated.[12]

But Andromeda? The triglyph had no friends there. No past. No affections.

It began by pushing together several black holes. Fascinated by the results, it teleported the nearby galaxy M32 to add to the fun.

The cosmic event took two and a half million years to reach Earth, traveling at the speed of light in a vacuum. But Earth had plenty of other things to worry about in those years.

Four billion years later, the Milky Way was destroyed in a collision with Andromeda and became something else. The event ignited more black holes. Gamma-ray bursts signaled the death of information and history inside gravity’s grasp.

What a sight.

What a song.

The triglyph tapped on the galactic cores like a conductor tapping his wand on the edge of a music stand.

A new galaxy sprang to attention.

THE END


[1] See Red Metal at Dawn and Daughter of Lightning.

[2] Most notably in Red Metal at Dawn, Daughter of Lightning, Voyage of the Calico Tigress, and Small Flowers.

[3] In Voyage of the Calico Tigress.

[4] The triglyph’s ancient origin appears in Patches the Immortal. It re-appeared in Daughter of Lightning, and Mags decided to store it in her armory in The Lost Crew of the Volya IX. Mags discovered it missing in Small Flowers.

[5] Alonso has lived with the octos and the space monkeys from The Lost Crew of the Volya IX since Voyage of the Calico Tigress. Plutonian moved in with them during Hunted to Extinction.

[6] See Rings of Ceres and Small Flowers.

[7] See Small Flowers.

[8] He recounted this event to Mags in detail in The Lost Crew of the Volya IX.

[9] Mags is getting her memories confused with a detail from Stephen King’s The Stand.

[10] Jones, Nasir, et. al. (1994). NY State of Mind. On Illmatic. New York: Kobalt Music Publishing, Ltd.

[11] Jones, Nasir, et. al. (1994). NY State of Mind. On Illmatic. New York: Kobalt Music Publishing, Ltd.

[12] As shown in Patches the Immortal.

Meteor Mags: Small Flowers – now in print

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The rock-and-roll space adventures continue!

In the months after Hunted to Extinction, Alonso’s interspecies band gets a name and performs its first concert during the reconstruction of Ceres, with Meteor Mags on the mic to fuel the fires of revolution.

Kaufman and Anton move into their new home in an old friend’s strip club, Dr. Plutonian gets more than his mind blown, and Mags disregards safety regulations to plug in her free-energy system for the first time.

Plus, Dekarna kills an asteroid full of miners to make a nest for her eggs, but Mags and the space octopuses have a different plan for the last surviving reptile from the Battle of Vesta—one that will give the space lizard everything she ever dreamed of, at a price she never imagined.

May not be suitable for children or carbon-based life.

Now available on Amazon in paperback and Kindle.

indie box: Sin City

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It’s no secret that one of my favorite pieces of fiction is Frank Miller’s Sin City series. I discovered it at the Las Vegas public library about eighteen years ago when I checked out the A Dame to Kill For TPB. It was the most awesome thing I’d ever read, with over-the-top brutality and an atmosphere that was darker than the blackest noir. It was so intense about being intense that it was funny and morbidly serious at the same time, and the first thing I did after reading it was read it again. Then I tracked down the other stories! One had dinosaurs.

For a while I had the complete series in an awesome collected edition, but those books were smaller than the full-sized TPBs, and there’s just something about this series that suits being as big as possible. The original TPB collections also appear to include more pages than were printed in the original serialized formats, such as extra splash pages for multiple perspectives of Dwight holding a dude’s head underwater in a toilet in The Big Fat Kill. The one missing ingredient in the earliest TPBs is color, the use of just one primary color as an accent to individual stories, such as the yellow highlights in the TPB for That Yellow Bastard. Still, I’m okay without the color if I get a bigger page size!

The black and white art is insanely melodramatic, as shown in a couple pages of Marv walking in the rain from the first Sin City TPB, later titled The Hard Goodbye. The text is like a hard-boiled detective novel with the volume turned up to eleven. I not only love this scene, I love that it goes on for ten whole pages — eleven in the TPB!

While writing last week’s post about Next Men, I looked into some other John Byrne works I hadn’t seen yet, including his stint on The Sensational She-Hulk. That run is best known for relentlessly breaking the fourth wall and having the characters be aware they were in a comic book. Byrne based the fiftieth issue on a gag that he had been killed, and the cast needed to find a new writer and artist. So, he showed how some of his friends in the industry would do a She-Hulk story. That’s how we got a couple pages of a Sin City She-Hulk.

This post was made possible by this blog’s readers who use my affiliate links to buy comics. Recent store credit made it possible to reconnect with the Sin City TPBs that first hooked me on the series. Thank you!

big box of comics: New 52 Batman

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DC’s New 52 is now old news, and it came and went without my paying any attention to it. But the one thing I missed that I really wanted see was Greg Capullo drawing Batman, beginning with Bat’s first New 52 adventure The Court of Owls. So, last year, with some of the store credit I earned thanks to this blog’s readers who use my affiliate links to find books, I got the first paperback collection.

It’s a wild ride, and I’ve since read a digital version of the rest of the Snyder/Capullo run just to see what happened next. I plan to get the second TPB, but after that one, the series began to lose my interest. The second TPB features an amazing Mr. Freeze story, and if you’re expecting the cartoon silliness of Arnold Freezinator from the movies, you won’t find any of that. Snyder writes Freeze as a mentally and emotionally disturbed villain, playing up the sympathetic tragedy and ultimate self-delusion that drive his maniacal actions.

After that, the series goes into a Joker story that starts off well and is exquisitely drawn but eventually collapses under its own weight. It asks us to believe that everything that happens is all a part of a wildly complicated “evil genius” plot, kind of like the Saw movies or virtually any of the “serial killer” thriller films, except there’s no way anyone could plan for all the eventualities, and much of it is downright implausible. Then the series goes into a lengthy plot involving Commissioner Gordon becoming Batman, and a whole lot of “Batman’s early days”. I didn’t care for either development.

The first two story arcs for Court of Owls feature an inventive mix of crime, horror, and superheroics, and it’s a perfect blend of genres for a “world’s greatest detective” who dresses like a frickin’ bat. I can’t even describe how glorious it is to see Capullo drawing Batman in action, and the first arc does an inventive thing with page layouts when Batman is caught in a maze and hallucinating his ass off. I won’t spoil it for new readers, but I will say that I got just as turned around as Bats did at that point in the story, and I thought that was brilliant.

While Court of Owls and its follow-up arc are dramatic and gripping, it soon becomes apparent that they lack any consequence. For example, Bats is subjected to unimaginable beatings and torture, but then a few pages later, he’s totally fine. No bruises on his face. No long-term disability from being stabbed almost to death and drowned. He just sort of gets back to business. I was worried he was going to die, but then he’s okay because the plot demands it?

Plus, the Owls succeed in killing off many prominent local politicians and governmental figures, but all this does is give the rest of the Bat-family an excuse to jump into the story to protect whoever is still alive. If you killed most of the public officials in a city, there would be ramifications, but Court of Owls never deals with them. I didn’t want a series exploring the politics of Gotham—although I loved Brian K. Vaughn’s politically themed Ex Machina—but I did want some sense that what happened in the story mattered. Instead, it’s glossed over as quickly as Batman’s mortal wounds.

There are a few other details like this. The Owls figure out where the Batcave is, but after Bats defeats the cave invaders, that knowledge is never used again. That’s powerful information! They wouldn’t—I don’t know—send an email to Lex Luthor with the GPS coordinates? Or spam every person on the planet? Or announce it on Twitter? Are they serious about Bat-termination or not?!

Also, in the first issue, Bats uses an amazing facial recognition technology that is never mentioned again. It only serves as a plot device to give us information dumps about characters—apparently to get new readers on board with the cast by disguising the info dumps as Bat-science. It’s a cool trick, but it’s a tech without any lasting consequences.

Despite those flaws, Snyder gave Capullo some amazing, moody material to work with visually, and the first couple of Snyder/Capullo TPB volumes deserve a place in a “best of Batman” collection. And, if you don’t mind implausible “serial killer movie” plotting, the third volume with the Joker is also visual feast.

indie box: Next Men TPB

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Once upon a time, I had the complete Next Men series, except for the Hellboy issue. Though I read the series three or four times, I’ve missed having it around ever since I sold it. This month, thanks to this blog’s readers who use my affiliate links to find books, I earned enough store credit to get all six of the 1993 trade paperback collections. Reading the series again reminds how much the series blew my mind the first time through, and as a bonus, it includes the Hellboy issue with pages drawn by Mike Mignola.

Hellboy’s appearance in issue #17 makes it the most expensive one to collect. It’s easy to collect all the other original, single issues for less than $3 each, but #17 will cost as much or more than all the other thirty issues combined. That’s not a problem with the collected paperback.

Hellboy might be part demon, but he is a far cry from the absolute evil of the series’ main villain. Sathanas is the remnants of a mutated energy vampire who kills people by draining their lifeforce, and since so much of him got blown up, he survives in a mechanical suit. Despite his silly name, he’s among my favorite John Byrne villains.

Despite the fun of the paperbacks, they have three disappointments, possibly because they were made more than a quarter-century ago before TPBs became so popular. These days, we expect the TPB to include all the original covers and, if any, all the variant covers. But the Next Men covers get treated terribly, reduced to about 1/6 of the page size and combined in a “gallery”. It’s an odd design choice, considering that there’s a useless page between each “issue” that just splits the words “Next Men” across its front and back. That would be a lovely place for a cover!

Second, the story is so intertwined with the short graphic novel 2112 that the original Next Men series isn’t complete without it. This oversight is forgivable, since the events of 2112 get summarized by one of the characters.

What’s unforgivable is the omission of the entire series of “back-up” stories, M4. These were short episodes with characters who, at first, seemed only tangentially related to the main series. But the stories intersected eventually, and the M4 characters were essential to the finale and resolution. Leaving out the M4 pages makes these characters appear to pop out of nowhere in the main storyline, which makes for utterly confusing plot developments for unfamiliar readers. Plus, M4 had its own covers, featured on the back of the single issues where it ran, and the TPBs have none of them.

For the completists: When IDW reprinted the series in color in 2009, they included M4 but not 2112. IDW’s 2011 reprint series (“Classic Next Men”, in three TPBs) includes both M4 and 2112, and it’s also in full color. I’ve only ever seen it in stock on Amazon for around $40 per volume in paperback, but you can get them for $10.99 each for Kindle and Comixology, and as a set with the sequel for a total of $43.

Even with these omissions, I loved re-reading this imaginative and intricately plotted series that features some of Byrne’s most humanized and fully realized characters. Consider what he does with three wordless pages to show Jasmine’s emotional state as she flees from an attack in underground tunnels. Her old, perfect life was taken from her, and she’s not adjusting well to reality, where trauma awaits her at every turn. Without a single line of expositional captions or thought balloons, Byrne portrays her fragile condition in these pages.

arrest the president

Mars Will Send No More enters its eighth year this month, and this blog’s focus has always been on comic books, art, and music. So, let’s have some music. And let’s have it loud.

avengers 267: time and time again

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One of my favorite Avengers stories features the time-traveling psychopath known as Kang The Conqueror. He sports a ridiculous outfit that only John Buscema and Tom Palmer could make cool.

What kind of evil plan can a person hatch in striped purple thigh-high boots? Stripping to pay his way through college? But don’t judge Kang by his fashion sense, because he rocks hard in this minor masterpiece.

I was 13 when this issue appeared on the comic book rack at the Walgreens on Manchester Road in Ballwin, Missouri. The opening sequence blew my mind, and I still get a thrill reading it years later. The complete three-issue story is one of the few mid-80s superhero yarns that still holds up for me as an adult reader, and though I no longer have the complete Stern/Buscema run, I’ve read it a bunch of times. These days, I just reserve a little space for my absolutely favorite Avengers stories, including this one.

It begins the day Colossus joins the Avengers, and opens with Storm descending from the sky like the weather goddess she is. Goddess and, as we discover, an Avenger.

I love the mood and tone of Stern’s captions on that page and generally for the entire run. Despite some typical comic-book clunkers such as expositional thought balloons, his prose always made me feel like I was reading a book for adults, not children. But back to our story.

The President of the USA escorts Colossus onto the scene to induct him into the Avengers and become an American citizen.

What’s that? You don’t remember Storm and Colossus being Avengers in the 1980s? Pay attention!

Iron Man flies onto the scene to give a gift to the POTUS on this momentous occasion. And gosh, isn’t Tony Stark such a great guy?

Just tug a little harder, sir! But suddenly…

Wait, what? The whole team just got nuked into oblivion? Is the series cancelled? What do you do after THAT?!

If you’re a super-villain, you gloat.

The nuke was just a warm-up. Now, it really starts to hit the fan. It turns out that Kang’s time-traveling adventures are creating all kinds of alternate timelines, and each has its own Kang. A mysterious council has summoned our nuke-loving Kang to their secret chamber in a limbo outside of time. When Kang questions the council’s authority to tell him what a massive screw-up he is for getting his entire planet destroyed, they reveal themselves to be a trio of alternate Kangs!

They kill him then adjourn and vanish. But one Kang comes back to snoop around the building, and who does he run into? One of the other Kangs! John Buscema gives the Jack Kirby treatment to the wonders inside the secret chambers inside the secret chamber, and Kang gives Kang a tour of his time-monitoring operations.

In fewer than ten pages, Stern gave the Avengers new members, nuked an entire planet, discovered alternate realities, hatched a nefarious plot of betrayal and murder spanning centuries and multiple universes, and plumbed the depths of grief, greed, and evil in the human soul. And the real Avengers, the stars of the series, haven’t even appeared yet!

The heroes show up soon enough, and the adventure is a solid one with plenty of twists and turns and mysteries to solve. Despite his goofy outfit, Kang is a strong villain with a plan he seems entirely capable of pulling off, and he steals the show in a way usually reserved for Dr. Doom. Fitting, I suppose, since Kang originally came from the future using Doom’s time-machine and, after becoming an Egyptian Pharaoh in the past, patterned himself after Doom. As far as alternate timeline stories go, I’d rather re-read this classic than re-watch Avengers Endgame any day.

Collector’s Guide: The full story appears in issues 267, 268, and 269 of the original Avengers series, and they cost about $3 to $6 each, depending on their grade.

A big “thank you” to this blog’s readers for making it possible to get these issues as part of my ongoing big box of free comics series.

indie box: Utopiates

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This week’s pick from the indie comics short box is Utopiates, a four-issue black-and-white series focusing on characters who take a drug that temporarily alters their personality and emotions, but with violent and disastrous results.

The first issue opens with a full page of Gen-X angst that sets up what, at first, appears to be a simple tale about a young man who takes a drug to escape the dull hopelessness of his life.

By the end of the first issue, it becomes clear this tale is not so simple. We learn that the drug is somehow giving people specific personality traits because it is composed of genetic material copied from specific people. I don’t buy that bit of pseudo-science at all, but playing along with this central idea of injecting genetics like drugs does make for some interesting developments. For example, the young man in the first issue starts killing people his drug dealer assigns to him, but when he injects some Jack Ruby DNA, he kills the wrong person. This doesn’t end well for him.

The second and third issue tell the story of a different young man who served in a war as part of a private military contractor’s invasion force. We learn that he and all the contractors were constantly hopped up on one of these genetic drugs to reduce their fear and increase ferocity.

This two-part story shows how the soldier does not adapt well to normal society after his contract is complete and he can no longer get his drugs. The robotic psych counselor the company forces him to see is useless, so the young man starts looking for a source of the drug. His path leads him to discover whose DNA he and his troops were injecting.

The fourth issue tells the story of another former soldier, a woman who becomes an assassin for hire much like the character in the first issue. It suggests that the mysterious drug dealer in all these stories is giving out these gene-drugs and manipulating people as an art form. I found that motivation a bit lackluster, but I suspect that if the series had continued, then writer Josh Finney would have given us more depth and detail about what makes the dealer tick.

I love the artwork in this series, with Finney collaborating with artist Kat Rocha to produce moody, dramatic pages that look amazing without color. I don’t know why the series ended, but it feels like it could be a treatment for an ongoing TV series with action, adventure, mystery, futurism, and a bit of social commentary. Finally, it’s possible that Finney took the name of the series from a 1964 book detailing research into why people take LSD. You can read a review and summary of that book in the University of Chicago archives.

The four issues of Utopiates make a fairly quick but thought-provoking read, and you can have them for about $2 a piece.

Collector’s Guide: Utopiates #1-4; Bloodfire Studio, 2006.

indie box: Queen & Country

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This week’s pick from the indie short box of comics is the complete four-volume collection Queen & Country: The Definitive Edition. It’s also an entry in the big box of free comics series, because I wouldn’t have this collection if not for this blog’s readers. This espionage thriller featuring a British female spy comes from the mind of crime novelist Greg Rucka and an art team that changes with every major arc, giving each episode a unique look and feel.

The four volumes total nearly 1500 pages, which includes the entire single-issue series and three supplementary Declassified series, plus a slew of extras such as interviews, scripts, and sketchbooks. I loved it, with a few reservations, and it was maybe the third time I read the series.

Queen and Country Collection (9)

Years ago, I sold a complete collection, and you can see photos of the interior art and full-color covers in my old post about the collection. I had discovered a few scattered issues in a used bookstore and gradually pieced together the set before selling it. With the Definitive Edition, it was great to read it all again in chronological order.

Still, you will find a few a gaps in chronology. Queen & Country is also a series of prose novels, and the comic-book adaptations sometimes skip a novel. “These events take place after the events in [novel]” comes up at least once. But, you get enough context from each story to follow along anyway, and a helpful flashback or two fills in the important gaps.

With the Definitive Edition, you won’t get the full-color covers, though the black-and-white versions are high quality. The page size is slightly smaller than a typical comic book, which occasionally makes the lettering a little hard to read. It was not as bad as the Tintin collection, which practically required a magnifying glass. I only struggled in a couple of stories, such as the first one where Tara’s thoughts appear in a cursive script that didn’t fare well from being shrunk.

The black-and-white art of the original series still looks incredible at this size, though some of the edges of panels disappear in the gutter — unless you want to test the limits of how far you can force the book’s spine open. A wider blank space in the gutter would have been a good thing. But, each of the four volumes is a sturdy paperback with a solid binding and high-quality paper.

Overall, it’s an awesome way to enjoy the complete series, and way easier and more cost-effective than trying to hunt down all the single issues one-by-one.

The art and writing are top-notch, with a compelling lead character who does some bad-ass spy stuff but has way more interesting internal and emotional conflicts than, say, James Bond. Tara Chace has depth, and she changes over the course of the series, and her world is turned upside down more than once. She has a strong supporting cast, and several merit standalone stories as leads in their own right.

Toward the end of the series, reading it one weekend as I did, I noticed there were an awful lot of scenes of people talking in offices, and pages of people having discussions that made a point but didn’t really advance the adventure. These were interesting for a while in the beginning, but by the end I was way more more invested in what Tara was doing than what some guys in offices were droning on about, and I skipped a few scenes.

You’ll probably feel the same way about the leading lady, and your mind might be blown at the cliffhanger ending of the series, and you might even want to pick up some of the novels afterward!

Collector’s Guide: Queen & Country: The Definitive Edition, #1-4; Oni Press, 2007.

indie box: Metalzoic

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This is the second time a book published by DC Comics has broken the rules and earned a place in my indie short box. This time, it’s Metalzoic by the legendary team of Pat Mills and Kevin O’Neill, and there’s not much about it you can call “mainstream”. Metalzoic takes place in a future where the Earth is ruled by intelligent, mechanical beasts patterned after modern and prehistoric animals — and boy, do they love to fight!

Yes, you just witnessed a brutal showdown between a gorilla with a saw blade on his head, and a lion with a chainsaw for a tongue and metal skis for feet. Do I really need to say anything about the story’s plot, or is that cool enough for you? Two of my favorite pages show a shark attacking a caravan of wooly mammoths during a trek across the ice.

It’s like some sort of psychotic nature special! I can almost hear David Attenborough narrating it for a BBC documentary.

O’Neill always delivers wonderfully twisted artwork, but he pulls out all the stops to illustrate Metalzoic‘s endless mecha-menagerie.

The story is interesting, especially since the main character — the saw-blade gorilla — is a brutal, amoral hell-raiser whose brawn and ferocity might be the only thing standing between the Earth and total destruction.

And just look at him go!

When all this takes place and how it came to be are slowly revealed throughout the story. We don’t get a clear timeline until about 50 pages in. It might have been helpful to see a historic summary earlier in the story, so here it is.

If you’re like me, and you wish Godzilla movies would cut out most of the human-related nonsense and just show more monster fights, then this 64-page epic adventure is the book for you!

Collector’s Guide: Metalzoic; DC Comics Graphic Novel #6, 1986. Though it’s often out of stock at MyComicShop, you can usually find it on Amazon for between $15 and $30.

indie box: A History of Violence

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This week’s pick from the short box of indie comics takes us once again into the world of crime fiction. A History of Violence from John “Judge Dredd” Wagner and Vince Locke really puts the “novel” in “graphic novel”, telling a deeply detailed story in its nearly 300 pages. I read it years ago but didn’t see the film until this summer. The book was more satisfying, especially the ending, which is a visceral punch to the gut in print but completely re-written and watered down for the film.

So, let’s start at the beginning, because A History of Violence opens with murderous intent.

Pretty soon, the murderers stop for a bite to eat in typical, small-town America, where everything is quaint, peaceful, and family-friendly. But when they try to start trouble at the local diner, the dude at the counter decides homie don’t play that shit, and he totally destroys them.

Diner dude wastes these guys and becomes a local celebrity. There, the story gets bogged down with scenes of his resultant interactions with the yuk-yuks from Anywhere, USA as they fawn over him at little-league games and other scenes I could skip. But this shift in the hero’s calm, daily life gets kicked up a notch when the leader of a criminal organization recognizes diner dude in a newspaper article, and decides to visit.

This scene begins a gradual reveal of diner dude’s past, and how he came to be involved with the underworld in his youth and eventually assumed a new identity so he could live a pastoral life in Generic, USA. The middle third of the book tells that story as a flashback, and it’s almost as much fun as the part in the Godfather novel where we flashback to Vito Corleone’s rise to power in his youth.

The first time I read A History of Violence, I couldn’t put it down. But upon re-reading, I could have done without so many extended, dialogue-heavy scenes of regular folks standing or sitting around while having an interpersonal drama. It often feels like this could be a real barnburner of a tale if we could just cut some of the “normal folks chatting in a mild state of distress” scenes, and get into the absolutely fucked-up criminal world that really drives the plot and drama. And by “absolutely fucked up”, I mean pages like this:

Earlier, I implied I didn’t like the movie, but mostly what I hated were the changes to the ending. In fact, the film did a better job portraying the shoot-out on diner dude’s lawn where his son was involved, and the film had a somewhat tighter pace. Also, Ed Harris as the eyeless criminal guy totally rocks.

I’m a bit ambivalent about the art in this story. The panel layouts and the visual storytelling of both quiet conversations and brutal conflict are top-notch, but I can’t escape the feeling that that I am looking at a sketch of the story instead of the final version. The art is very scratchy, and while it has a visceral power, after a couple hundred pages I started wishing another inker would come along and tighten it up. On the other hand, this is a gritty and compelling story once you get into it, and a gritty visual style suits it well.

Fans of crime fiction should read A History of Violence at least once because, despite its flaws, it is a dramatic and emotional journey that not even the film could match, and it isn’t a story you will soon forget. The original edition is long out of print, but the 2005 reprint will run you about $20.

Collector’s Guide: A History of Violence; 2005 reprint edition, Paradox Press.

indie box: Hieroglyph

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This week’s pick from the short box of indie comics comes from Ricardo Delgado, whose Age of Reptiles is among my all-time favorite comic books. Hieroglyph delivers Delagado’s signature style of primarily visual storytelling with vast landscapes and non-verbal drama, only in a science-fiction setting on a faraway planet.

This four-issue series published by Dark Horse is full of visual splendor, as a lone explorer seeks to understand a distant planet and the unusual beings who inhabit it — and, along the way, make some really awful decisions and narrowly escape with his life several times.

Part of the fun of this series — and something which was commented on many times in the letters pages — is that we don’t really know what the deal is with the alien beings and all their activities, their strange and massive temples, and their relationships to each other. We experience the planet and its inhabitants the same way the explorer does: with incomplete information, leaving us to try to work out the meaning for ourselves.

The fourth issue of Hierolgyph is the problematic one, because it undermines exactly what made the first three issues so much fun. Eventually, a recurring alien character appears at the explorer’s ship and — lo and behold — it has sorted how to speak English, and it launches into exposition to explain everything we’ve seen so far. I don’t know if this was an editorial decision or an authorial one, but I would have been much happier with just about any other ending that did not involve aliens expositing in English.

Despite fumbling the ball in the fourth quarter, Hieroglyph is an intriguing read for most of its run, and Delgado’s ability to portray the feelings and reactions of both human and non-human characters through purely visual means is without peer. You can have it for only $3 or $4 per issue.

Collector’s Guide: Hieroglyph #1-4; 1999, Dark Horse.

indie box: Down

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Like last week’s pick from the short box of indie comics, this week features another crime story with a bad-ass female lead. Down is a four-issue series by Warren Ellis with art from Tony Harris and Cully Hamner, and its portrayal of a police officer infiltrating a violent criminal organization reminds me in some ways of one of my favorite films: The Departed by Martin Scorsese. Down isn’t quite as complex, as the fast pace and tight focus relentlessly blaze through the story up until the bitter end. But like The Departed, this story doesn’t end where you think it will.

Down puts our leading lady into the middle of a conflict between crooked cops and even more crooked gangsters, and every step of the journey takes her into increasingly questionable decisions about just whose side she is on. In her quest to get close to the criminal leader, she is forced to consider just how far she is willing to go to maintain her cover.

Down has a high body count and graphic violence, but I feel the real intensity takes place around just how much her experiences deform and re-define the protagonist’s conception of who she is and what role she wants to play in life. At some point, she realizes she has crossed a line she can never step back over and return to normalcy, and her only option is to choose a new path of her own design.

It’s one of my favorite of Ellis’ short works, and all the better because it doesn’t end with a big explosion, a convention he tended to over-use when he seemed to be cranking out a new series every week. It’s a fun read if you like crime fiction and bad-ass women, and you can get it for about $2 an issue.

Collector’s Guide: Down #1-4; 2005, Image.

indie box: Felon

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Today’s pick from the short box of indie comics is Felon, a four-issue series from the mind of Greg Rucka, who is known for both his crime stories and his preference for writing female lead characters. I have a few other Rucka gems to share with you later, but they all feature a detective as the main character, and this one follows the adventures of a remorseless criminal.

She’s a bad-ass without being an over-the-top action hero, and even though we are sympathetic to her because her crew screwed her over, she isn’t exactly role-model material. She’s concerned about one thing, and one thing only, and this focus on her goal is apparent from page one. She is released from prison and only has three words to say:

She sticks to this simple, direct goal through three issues of violence, and the plot is pretty straight-forward, even when a new heist enters the picture. But the drive, the unrelenting focus she maintains, and her subordination of any empathy or morality to the intensity of her avarice made a huge impression on me. Felon influenced my own stories about an unrepentant female criminal who constantly smokes cigarettes and blasts anyone who gets in her way, so I owe Rucka and company a debt of gratitude.

But it’s the fourth issue that really blows my mind. The third issue brings an end to the heist story, and you wonder what’s next, but then Rucka turns the world upside down. The fourth issue introduces a female detective who is on the trail of our leading lady, completely switches to her point of view, and shows how her focus on the case destroys her personal life. Also, the first three issues are full color, but the fourth is black and white. The titular felon only appears in flashbacks related by other characters, such as a scene that recalls one of her robberies and demonstrates just how cold she can be.

Felon is a quick read but a fun one if you love crime fiction and bad-ass women, and you can get it for about $2 an issue.

Collector’s Guide: Felon #1-4; 2001, Top Cow.

indie box: Lords of the Cosmos #3

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Today’s pick from the short box of indie comics features an issue that doesn’t even exist yet! But it will soon, because the Kickstarter for Lords of the Cosmos #3 is now underway, and it is the tenth Kickstarter from Jason Lenox, whose work first appeared on this blog about six years ago.

Let’s have a sneak preview of artwork from a series Jason describes as a “sci-fi and fantasy comic for fans of He-Man, Thundercats, Heavy Metal, and Flash Gordon!”

The 1980s nostalgia is strong with Lords of the Cosmos. Jason says, “Take all your retro action figure and geek-out fantasies, throw them in a blender with some cheap tequila, put that bad boy on high, and drink whatever mangled, gnarled mess comes out!”

If that sounds like the comic-book cocktail you crave, visit the Lords of the Cosmos Kickstarter to reserve your copy and more fun bonuses!