THIS SICKNESS 8 from Bottomless Studio, featuring John Linton Roberson, Emily Kaplan, Chad Parenteau, Charles Alverson, Gianna Ratto, Chris DeWildt and a cover by Molly Kiely. 100 pages! Available in print & Kindle at Amazon!
I Didn't Write That!
31 August 2015
  HANNIBAL: Magnificent But Some Minor Quibbles (Spoilers Maybe)

So often it's the case: when I discover something wonderful, if it's still current, it soon dies.


I came to HANNIBAL as it was entering its final season, and fell in love with it rather quickly. Just the same, I'm glad in some ways it was cancelled: it seemed to free Bryan Fuller to really go all the way with no fear of ruining characters he might need later, culminating in one of the most perfect conclusions I think I've ever seen on a network show.

The show, pun intended, had guts. It pushed limits not just in content but even more in emotional intensity (I'd say it rivals TWIN PEAKS for that) and throughout its run seems to have been a taunt to almost every other network show that this is how good TV can be. And overall, I like this show's treatment of Harris' concepts better than every other one--including Harris' own work.

But that's not to say it's without flaws, so here are a few. (the Siouxsie song that popped up by surprise in the final episode, her first in 8 years, is not one of those)





I think my only beef with the show is illustrated by the lack of backstory for Francis Dolarhyde/the Red Dragon, which is puzzling given that he has a lot of backstory in RED DRAGON, more than Hannibal himself. He's a complex and somewhat difficult character that makes no sense if you don't know about the abuse he suffered at his grandma's hands throughout his childhood. Instead, we only know he had a harelip which left a scar, and that's supposed to be enough to explain why he'd go that crazy. We see him twisting and going mad in his room alone but we have no backstory. So he's a very scary killer, but still just a killer, like a monster, like a vampire or something.

This is always a danger inherent in Harris' material, and you could argue this is a central flaw of the series (and really, this goes all the way back to SILENCE OF THE LAMBS), that serial killers are like supervillains, that somehow their madness gives them superpowers, that it's like some cult or philosophy. 

Instead of saying this is a fractured person with something missing, in this case because of torment and abuse that made him a monster. Without that you lose complexity. As was emphasized in one of the oldest adaptations of this cycle.

In MANHUNTER we see Graham unstable, vulnerable. But we also see him able to compartmentalize it. As a child, he feels badly for him: someone took an innocent child and turned them into a monster, he says. 

As an adult he despises him: he kills whole families to feed puerile fantasies. And Graham can hold on to the need to act with that. We see him absorb it and then throw it off once it's getting too deep. He runs away from Lecter when that creeps in.

Not this Will, who I actually still like a lot and find fascinating. He's like an open wound, all the time. He seems to have no real arc--he just wants to die. He has no will Hannibal does not impart to him. Out of love and pity. 

I may though just be describing it, not criticizing it. Because it works, anyway. And oh my god, that epilogue.

(note: the seed of this was a conversation with Jesse Baker)

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  How Wes Craven Changed Comics (Indirectly)

If, like me, you enjoy James Burke, you may like this series of connections.

Wes Craven made SWAMP THING. (only the third DC character to ever make it to the big screen)


DC decided to capitalize on this by reviving it with Martin Pasko and Tom Yeates. 

Stephen Bissette and John Totleben come on board, as well as Rick Veitch.


Then Alan Moore happens. 



And then all comics changed. 

All because of Wes Craven's silly little film. 

And that is only one, indirect thing he changed for the better: by his own hand, there was much, much more, as you probably know.
 

Thanks, Wes. Rest in peace.

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29 August 2015
  I Love You, It Howled


THE BLEATING OF HIS HIDEOUS HEART  

Soon it was all Ricky could hear. 

For hours in the alleyway Ricky slowly went mad as he realized the preacher hadn't been bluffing. "I love you," squeaked every bloody chunk of the fresh corpse, cut into a thousand pieces as promised. "I love you," over and over again, no matter what he did. In a voice like Jiminy Cricket.

He took them all home and cut them up further but the din of the chorus only grew stronger, stronger.  

"We love you, we love you," and the pitch grew higher and higher the smaller the pieces got, till he could take it no more and put it all in a blender. 

Then he dumped the mess down the toilet. 

But soon it came again. "I love you," it howled in a sickly-sweet warble through the pipes. 

It was then that Ricky realized the terror would not end till he accepted Jesus. 

Ricky doesn't leave the house much anymore. 







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27 August 2015
  The Return of LULU! Chapter 4 p. 61

http://www.jlroberson.org/comix/lulu/index.html


At last chapter 4 is done! I'm quite sorry it's taken as long as it has, but life got in the way. (as well as an essay for a book on Dave Sim that's to be published in the near future by Sequart) So now we're back to serializing, and a new page will be released each Friday, starting with this one a little early. (click page to enlarge) And THIS SICKNESS 8, featuring this, Suzy Spreadwell, and the return of Uncle Cyrus, as well as a few surprise guests, will be coming in the near future.

And if you haven't gotten book 1 in print or digital yet, or read the reviews, testimonials and interviews, why then, please click here for all about that.

http://www.jlroberson.org/comix/lulu/4_61.html

Also, a Patreon page is coming soon. Keep posted for details.

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"Eternity with Beelzebub, and all his hellish instruments of death, will be a picnic compared to five minutes with me and this pencil." - E. Blackadder, 1791
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