The Patreon for Britain a Prophecy is halfway to its goal, but there’s still a long way to go. So if you want to see me do a comic in which I turn the theory I’m working out here into practice, please consider contributing.

Previously in The Last War in Albion: The complex symbolism of Arkham Asylum was, in Morrison’s theory at least,

52 ‘brane universes vibrating in the same space, all at different frequencies, within the all-enclosing Bulk, otherwise known as Bleedpsace. Four Bleed Siphons have been drilled in from the Monitor Sphere to the Orrery, to permit harvest of the miracle Ultramenstruum fluid. –Grant Morrison, Multiversity Guidebook

Bohm was a theoretical physicist, albeit an oddball in that field whose career took the sort of pth that involved publishing books with titles like Science, Order, and Creativity and Changing Consciousness: Exploring the Hidden Source of the Social, Political and Environmental Crises Facing our World, and resulted in the Dalai Lama penning a one-page introduction to the posthumous collection The Essential David Bohm. (“Because he was the one I could question in detail about quantum mechanics, I consider him to have been one of my scientific ‘gurus.’”) His career began with an oddness that would characterize it; an early interest in radical politics ensured that he couldn’t get security clearance to work on the Manhattan Project, a situation that plunged into farce when his doctoral thesis proved useful to the bomb effort and was classified such that Bohm no longer legally had access to his own work and was unable to defend it, leading Robert Oppenheimer to have to personally intervene to ensure he got his PhD. In the 1950s, he became interested in the complex debates around how to reconcile the strange implications of quantum mechanics with the observable universe, where he came up with a radical and unorthodox solution.

The underlying problem Bohm was looking at concerned the behavior of electrons, specifically the fact that they simultaneously behaved as both waves and particles. The usual demonstration of how breathtakingly weird this is is called the double slit experiment, and involves firing a controlled burst of electrons at a plate with two parallel slits. If one observes how the electrons strikes a screen behind the plates, it forms an interference pattern suggesting that the electrons are behaving as a wave. But if one sets up a device to observe how the electrons are actually passing through the slits, they switch instead to forming two distinct bands on the screen, behaving like particles. This is, to put it mildly, extremely fucking weird, and the underlying mechanics of it have been a subject of fascination by both scientists and various flavors of magicians and occultists.

The prevailing theory within physics is known as the Copenhagen interpretation, and involved a sort of dualism in which the electron existed within a field of probabilities that collapsed to a single certainty upon observation. Bohm, however, found himself taken by a counterproposal offered and then discarded by Louis de Broglie called pilot wave theory.…

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Be sure to come back Wednesday for the launch of my biggest project since Neoreaction a Basilisk.

Previously in The Last War in Albion: A key part of the success of The Last War in Albion was Dave McKean, who broke out with Violent Cases, an autobiographical comic penned by Neil Gaiman. Well. Sort of autobiographical.

She fell down, a faint shadow wand’ring
In chaos and circling dark Urizen,
As the moon, anguish’d, circles the earth:
Hopeless! Abhorr’d! a death-shadow,
Unseen, unbodied, unknown,
The mother of Pestilence. -William Blake, The Book of Ahania

It’s a sort of folk memory version of what actually happened.” Gaiman compares the writing to the autobiographical comics of Eddie Campbell, particularly his Alec work, noting that “You couldn’t have had Violent Cases without Alec. What I learned from Eddie was the value of minute incidents in the building up of fraudulent biographical narrative. I wouldn’t say it was influenced by Eddie, but the only place in comics that Violent Cases plugs into from a story viewpoint is to Eddie. Which you don’t see because the visuals are Dave.” And this is extremely true. The narrative similarities to Campbell are existent, although Gaiman is clearly right to describe them as similarities rather than influences. But the comparison is not one anyone would make because the comic’s style is so obviously dominated by the utterly astonishing work that Dave McKean did for it.

As with Gaiman’s writing, there are clear precedents for McKean’s approach—his debt to Bill Sienkiewicz, in particular, is clear and something he freely admits to. But he also stresses a litany of other influences across multiple styles and media: surrealists like Max Ernst and Jan Švankmajer, comics artists as diverse as Winsor McCay, Bernie Wrightson, and Moebius, but also a bevy of other influences: Buster Keaton, Picasso, Degas, Bob Fosse, Stanley Kubrick, Jean Cocteau, Walter Sickert, Milton Glaser, and literally dozens more.  The result of these influences, when applied to Violent Cases, is an art style that drifts freely from vivid realism to something fare more ambiguous, symbolic, and unsteady. This serves as a perfect match for the story being told, setting the comic in something that is not quite truth or fiction, not quite reality or representation, a place defined primarily by the uncertainties of memory. Gaiman may be the figure debuting in Violent Cases who went on to the most prominent career in comics (in part because McKean always maintained a broader career, doing album covers, advertisements, films, and art pieces, with comics and comics covers a prominent but still minor part of the whole), but in terms of the book the most ostentatious and obvious talent was McKean, and it was no surprise that it was him DC identified as the figure who was marketable right out of the gate. While Gaiman provided thoughtful and intelligent comics, these required a degree of investment to appreciate. A page of McKean’s art, meanwhile, could be put in front of someone and they would immediately see that this was a serious and major talent.…

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CW: Sexually explicit imagery

Previously in The Last War in Albion: Grant Morrison’s script for Arkham Asylum focused on the geometric image of the vesica piscis.

I find myself grasping for my roots, awkwardly. And I wonder what my grandparents would think of me, were they to meet me today. Ask their shades about me and I imagine they would pull ghost photographs from their wallets and handbags, show you a solemn child with huge hazel eyes. -Neil Gaiman, Mr. Punch

Euclid’s Elements begins with one, using it to construct an equilateral triangle. Indeed, one can use it to construct a myriad of basic shapes—the square, pentagon, and hexagon can also be constructed from it. 

Within the Pythagorean religion the number one, represented by the circle and called the monad, was considered sacred and holy. The vesica piscis thus represented the dyad, combining as it did two circles. The generative properties outlined by Euclid, then, become the product of copulation, a meaning further emphasized by the visual similarities between the vesica piscis and the vagina. This mystical association, obvious as it was, served as a largely cross-cultural bit of sacred geometry.

Separately, however, the vesica piscis became a Christian symbol. By extending the lines on one apex one gets a distinctly fish shape, which meshes with a wealth of Biblical imagery. More mystically, various numerological associations between the proportions of the vesica piscis and the Bible are attested, if dubiously. The shape is also closely related to the ogive, which is essentially a vesica piscis with flattened sides, and which serves as the geometric underpinning of the gothic archway. 

For their part, Morrison ties the symbol to the larger body of symbolism in Arkham Asylum, using the fish symbol to relate it to the Moon Tarot card according to Hermetic lore while also drawing a Christ-Osiris link (familiar in Crowley) to bring up descent to the underworld imagery. Indeed, there’s an entire line of fish symbolism in Arkham Asylum. Clown fish make regular appearances, gesturing both to the Joker and to a theme of sexual ambiguity that got downplayed when Warner Bros. corporate refused to allow the comic to depict the Joker dressed as Madonna on the grounds that it might lead people to assume that Jack Nicholson was a cross-dresser, a fairly astonishing case of reaching the right decision for the stupidest reasons possible. (Morrison later rued that “in the end it was Heath Ledger who immortalized the tranny Joker in 2008’s The Dark Knight, vindicating my foresight.”) And at another point they have Amadeus Arkham reflect on the French term for the victim of an April Fool’s prank, poisson d’Avril, while also connecting the vesica piscis to holography and the theories of David Bohm. 

The bulk of the discussion of the vesica piscis in Morrison’ script comes around a sequence roughly halfway through the book where Batman, shaken by flashbacks to his parents’ murder, snaps himself out of it by pushing a shard of broken mirror into his hand.…

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