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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Previously in The Last War in Albion: Grant Morrison’s first major hit was Arkham Asylum, a Batman graphic novel whose dense symbolism included, among other things, the Tower card and the Great Dragon.

This particular lunatic claimed he was the Biblical Anti-Christ and promised to return to Gotham one day, on the eve of the battle of Armageddon. -Grant Morrison, Batman

This suits Crowley’s larger signification, but is tangental in the extreme, relying on Dīs Pater’s later conflation with the more traditionally bestial Orcus, who provided the roots for the French ogre and Italian orco, from which Tolkien’s orcs and the ensuing high fantasy trope emerged. More abstractly, however, the presence of a fire-breathing mouth implies a dragon, and Morrison’s association of the figure with primal chaos cements this tidily, suggesting again a flaw at the heart of things.

Morrison states that the dragon is opposed by reason, represented by the spear. Within the lore of DC Comics, then, this would imply Batman, the world’s greatest detective. Unsurprisingly, however, things are not that simple given Morrison’s conception of Batman. In the gallery at the end of the book that serves as a cast of characters, Batman is given a brief, anxious narration: “Criminals. Criminals are a terror. Hearts of the night. I must disguise my. Terror. Criminals are Cowardly.  Superstitious terrible omen. A cowardly lot. My disguise must strike terror. I must be black. Terrible. Criminals are. Criminals are a superstitious cowardly lot. I must be a creature. I must be a creature of the night. Mommy’s dead. Daddy’s dead. Brucie’s dead. I shall become a bat”. This invocation of “creature” makes it clear that Batman is not some dispassionate force of reason who can combat the Great Dragon within the Tower, but rather a force of the Dragon. The clear implication—which Morrison pays off—is that Batman is only ever confronting himself as he battles his way through the Asylum.

It is worth stressing that this is not all a bunch of mystic interpretation being imposed onto the text. Arkham Asylum makes active and extremely literal use of these symbols in accordance with their occult implications. The aforementioned passage in which Amadeus Arkham’s journals transition from talking about the Dark Tower to the Dragon plays out as narration overlaid with Batman encountering Killer Croc, a relatively recent addition to Batman’s rogue’s gallery created by Gerry Conway in 1983, with “And face the Dragon within” appearing in a half-page panel of Killer Croc. The Dragon easily gets the better of Batman, hurling him out a window. McKean draws this with clear resemblances to the Pamela Coleman Smith rendition of the card—a tall panel in which Batman crashes out of an upper spire of the Asylum, lightning crashing behind him. Batman falls, then catches himself, pulling himself up to find a statue of Saint Michael defeating Satan. 

This, of course, is the event described in Revelation when the “great red dragon, having seven heads and ten horns, and seven crowns upon his head,” provoking a “war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven.…

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