Top Level Canon Reviews - relaunched!

There's one line in her ranting where she compares the cultists in their dimensional tunnels to rats creeping out of the walls.
They'll have a string of bad luck for many chapters due to some curse after beating the cult, only to realize the last survivor had hid in their walls and had been fucking with them.
I know that's another story, it just immediately came to mind.
Or, potentially, actually changed her brain in a more esoteric way. In which case, she might be in the early stages of a metamorphosis. Possibly what the Eye has been trying to push her toward all along. That's the more sinister possibility, but based on the evidence so far it's also the less likely one.
The Eye realizes interacting with pretty women has really accelerated Heather's growth, nods seriously and proceeds to draft plans to set up romantic moments between them and try to draw more women into this mess.
 
Katalepsis III: "Conditions of Absolute Reality" (part four)
The final four chapters of arc 3 bring a few character threads full circle, changes up the status quo, and - after sporadic minor clashes throughout these last two arcs - kicks off the brewing wizard turf-war plot for real.

These chapters are also all about challenging preconceptions. Both for the characters, and for the reader. Including the preconception that other people's preconceptions are probably wrong. The bits where people turn out to be right are as effective in this theme as the bits where they turn out to be mistaken.

The "conditions of absolute reality" title, in light of its origins, is...sssort of fitting? Dreams are an important component of this arc, but I don't think they're the central one. This *is* the arc where Lozzie becomes important, so maybe it's just referring to her even though there are other equally important introductions being made alongside her.


After the coffee shop incident, Heather completely abandons her old apartment/dorm/thingy and terminates the rent. She notably has the ability to do that on her own, without needing to tell her parents (she says that she'll need to tell them she did it at some point, but she didn't need to tell them beforehand). Which means she was already handling rent money before story's start, at least, which is more than I thought they trusted her with.

She also reveals that she isn't out to her parents.

That was one truth I could tell them, almost as scary as letting them think I'd gone off the deep end: I'm living with my girlfriend. Lines of interrogation ran over and over in my mind. Yes, mum, girlfriend. Yes, I'm a lesbian. Yes, I'm sure, because she's beautiful and amazing and she makes me orgasm like a bomb going off every night.

Things I could not say to my parents. Concepts I didn't want them to think about. Ever.

Which also kind of surprises me, from the way she's described them, but not as much.

Raine helps Heather relocate permanently and completely to Evelyn's fuckable old manor house, taking care not to leave any articles or bits of hair or anything behind. We've seen what you can do with a blood sample, and other bits of biomass could allow similar exploits. Until the New Sun situation has been defused one way or another, going outside will be kept to a bare minimum, and leaving things outside eliminated entirely.

Heather manages to deal with being kidnapped pretty well, all things considered. Enough experience hiding from aliens when she slips into other dimensions over the years has presumably hardened her against this type of trauma. The person who suffers the most emotional fallout is actually Raine. She was barely even involved in the coffee shop incident, but...well, that's the entire problem really. For the first time, Heather sees Raine drink to get drunk. Ostensibly to help Heather let out the trauma, but ultimately for herself to.

"If you say so." I grumbled and sipped more tea.

"I do say so. And you know what else I say?" Raine sat back down with a smile and knocked back another shot of vodka – and slammed her glass on the table. "I fucked up!" she shouted.

"R-Raine?"

"I failed, you know that? I messed up, big time. I wasn't fucking there." Her voice caught.

I don't know how or why Raine got like this, but she seems to derive almost all of her self worth from being a protector. It's not just her sexuality that gets pinged by damsels in distress, it's her entire personality.

I said before that Heather had little self-worth, but great self-respect. Raine is...I wanted to say "the opposite," but really it's more like variations on a theme. She thinks she has to be a full time bodyguard for both Evelyn AND Heather, and if anything bad happens to either of them then she's failed as a person.

Hmm. I wonder. It occurred to me before that Raine might be too sane to learn magic. Now though, after all the reiteration in these last couple arcs of the importance of projecting human will to make magic work, I think it might be that Raine lacks the ego and self-interest necessary to project that will. That fits a lot better than my previous hypothesis.

Could Raine do magic if she thought it was the only way to save someone she cared about right at that moment? Maybe. Or maybe there's a fundamental element of selfishness - that word might be too negative, more like self-interest or self-motivation - that she'd need to develop first in order for the universe to think she's important enough to heed.

What made her like this, though? Being with Evelyn seems like an enabling factor, but not a causative one.

...

These girls all need therapy, and none of them would accept it. :(

...

On the (possibly?) brighter side, Raine also reciprocates Heather's confession from earlier. And, the fact that this is coming alongside Heather being less of a damsel in distress than she was before, and with Raine failing rather than succeeding to be her white knight, makes me optimistic about this.

Unless Raine is just saying "I love you" as a weird sort of atonement for her bodyguarding failure or something. We do know Raine can be manipulative, even if her ends are usually benevolent.

"You know, Heather, I think I'm falling in love with you."

"Don't!" I whined. "Don't say that while drunk."

"Ah ah." Raine tapped the table. "I didn't say 'I love you', I'll say that bit sober. I said I think I am falling. That's different."

"Mmmmm," I grumbled, pouting.

"I've never been in love before. Been in lust a lot, but this is way different."

I think it's more likely genuine. The fact that Raine is showing vulnerability and letting Heather be the one to comfort her in this scene, even in just a tiny way for a tiny increment of time, is a good sign.

On Heather's side of things, well...I don't know if this is Raine influence or Hastur-by-way-of-Lozzie influence, but the thing troubling her the most is how remorseless she is about sending that cultist to Planet Doge. Heather expected to be torn up about her first human kill(?), but she's not, and that doesn't seem right to her.

Not sure what to think of this, personally. On one hand, Heather did nothing wrong, and remorseless execution of necessary violence is an underappreciated virtue. On the other, it's also healthy and laudable to do at least a bit of second thinking about how necessary the violence actually was. Is Heather's empathy, formerly one of her most noteworthy traits, being dulled? Hopefully not, but it's an alarming possibility.

Evelyn is probably holding together the worst of the three, despite having had the most opportunity to be useful during this latest round against New Sun. Partly because Twil being in the house for a while makes her feel vulnerable and defensive and even more paranoid than usual. Partly because it's twice (arguably three times) now that Alexander has made a move against her and her friends, and she isn't any closer to being able to meaningfully hit back. Praem has been thinning out their pneuso-zombie constructs, but making more of those seems to cost the Brotherhood of the New Sun very little. Evelyn can't get a legal ID or record on Alexander Lilburne, or track him and his associates to any realspace location. Either he was lying outright about his family having a history with her own, or he changed enough of the details that she can't recognize who they might have been.

In short: while Alexander generally isn't the sharpest tool in the shed, he is very good at playing defence. Evelyn's usual brute force approaches are ineffective here.

Evelyn's way of coping with all these perceived threats to her sense of power and security - both the rational ones and the extremely irrational ones - is to basically lean into the silence, controlling tendencies, and Hard Men Making Hard Decisions. She increasingly shuts Heather and Raine out of her strategizing and war preparations, despite needing other people's input more than ever. Not to mention her reaction when Twil offers to tell her own faction what's going on and make an alliance against New Sun.

"Must you-" she cut off and shot an apologetic look at me before resuming with Twil. "Must you run to your family with your tail between your legs over every little thing?"

"Oh, yeah." Twil's voice dripped sarcasm. "I'll go ahead and forget Sharrowford might be a fucking supernatural warzone, that these weirdos might take over-"

"I am not in the habit of losing. I beat my own mother, a mage ten times, a hundred times more powerful than these petty amateurs. This is pest control, at best."

"Then why haven't you won yet?"

Evelyn's glare could have frozen the sun.

Twil rolled her eyes. "I came into town to buy a video game today. Any of my family could wander in here by accident. I didn't even know this was going on. I've gotta warn my parents, Saye, don't be bonkers. I've gotta tell the Church. You'd do the same, come off it."

"Then you can tell them to stay out of it too. Make that clear."

"You sure? I dunno, Saye, maybe we could … you know." Twil shrugged, the very picture of a sulky teenager.

"I know what?"

"Maybe we could pitch in?"

"Your lot? Don't make me laugh. I'd like to see you try."

Things come to a head when...well, actually things kinda come to two heads, but one of them ends up being a bit of a subversion. Let's start with the first and nonsubversive one.

Tenny is still circling around outside the grounds of Evelyn's house, staying as close to Heather as she can without coming close enough to trip any of the defences. She's also still pretty messed up from her fight with the New Sun constructs. I guess she's not as shoggoth-y as she looked, if she's able to sustain persistent structural injuries like that. Anyway, Heather feels very bad for her, and also wants to learn more about what she is and why she's been doing what she's been doing (her dream-memories of Lozzie are still extremely fuzzy). So, Evelyn pitches a "veterinary procedure" to reward Tenny for her help and also try to figure out what the hell she even is. They rearrange the furniture with the glyphs hidden on them, hang up new sigils at various locations to temporarily reshape and nullify the wards, and herd the spiderbots into the basement for a little while so that Heather can safely coax Tenny into Evelyn's workshop.

Proactive communication with Tenny is a challenge, but Heather manages it. She also, after a bit of experimenting, determines that she can touch, push, and pull Tenny with some mental effort. She describes it as something to the effect of "trying extra hard to believe in her" while making contact. Some of Katalepsis' best "eldritch nature doc" prose to date is spent describing Tenny probing and feeling her way around each new room and unfamiliar object with her tentacles, guided by Heather and followed by an unseeing Evelyn and Raine. Really captures the feeling of trying to guide a strange wild animal that got caught in your house to safety. When Tenny first enters the glyph Evelyn prepared, and finds herself contained within it, Heather works hard to calm her down. Evelyn describes this glyph as equivalent to a "catbox" which is adorable and fitting to Tenny's reactions to it.

When the circle is closed behind Tenny, and Heather has to work harder to keep her calm, Evelyn says the least comforting thing you can imagine Evelyn saying in light of her performance thus far:

"I have complete control and understanding of everything here." Evelyn swept one hand to indicate the magic circles. She made very pointed eye contact with me. "I am neither going to invoke an unexpected effect, nor allow a runaway process. I can promise you that."

And...it turns out to be even worse than what you're probably imagining. Sort of. Evelyn doesn't fuck it up the way that she has after every previous instance of "trust me bruh, there's no possible way I could fuck this up," but she was also lying to begin with. Tenny is subjected to something that looks like electrocution. Evelyn really likes electrocution.

The tension of this scene was kind of ruined for me by something, though. That something being an emoji, from the Katalepsis discord server.


If Tenny really got killed within a few chapters of her introduction, I figured they wouldn't have bothered having an emoji of her. So, weird spoiler vector is weird, but no less spoilery for it.


Heather and Raine both flip on Evelyn at this point. Even when, after recovering from her painful ordeal and limping out of the glyph, Tenny really does appear to be regenerating her wounds and regrowing her rent tentacles. When Evelyn explains what the hell that even was, well...

"I intended it to be lethal."

I gaped at her, lost for words.

"Trojan horse?" Raine murmured.

"Exactly," Evelyn admitted. She flexed her back, popping compacted vertebrae and wincing. "That spell was potentially lethal – if our mysterious tentacled friend was anything other than what she appeared to be. Trojan Horse, walking time bomb, demon in disguise, whatever, it would have boiled her like a lobster in a pot. I didn't tell you because you wouldn't have agreed. Measures had to be taken. As she is what she appears, she is unharmed."

I cast about for help and shrugged uselessly, betrayal burning in my chest. "Why can't you simply tell me these things? You're still treating me like I'm … an idiot. A child."

"She's got a point there, Evee," Raine said. "I feel a bit sore too."

"You'd been in direct mind-to-mind communication with the thing, exposed, in contact, possibly subverted without knowing it. She began speaking to you on the very same day, the very same hour that the Cult tried to kidnap you." Evelyn's voice rose in sour certainty, snapping and biting off her words. "I have not been exactly well predisposed toward her. She has, in fact, been at the top of my list of potential vectors for the Cult stalking you."

"Why couldn't you just tell me?" I spread my arms. "Because you're the big bad scary magician? You have to do everything alone? You don't have to! You-"

"If I'd told you," Evelyn barked over me. "And she was something else, then she might have gotten it out of you. Or detonated. Or done God alone knows what. Put you in danger. I'm not going to apologise, dammit, I'm not. It was a necessary deception. I will not allow some Outsider to hollow out your head because I dropped my guard."

I swallowed and half-turned away, hurt – but not confused. I hated to admit it, burning with indignation and insult, but Evelyn was right. I would never have agreed to this, and if my good little spirit had been a demon or a Trojan Horse, she would have gotten it out of me, very easily.

"I will not apologise," Evelyn repeated. "But I will-"

"Hey, Evee, maybe drop it for now," Raine said softly. "I think we're all a bit-"

"I don't want an apology!" I snapped out at nothing, at the world. "I get it, okay? I get it. I just feel … small and vulnerable and useless again. Kept in the dark."

"We're all in the fucking dark," Evelyn said. To my surprise, I heard her breath catch in her throat. "All right, fuck it, I'm sorry." She swallowed hard, sniffed, and controlled herself with a visible act of pure willpower. "The whole reason I did this is because I've been getting nowhere, absolutely nowhere. No progress, no ideas, no leads – I can't crack the Cult's extra-dimensional bullshit, I can't finish building that door, I can't even find the bloody people who tried to snatch you. It's like none of them exist. Grasping at straws. I thought Tenny, maybe, she might be the vector for the Cult stalking you, at least I could figure that out, trace her back to them. I can't even stop these vermin from harassing my friend."

I didn't quite understand what Evelyn meant here about the spell killing Tenny if she wasn't what she appeared to be, when Evelyn didn't know what she was even appearing to be in the first place. The author clarified to me that Evelyn's spell was one that's beneficial for "normal" pneuma-somatic organisms, but destructive to artificial constructs. Which makes considerably more sense than Evelyn's own wording, heh.

Of course, Evelyn's genius plan here doesn't account for the possibility that Tenny is a natural organism voluntarily recruited by the Brotherhood of the New Sun. Or that she's a construct sent by a friendly third party. Or that she's a type of alien or a type of construct from beyond Evelyn's admittedly limited knowledge with a composition that doesn't match up to either of the things she knows?

Anyway, considering that Tenny was nonlethally hurt and also had her preexisting wounds healed by the spell, it's pretty clearly #3. And, Evelyn is just lucky that it didn't go much worse than it did. The reaction could have been almost anything.

As Tenny runs off to a safe distance to recover and hopefully not lose her trust in Heather forever, Raine and Heather take Evelyn to task. And, for once, on account of them both doing it at once but also managing to keep their rhetorical kid gloves on, Evelyn is able to take their point to heart without also cracking down into a paralysed self-loathing spiral. So, progress for her I suppose.

"I don't want necessity to make monsters out of us," I said.

"That's what magic does."

"No. This is going to sound crazy and probably technically wrong, but I think you should have told me. You're not in this alone. You're not under siege alone. If Tenny had been a … Trojan Horse, we could have dealt with it together, because I trust you. Or, at least, I want to."

Evelyn sniffed and looked at Raine for help.

"She's got you dead to rights there," Raine said.

"Look." I sighed. "You're so afraid of becoming like your mother – and no, I don't know all the details – but I can add up the pieces. I'm not going to let you be something you don't want to be. Next time something like this happens, you tell me. We'll deal with the consequences together."

Evelyn nodded slowly. "I'm … I'm sorry, Heather."

"Good. I forgive you."

This episode led me back into a question I've asked a few times previously: why does magic make you a monster, in this setting? Why are magicians all so insistent on competing, when it seems like cooperating gives them much more to gain?

I mean, obviously the story is trying to point out that the same is also true about magic-less groups of people in real life. But I still felt like there must be some material factors in play here that aren't clear yet, because otherwise the deck would appear to be stacked much higher in favor of cooperation for the wizards with their thirst for written arcana.

I was right. And the last couple of chapters - centering around Twil and her evolving relationship with Evelyn - start hinting at those additional factors.

First, after Raine and Heather get Evelyn to admit that her WTF handling of Tenny was really more about trying to feel in control and in power again than anything tactically sound, Evelyn agrees to try building bridges with other occultists. It doesn't go very well, but at least she does put in an effort. There are two others that Evelyn has the contact information for left over from her mother and that she thinks might pick up the phone when they see the number. First up is a fellow named Aaron.

"Hello hello, who's this calling me then, hey?"

"You know who it is," Evelyn said, staring at the wall with her arms folded. "Hello, Aaron."

"And a very good afternoon to you as well, young lady. Caught me on my lunch break, you did, but I'd have made time anyway. Haven't heard from you in well over a year, Evelyn. How's-"

"One question. That's the only reason I'm calling. Answer it truthfully or I'll send an Outsider to kill you in your sleep."

Aaron started laughing, a real laugh, a little derisive, exactly as a normal person might react to such a threat delivered via phone call. "Evelyn, Evelyn, you always were over dramatic. What's the matter, hey? Do you need-"

"I think she's serious, Aaron," said Raine. "Hi, by the way."

Aaron went quiet. Background noise filled the call. Raine raised her eyebrows and spread her arms, surprised at the power of her own voice. I nodded, had to admit, that was pretty obvious.

"Oh, uh, hi, Raine. Hi. Glad to know you two are still close," Aaron said.

Aaron is too terrified of Raine to continue the conversation, and will only talk again once he's sure that Evelyn has distanced herself from her. We never get so much as a word of explanation for this for the rest of the arc, and I sincerely hope that we never get one afterward either. 15/10. Gold.

Next is Felicity, who Evelyn is considerably more hesitant to call on account of her both a) being much older than Evelyn, and b) having tried to hit on Evelyn since she was a preteen. Yeah, hard to blame Evelyn here, I'm on her side with this one.

Click. Line connected. Dead silence on the other end.

"Felicity? It's Saye."

Silence crept from the phone, like black waves, filling the room.

"Is that you or your pet?" Evelyn asked.

"Pet? Is that what you think I am?"

The voice from the phone was not remotely human. A nightmare approximation of young girl, squeezed through sulphur and darkness, high and giggling. The hairs on the back of my neck stood up.

"I'd take offence if you weren't so easy to tease," it rattled on. "My little beurre sucré. Bet you thought I'd forgotten all about you, didn't you? You-"

Evelyn slapped a hand over the phone's speaker. She rolled her eyes and waited for the sound to stop, then removed her hand.

"Evelyn? Evee? Evee?" A different voice was asking, low and soft, a hushed half-mumble. "Are you still there? Evee? Please-"

"Yes," Evelyn hissed

"It's me, I'm sorry about that. I was napping, she got to the phone first."

"I have a problem," Evelyn snapped. "Are you the cause?"

"Never. For you, never. Can I help?"

"No."

A long, long pause.

"Goodbye, Felicity."

"Be safe, Evee." A small choke entered Felicity's voice. "Can I see you-"

Evelyn killed the call with a jab.

So yeah. Not an option either.

The pressure continues to mount over the days. Tenny starts regaining her trust in Heather, but so too does the Brotherhood of the New Sun finish licking its wounds and renewing its shenanigans. Even moving as a group whenever possible, the girls can't always be in each other's company and still be part of society, and two out of three of them would rather keep working on their degrees if possible. I still feel like Heather should put that on hold for a year to focus on Maisie, and I'm still not sure when Raine even has time for classes in the first place, but lol ok. As Heather goes to classes, she starts noticing creepy little goat statuettes appearing on shelves and table-tops after her, sometimes accompanied by scrap of paper with weird glyphs and eyelike sigils on them. Heather brings some back to Evelyn for analysis, and they don't appear to be magical, but even if Alexander and Co are just doing petty harassment with these things it shows that they've still got a bead.

...also, while reviewing the text for instances of "goat statuette," a very similar looking statue was apparently sitting in the Medieval Metaphysics office back in arc 1. And it was also explicitly noted to have disappeared by the next time Heather went in there.

Huhhhhhh.

Well. I think Evelyn's security was never as good as she thought, but that's hardly a surprise lol.


Anyway. A potential tide-turner comes in the form of a reappearance by Twil. But there's so much to talk about there that I think I'd better split it here. Guess Katalepsis III will be a five-part review!
 
Since the Malcolm in the Middle and Bewitched reviews are both up on Patreon, I should say I don't have any plans to commission I Love Lucy, Brady Bunch, Growing Pains, and Modern Family episodes to complete the WandaVision bingo
 
Katalepsis III: "Conditions of Absolute Reality" (part five)
Twil's presence in this arc initially seemed like just a convenient plot device to save Heather, but by the end it's almost more like the Brotherhood of the New Sun was a plot vehicle for Twil to get more involved. Not quite, but almost.

During her uncomfortable, snippy stay at Evelyn's house, Twil is even more shocked than Raine and Evelyn when she hears what Heather did to that former cultist and now Honorary Fleaman.

Raine picked up on my mood. She stood behind me and rubbed my back, but Twil didn't understand what I was getting at. How could she? She'd been invincible and untouchable for years.

"What do you mean, you made him vanish?" Twil asked. "Just like, poof, into thin air?" She raised an eyebrow at Evelyn. "Is that even a thing?"

I looked away with a lump in my throat; didn't want to think about that right now.

"For Heather, yes," said Evelyn. "So it does work on living things."

"I don't get … oh." Twil's eyes widened and her voice dropped to a hushed whisper. "Wait a moment, you mean you can send people to, like, the other side?"

"Outside," I muttered.

"Yeah, that's what I said. Holy shit. You're not kidding, right?"

"Could you please not?"

Twil didn't press further, but she frowned at me like I was either crazy or a walking neutron bomb. Maybe she was right.

It makes sense. As Heather points out above, Twil is used to being able to survive at least a few hits from anything she encounters. Heather's offensive plane shifting is a rare example of something that being a werewolf will not protect you from even a little bit. It changes the way she interacts with Heather from that point onward.

"Don't start up again," I said. "Or I shall be angry."

Twil smirked and mock-cowered from me. "You're real scary when you're angry, you know?"

"As if I could scare you."

"You can make people vanish. That's pretty scary."

It's covered up with irony, but I don't think Twil would have "joked" like that before this revelation.

Anyway, Twil has been away pretty much since the immediate aftermath of the coffee shop incidence, after having been told not to tell her sect about any of this and to absolutely not name the three of them even if she does feel the need to. That was always going to be a tall order, considering a) how aggressively Alexander has been expanding and b) that Twil is already on his shitlist for the nightgaunt and coffeeshop interventions. It turns out that there may be another factor in play here as well, but it's not conclusive. Whatever factors combined to sway her though, Twil ends up ignoring Evelyn's demand and spilling everything to her Brinkwood clan. And, shortly after Raine and Evelyn's ill-fated attempt to reach out to other wizards by phone, they get a surprise in-person visit from the organization that calls itself the Church of Hringelwinda.

"Hringelwinda," of course, being an Anglo-Saxxon name given to the alien organism encysted underground near Brinkwood. The source of the wolf-like manifestation that Twil can channel thanks to the work of the sect's previous high priest, her grandfather. The current high priestess, meanwhile, is her mother. I could make a crack about Twil being a werewolf princess, but I get the impression that the church doesn't have more than a few dozen members at most, so that would be making much ado about relatively little. Anyway, three people arrive - Twil, her mother, and a cousin of hers - accompanied by a flying mini-Yog-Sothoth looking pet that just hovers ominously overhead.

The cousin was rather imposing, I'll admit. Six feet of badly dressed muscle, shown off in short sleeves, hairy forearms crossed over his chest. He must have been freezing without a jacket or a jumper on. The rest of us were all wearing layers against the cold seeping down from the dark clouds. Performative macho stuff, I suppose. He had one of those soft, doughy faces that couldn't quite grow a beard, but the fuzz on his chin put up a good fight all the same.

Twil's mother, on the other hand, was positively inviting. She wore a long patterned skirt and a shawl draped over her shoulders. Family resemblance shone through; she and Twil shared the same short, compact stature, the same sharp features, and dark hair—shot through with long streaks of grey in the mother's case. That surprised me. So rare to see an older woman with undyed hair, age on display. Heavy crow's feet crinkled the corners of her eyes, from a lifetime of too much smiling.

She used one on us, a warm smile.

"Oh, four of you?" she said. "That's more than I was expecting. I suppose I don't need to guess which of you is Miss Saye. I'm Christine Hopton, Twil's mother, though I don't doubt she's already told you that. Shall we shake hands?"

Christine's voice was soft and resonant, nothing like her daughter's. She offered Evelyn her hand.
Evelyn stared at her, then down at the proffered hand. In the corner of my eye I noticed Raine reach inside her jacket. The cousin noticed too, watching Raine. He unfolded his arms. My heart clambered into my mouth and my pulse quickened in my throat.

"She's not gonna trick you with a handshake," Twil said through gritted teeth. "Come on, Saye, this is my mum."

"Twil, dear," Christine said. "Let her do as she wishes, please?"

Unsurprisingly, Raine is the one to make the MILF jokes as soon as Christine is out of earshot. Even less surprisingly, Heather was thinking it long, long before Raine says it. :V

Also, say what you will about Evelyn's paranoia, but Heather definitely could learn to be slightly more paranoid. Especially after what just happened to her a week and change ago. And especially especially when it comes to infosec:

"Hello! I'm Heather, and yes, you're right, this is Evelyn. That's Raine, she's my girlfriend, and, uh, that is a demon bound inside a wooden mannequin. We call her Praem. Also Tenny is wandering around over there, but none of you can see her."

Christine stared for a heartbeat, then caught up and followed my lead, her smile very warm indeed. "Hello, Heather, a delight to meet you. Always nice to meet Twil's friends."

"Heather," Evelyn hissed.

"What? What?" I asked. "I am being polite. It's normal."

I love the detail of Christine momentarily gaping in incomprehension when Heather volunteered that information. Probably spent the entire rest of the visit wondering if that was a bluff, a flex, or just an attempt at rattling her with the unexpected. I doubt it ever even occurred to her that it could have been plain old naivete.

Anyway, at first it seems like they just want to offer an alliance against New Sun. According to Christine, Alexander has already been harassing the Church of Hrlwiffndf whenever members of it come to Sharrowford, and they think they've spotted agents of his poking around their own territory in Brinkwood. These events may or may not all postdate the nightgaunt incident (the timeline isn't specified) but regardless of who started it Alexander seems to think they're enemies now, forcing them to agree. I say "them" rather than "she" because the Church of Hadfwgqgra is apparently at least somewhat democratic, and this is a recent development for them.

"We vote, yes," she said. "On certain matters. There are less than thirty of us, it's more of an extended family than an open organisation. In this case, the vote was held between me, my sister, and my husband—our leading triumvirate. This isn't the bad old days anymore, Miss Saye. We're not blood-soaked witches dancing in the woods. We don't kidnap children at the behest of an abusive old man."

"Mum," Twil hissed. "Don't."

"You were not there, dear. Hush now."

TWIL: "We still eat babies mom, stop lying to my new friends!"

Sorry, couldn't help myself. Continuing the passage now.

"Why volunteer?" Evelyn asked. "Wanted to see the freak show for yourself?"

"No, not at all. I volunteered because this had to be done, but also for personal reasons as well. The vote carried two to one. The vote against, that was my husband. He thought it too dangerous, argued that any contact with the Saye family was too dangerous. I know a little of your family history, I know your mother is gone, that you have no guidance, no gods, no outside help, and now you are fighting a war by yourself, against some very dangerous people."

"A war I will win," Evelyn said.

"Good. We in the Church would very much prefer you do win."

She paused. A bait pause, for Evelyn to ask the follow-up question, to begin a real dialogue. She was good at this. I could learn a thing or two.

It even worked. Evelyn raised a silent eyebrow.

"Whatever happens in Sharrowford affects us too," Christine continued. "It affects all of us in the Church. All who have been touched by Hringewindla. We cannot decamp to another place, we can't flee to another part of the country, if Sharrowford ends up under control of a hostile power. Hringewindla cannot be moved. We will be forced to defend ourselves, and we will likely lose."

So, this sheds some light on Evelyn's outlook about the occult underworld. And also paints a picture of startling parallel developments in at least these two clans. If other magician sects and dynasties have been on a similar trajectory lately, then that's very encouraging.

By all accounts, the Saye family and the Church of Hweqtwry were completely right to be afraid of each other. Overthrowing their respective tyrants and adopting a less hostile outlook toward the world at large seems to have happened at its own pace within both groups. It's now just a matter of both of them needing to 1) finish unlearning the bad habits they still retain from the bad old days and 2) give one another the chance to prove they've done likewise.

On Evelyn's side of things, there are some extra personal issues she needs to grapple with before she can properly engage with the game theory. First of all...well, you might not believe me, since I didn't mention it previously, but you'll have to take my word for it when I say that I kinda predicted this:

I whispered to Raine from the corner of my mouth. "We need to have a word with Evee about her thing for Twil."

" … you're joking?"

"Just a hunch."

I mean, it makes sense. Your classic equilateral love triangle. I got the sense that Evelyn no longer being official with Raine happened at close to the same time as whatever briefly happened between Raine and Twil. Also, this is Katalepsis, the answer to a character-related mystery is always going to stand a good chance of being "even more gayness." Just pattern recognition at this point.

Evelyn's other personal barrier here is a much less lighthearted one. And, also, one that I somehow didn't predict despite it having been much more clearly hinted at in the preceding material:

"I don't trust you, and I don't like you," Evelyn said eventually.

Christine smiled and frowned at the same time. "You don't even know me, Miss Saye. But we don't have to be strangers."

"You gave up your own daughter for a mage's experiment. That's everything I need to know about you."

Oh.

Oh no. I winced, inside and out.

"That was a long time ago," Christine said, measured and tight. "And Twil emerged unharmed."

"Fuck you, Saye!" Twil barked.

"Twil!" Her mother barked much louder. "Language."

"I think I've heard enough," Evelyn grunted. She began to gesture a command to Praem.

But then I grabbed her hand and hopped up onto my shaking feet.

"Evee!" I said. "Evee, I must talk to you outside in the corridor. Um, front room, I mean. In private. Sorry, sorry everybody."

Like I said. Much more obvious in retrospect. Not sure how I caught on to the unrequited crush and missed this lol. But yeah, that definitely is going to bias Evelyn against the Church of Hqrqwegeqw and its leading family in particular. Even though Twil's procedure might not have been as dangerous or as involuntary as Evelyn's. Even though (as I recall) the guy who was running the show at the time has since been deposed and indeed executed.

...I wonder. Is part of Evelyn's general prickliness derived from a fear of letting anyone else get close enough to her for her to potentially abuse? Might that be part of why she pushed Raine away, in the wake of learning about Twil's family and being reminded of her own?

Also when Heather does take Evelyn aside to talk to her for a moment we see just how medically deficient in self-awareness Evelyn is lmao:

"You should have been more forceful," Evelyn said. "Don't show those people any fear." She sighed and smiled. "You could also have just whispered your council to me. Go on, out with it."

"First off, Evee, she's not your mother."

We both froze, Evelyn with shock, I with fear.

"What?" she almost spat, then lowered her voice and squinted at me. "Heather, what?"

I took a deep breath and tried to keep my cool. "It doesn't take a psychology degree to figure out what you're projecting here. Whatever Twil's mother did to her, it's not the same as how your mother treated you."

"I'm … I'm not … I … " Evelyn frowned harder.

"She's not your mother. Don't take that out on her."

Evelyn huffed and gritted her teeth. "All right, okay, maybe I was … I don't know!"

She actually didn't realize how obvious she was being there. Like, at all.

Heh, well. Heather might be hopeless at playing the tactical cards close to her chest, but Evelyn is even more hopeless about the emotional ones. That's almost as much of a liability in these kinds of snakepit arenas.

The girls all need therapy, repeat ad nauseum.

While they're aside, Evelyn does also expand on why she fears this group in particular, and it may be a bit more rational. I'm not sure why she didn't just lead with this when warning Heather about Twil's people in the first place, honestly. But, basically:

"Honestly, she doesn't seem too bad? Apart from the weird god stuff."

"Mm, exactly. You've really no idea what she's trying to pull, do you? You can't even guess?"

I shrugged. "Convert us?"

"In a manner of speaking." Evelyn smiled a thin smile. "I can guarantee what this is all leading up to. She's going to suggest I come talk to their Outsider, to solve my magical problem, and hope I'm stupid enough to do it."

"So it can do … what?" I frowned.

"It just wants more human minds to ride along with. You probably have to open up to it willingly, that's why their cult is so small and stable. Subverting me would be quite the coup."

I bit my bottom lip. "Okay, maybe you're right, but also maybe you're wrong."

"It's not worth the risk."

"I'm not suggesting we risk going to see their … thing." I waved a hand. "I'm suggesting we hear them out. She might not be trying to bait you at all. Between Raine, Praem, your spiders, and, well, me, you're incredibly well protected in here. Just listening to them isn't putting you at risk, is it? Correct me if I'm wrong. Can she do some weird mind-magic at you?"

Evelyn frowned in thought, then sighed. "No. No, she wouldn't be able to do that. Keep a watch for their servitor though, that might be dangerous."

I nodded. "It didn't come inside with them."

"Mm. So, we hear them out?"

"If you let Christine into the drawing room, and show her the map and the door, would any of that be dangerous?"

"No. Worst thing they could do is finish my own work." Evelyn shrugged. "Get into the shadow city themselves. Which would help me, regardless if they get killed or not. If I show her the map, eh, I guess they could avoid the most dangerous parts of the city."

"No harm in that, is there? Helping them avoid dangerous places?"

"I suppose not."

On one hand, this does sound like exactly the sort of creature you'd expect to run into in a setting like this one. On the other hand, it also sounds like exactly what a manipulative enemy leader would make up to scare their minions into not even trying to communicate with them.

With risks calculated and boundaries set, Evelyn challenges Heather to a little bet about who's being unreasonable about the Brinkwood sect.

"How about we make a bet, Heather?" Evelyn leaned toward me with a funny little smile on her lips, hunched over her walking stick. "If she brings up talking to their god, I win. She doesn't, you win."

I smiled back, despite the gravity of the diplomacy. "You like gambling, don't you?"

"A little, I admit. My father bets on horse racing. Doesn't do very well."

"We'll have to make it fair though. Promise not to lead Christine into the idea of talking to her Outsider."

"Promise. Fair and square." Evelyn nodded seriously. "If you win, I'll give you … five hundred pounds."

My eyes popped out of my head. "What!?" I caught myself and glanced into the front room, then lowered my voice. "Evee, no, that's so much money."

"I can afford it."

"I can't. I … I'm sorry."

"I'm not expecting you to. If I win, I'll buy you an animal onesie, a … cat, I think, and you have to wear it for a whole day, on a weekday, to class and everything."

I boggled at her, not sure if I was hearing this right. "E-Evee?"

"I'm deadly serious, Heather. I will hold you to it."

"I'm not sure I can agree to that."

"Put your money where your mouth is." Her lips quirked with a concealed, dark amusement. "If you don't want to, I can just shoo Christine and her muscle out the door."

I sighed and frowned at her. "You have unexpected depths, Evelyn Saye."

"This is what you have to deal with if you want to be my friend." She shrugged, then broke into a smile—a real, big smile, one of the most genuine I'd seen on her.

"Oh all right. I'll dress up as a cat for you, if that's what you want. You're not trying to make Raine jealous or something, are you?"

She laughed. "No, I suspect she'll enjoy it much more than I will."

Heh. Cute. Can totally see Heather rocking the catgirl aesthetic, though it might trigger some atavistic hostility if Twil sees her like that.

Anyway it's all fun and games until Evelyn wins.

Evelyn shows Christine her partial map of Alexander's spacewarped fortifications where they overlay with Sharrowford, and lets her look at the (thusfar totally unsuccessful) attempt she's been making at a backdoor portal she's been trying to brute-force-connect to his inner sanctum. Christine says she doesn't know any way to improve on Evelyn's experimental attack-portal, but she knows someone who might.

"I think you are a remarkable young woman. I didn't understand even a fraction of your working in there, that 'gate' you're constructing in the wall."

"Neither do I. That's the problem."

"Yes, yes, I quite understand." Christine nodded her head. "Which is why I believe we may be able to provide the missing pieces of the puzzle."

Evelyn's gaze flickered to me and away again: Here it comes. "Oh?" she said to Christine, and waited.

"The angular principles, the gate and the key, the ways between the spheres. This we know, or some of it, though in a different form to the one expressed in that magic on your wall. We know it, because Hringewindla knows it."

A sinking feeling settled in my belly. The threat of dressing up as a cat for a day served to distract only very slightly from the fear this meeting was about to erupt into violence.

"I believe if you were to commune with Hringewindla," Christine continued, "and ask honest, intelligent questions, he may be able to provide the missing pieces for your working."

Evelyn sighed, a sardonic smile on her lips, and turned to me. I shrugged and swallowed.

Now, this might still be paranoia and innocent misunderstanding. After all, if Hfewragqrh really did teach its worshippers all the magic that they know, and dipping into its knowledge base is how they've dealt with threats in the past, then it makes sense for Christine to advertise its teaching to Evelyn. That's not necessarily a subversion attempt, or even an evangelism attempt. There's a good chance Christine would do this if Hrafjreklrgjl isn't a mind-controlling entity manipulating its hosts' behavior to bring it more hosts.

But then, when Christine acts offended at Evelyn's insinuation that she's trying to trick her, Evelyn replies that she's not accusing Christine of trying to trick her. Christine probably doesn't even know that that's what's being done. Evelyn is speaking directly to Hrgjerhalgjw when she demands that it cuts this shit out right now, she knows it can hear her.

Christine just looks bemused at first. But then Evelyn says that if she goes to meet Hrtegqretq, she'd like Heather to come along too, and that Heather is something called a "blink witch." In response to THAT, Christine's expression goes odd for a second, and Heather sees the pneuma-somatic tentacle lashing around behind her eyes. Heather only catches a split-second glimpse of the central body it leads back to in the extradimensional space visible through Christine's brain, but in terms of its scale relative to its human host she describes it as "a planet hiding behind a cloud." After the appendage of Hgikfgje takes an unfiltered look at Heather, Christine suddenly starts agreeing with Evelyn that perhaps they ought to think about this a little longer before making any more introductions.

So. Yeah. Hdwjlfkjd actually is biologically tethered to its "worshippers." It can see and hear through them. It can modify their behavior to at least some degree, without them being any the wiser. It knows when it's being talked to. It understands the human world enough to have a reaction when someone calls its deceptions out.

That's the subversive element I mentioned in the previous post. The characters all have to confront their biases here, but...sometimes biases lead to correct conclusions. Evelyn was right about the Church of Herflrjhwer both in letter and in spirit. She may or may not have been wrong about how they've been treating Twil, but in terms of what their organization fundamentally is, well, she was just right. Heather was just wrong. She completely brought the cat ears down on herself.

...

This also answers one of those big questions I had about the setting. Why occultists are so hostile to one another by default, when it seems like sharing knowledge should be obviously mutually beneficial. Well, if entities like Heflwgjhwlf are just a fact of life for occultists in the Katalepsisverse, then that explains it.

What we're looking at is the product of an ongoing war between wizards and behaviour-modifying parasites.

You can't be sure who's infected. There are informational infection vectors. Anyone who tries to share knowledge with you might very well be trying to use that knowledge to expose you to their controlling entity. You need more power to defend yourself from proactively hostile parasites who will come after you for already knowing too much, but you can't trust anything that anyone tries to share with you.

Yeah. Those material conditions could indeed result in a Dark Forest nightmare situation like Katalepsis' world of wizardry.

Now, with that said, this situation with Hdafnqwrgrlqkw specifically might not be as bad as it seems. Depending on what the entity actually wants from its hosts, how much it's controlling them, and how much of their more objectionable behaviour was down to human rather than alien elements. The secrecy and trickery about what it's doing is a very bad sign, but still, it could be borne of bad experiences with outsiders, with the entity's relationship with its initiated being earnestly mutualistic.

But...probably not. Much like the Eye itself, at a certain point it doesn't matter if an entity is wilfully malicious or not. We haven't seen enough to know that Hadfjrlgfdhg is passed that point, but the signs are all pointing toward bad.

...

Evelyn dismisses the group, declaring that she was a fool to have even entertained the possibility that their master was permitting them to act in good faith. Twil and her relatives morosely return home to deal with New Sun on their own if they can. Regardless of what they themselves thought. Oh well. So much for that.

After the fact, Heather - still a little traumatized by her glimpse of the symbiont when it peeked out at her directly from Christine - asks Evelyn what that "blink witch" business was all about (well, technically it's a proto-Germanic word that roughly translates to "blink witch," but I'm not even going to try a button-mashing approximation for this one). And, the answer ends up being much more interesting than Evelyn herself realized until after she says it.

Evelyn pulled a grimace. "Mm, 'blink witch' would be the literal translation. It's used to mean a sort of prodigal child who can perform magic at the speed of will, without difficulty, usually refers … to … " She slowed down and trailed off, staring at me. "To twins. Ah."

"Oh," I said, very softly.

"Well, it's still not you. Medieval nonsense. Point is, Higgly-wiggly inside her head knew what I meant, and that got him to examine you. Probably terrified you might pose a real threat, so no dice. Meeting cancelled. Verboten."

Wooh boy is that a big revelation to come with such nonchalance and frankness. I'm also a little surprised that Evelyn didn't make the connection herself before pulling it out for a bluff and only then realizing that it wasn't a bluff at all.

...

Other cases like Heather and Maisie have existed in the past. Seemingly without one of the twins needing to be edited out of reality first.

There are a few possible explanations for this, but I think the most intuitive reading is that the sisters were indeed special to begin with, and the Eye of Mdlkthpk was only drawn to them by that preexisting quality. "Blink witches" are useful or interesting for it. Either as an invasion vector as I mused previously, or for some other more benign (at least, for everyone except the abductees themselves) purpose.

As for why the spontaneous casting talent only ever occurs in twins to begin with...no idea. Insufficient data to make any sort of hypothesis. It might still be related to the twin-telepathy phenomenon, but if so I feel like the latter is more likely a symptom of the former.

Hmm. For that matter: I wonder if Hwwifdglffgd got nervous about Heather and Maisie themselves, or because it detected Mdlkthpk?

...

Two final developments finish out this arc. The first, several hours after their car departs back for Brinkwood, is Twil's defection. She sadly knocks on the door, after having gotten out of her mother's car and walked back to Sharrowford through the rain. Everyone in the Church of Hetqrwefe knew that they had a piece of their god resting within them, but they didn't know that it could control them. At least, most of the membership don't know. The leading triumvirate may or may not know. Twil challenged her mother about this, and ended up triggering a fight that resulted in her limping her way back to Evelyn's.

Interestingly, we also learn that Twil herself is an exception to the cult's usual infected status. The wolf-thing that she's bonded to isn't an outgrowth or extension of Hwqdfwee; it's an unrelated entity that was summoned or created using knowledge provided by Hfwretqewf. And, apparently, she can't be a host for both the wolf-entity and Hwqerqwerqw at the same time.

This is probably the real reason why they only ever made one werewolf. It's not that the procedure is too difficult or dangerous, it's that Hferfrwfadd is worried about having too many uninfected insiders.

Twil and Evelyn spend the evening alone in Evelyn's room. Probably just talking and coming clean to each other about things. Traumasex is a possibility, but probably not likely for at least another night or two.

Then, the second development happens, and this one leads to a cliffhanger ending for "Conditions of Absolute Reality." It also, incidentally, is the only part of Katalepsis thus far to actually manage to spoop me. Katalepsis bills itself as being at least partially a horror story as well as the other, fluffier genres it intersects with. Maybe this is just my jadedness to Lovecraft-adjacent works, but I never felt really afraid or disturbed by anything in Katalepsis. Until now.

Lucidity seeped into the dream in layers, across inch by slow inch of brain matter. I wriggled out of bed and left Raine behind, fast asleep.

I ventured out into the dark corridor on bare feet and felt my way along the wall to the stairs. Distant and floaty, my body still knew the location of each creaky floorboard, how to tread to avoid waking either my lover or my best friend. I wound my way downstairs in the darkness.

Halfway down, my addled mind asked why I was dreaming about the house.

The question wasn't urgent, filtered through layers of dream logic and emotional detachment. My body felt both leaden heavy and light as a feather at the same time, moving like some abstract extension of my mind; like seeing one's own disembodied tongue wiggling in a mirror, back and forth, back and forth.

Why the detachment?

Perhaps because Lozzie was absent from this dream. Where'd she gotten to? I hadn't seen her in a while, had I?

Had I?

My hand on the banister, my toes curling against the cold of the front room, goosebumps on my exposed forearms and the back of my neck.

I stepped into the kitchen. The dream details were impressive, I had to admit, from the weak moonlight outdoors, through the dripping remains of the storm, to the dirty plates and utensils from the late meal we'd all eaten together. Twil hadn't been too happy, but she'd been recovering, she'd managed a couple of jokes, a little light ribbing with Raine.

Twil and Evelyn had spoken, for over an hour, without any raised voices. Twil had seemed better afterward, if only by a very small degree.

I wondered if the dream had replicated her too. I wandered over to the utility room to check.

Yes, there was Twil, curled up on the old broken-backed sofa beneath a heaping of blankets, which Evelyn had insisted on bringing downstairs. Evelyn had offered her a spare room, but our little werewolf liked the look of the sofa, the way it sagged in the middle.

Her curly dark mane spilled from under the sheets. Idly, pretending disinterest, I did something I'd never be able to do while awake, if this were real; I stroked her head and felt the luxuriant softness of that hair. Poor little werewolf. Came to us almost crying. It's okay, I'll be your friend, and so will Evelyn. Not sure about Raine.

I picked up a lock of her hair and sniffed it; rainwater, sweat, Twil-scent.

Not like wet dog at all.

I giggled in the moon-touched darkness, then covered my mouth, not wanting to wake her. A good girl, yes, even in a dream, my mind reminded me. Reminded me, my mind. Minded me, it did. I giggled again and quickly tiptoed out of the room.

Heather continues to "dream" about walking around the house while everyone else sleeps until she hears a crying sound from Evelyn's workshop. It's Lozzie, poring over the attack-portal that Evelyn has been trying to connect to the enemy base. She tearfully apologizes to Heather, explaining that Alexander is forcing her to do this, and tells her that she's managed to work a secret escape route into the Brotherhood of the New Sun's dimensional fortress that she can only hope Heather is able to use.

Heather isn't sure what to make of this. Then, she wakes up, and finds that it was actually herself poring over the portal making additions to the runes and carvings. Once again, memories of Lozzie are slipping out of Heather's mind as she leaves the dream state and finishes waking up.

Remember how Lozzie was described as having a weirdly slow, zombielike motion to her, during the one time Heather saw her in the flesh? Yeah. Looks like Alexander can also do that to other people's bodies through her dreamspace connections.

The portal activates, and Zheng the zombie-lady pulls Heather through. A pair of waiting New Sun cultists tie her up securely while avoiding skin contact as the portal closes behind her.


That's arc 3. Like I said, the ending feeds right into a more kinetic conflict arc.

Not sure how much I can say in analysis of this arc on its own. I think I'll have more to say after finishing the next one.
 
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New Statesmen: finale
"What was the point of this?"

I've asked this about many different segments, from many different works. And about a good number of works in their entireties. I don't think I've ever been made to ask it as emphatically as I am about the final chapters of New Statesmen.

Well. There are some good things in here. For instance, observe this kingfisher as it snatches a little minnow while Dalton and Vegas are talking in the midground:


Is that not a well-drawn kingfisher? It's very detailed, and it captures the motion of the animal really faithfully. On top of being very well illustrated, it is also a cute kingfisher. I hope it enjoys eating that minnow it caught. If it has chicks, I hope that they enjoy the minnow as well.

This is the high point of these last five issues. These are the only panels from them that have even a small chance of me remembering them a week from now.

In response to having some of his skullduggery exposed (or...maybe? I kind of feel like this was all in the process of happening anyway, considering how well Phoenix appeared to defend himself in the court of public opinion on TV), Phoenix starts rallying his followers for war. When the overly conciliatory governor of California gets assassinated during a miquetoast speech trying to get everyone on both sides to calm down (not clear if the shooter was a christofascist or a counter-demonstrator), Phoenix's followers launch a massive terror campaign throughout the United States and in California particularly. Cue multiple pages of gay people being shot and beaten to death in the streets, cars full of children tumbling into the water when the Golden Gate Bridge blows up, cute animals burning to death in a flaming zoo, you get the picture, etc.

And then, apparently, it's time for the boss fight with Phoenix.

While the riots and terrorism are going on, this other New Statesman named Burbank who I don't think has been all that relevant until now is sent to assassinate Phoenix. He fails.

Also, when Burbank finds Phoenix, he's meandering through the blood-filled streets of LA and petting a dog whose owner is laying around in pieces. And then, after Phoenix kills Burbank, he kills the dog too.


I lol'd. Hope the fish kid was around to see this, he'd have loved it.

After killing the dog, Phoenix moves on toward San Francisco to...um...apparently he wants revenge on the main characters who (maybe? I'm not 100% on the chain of cause and effect here) aired his laundry and triggered this breakdown. Again, not sure how or even if that is actually what happened, but that's how it seems at this point. He starts bullying Dalton and Vegas, interrupting their idle conversation about how much of a bitch Meridian is, while Meridian and Burgess are off poking around at the carnage from that hippy massacre.

Right. There was that convoy of hippies that ran into a United States military secret whatsit in the middle of the desert and all got murdered. Seemingly independently of anything else that had been happening in the story. Meridian and Burgess are still looking into that when Phoenix attacks the other two in San Fran.

And, um. Apparently Phoenix has been literally eating people's intestines on his way here. I thought it was just figurative at first, but rereading this page's dialogue I really, really don't think that it is.



Amazing. Truly phenomenal.

The running battle through the streets, sewers, and (for some reason) museums of San Fransisco is a decent one, as superhero fight scenes go. One gets the impression that Phoenix is definitely the most powerful of the omnimen, but also pretty overconfident in his power. He's more than a match for any one of the others, maybe even any two. He does make an effort to divide his targets and deal with them one by one, but he was still pretty rash to enter a situation where there was even a strong possibility of himself getting ganged up on. Vegas is the first of the four to be attacked, and manages to be defiant enough to keep Phoenix busy long enough for the others to catch up. Meridian plays battlefield control, using her psychic links to coordinate the group and keep Phoenix from isolating more of them, while Burgess and Dalton run interference. Pretty characterful in how they fight overall.

There's also a lot of just-plain-weirdness to this sequence. Not sure if it's good weird or bad weird, just weird. Like, there's one part where Phoenix manages to subdue Burgess in the museum whose wall they just broke through and starts doing...this:


Is this supposed to be him doing a homophobia? I think it is? Would certainly be in character, given that LGBT are his movement's number one punching bag. Still. Weird.

Weirder still is this soap opera-esque drama that happens right before this, when Meridian and Burgess manage to outmanoeuvre Phoenix and catch up to him when he's about to finish off Dalton. This is so eleventh hour I don't even...okay, so like, in the last couple of chapters there was this one or two page subplot about a love triangle between Dalton, Burgess, and Meridian. I didn't talk about it at the time because there was virtually nothing to say, and it was given very minimal attention or narrative importance. But, now Phoenix telepathically divines what's been going on between them, and uses it to try and tempt Burgess to the dark side.



There wasn't nearly enough setup for this to be a payoff to, though.

And also...Burgess has plenty of other, much more serious, personal demons that a telepathic villain could pick at in a dramatic final encounter. Every fourth sentence out of Burgess' mouth throughout the comic is about how he has PTSD. Why are we just leaving THAT angle of attack fallow while leaning into the tacked-on love triangle?

The weirdness, and also the out-of-nowhere focus on romance, then redoubles to bring this otherwise decent final boss setpiece to an utterly anticlimactic end. I don't think this was ever talked about before now, but apparently Meridian and Phoenix used to have a thing back when they were all killing brown people for Uncle Sam together. Maybe it was mentioned a little? Hinted at? Maybe? I'm straining my memory and leafing through the earlier chapters, and I'm not seeing it. Maybe this is a me problem. Well, anyway, with Meridia the last woman standing and the other three all dead or wounded, she finds that her residual emotional link with Phoenix lets her get under his psionic defences, and her other emotional link with the wounded Dalton lets her channel his pyrokinesis into Phoenix's brain.


Once again, I feel like this is satisfying payoff for setup that never happened. The comic could have been about Meridian's loves and how she deals with them now being at war, but it wasn't.

Anyway, Phoenix burns to a crisp like his namesake, and the fight is over. Very abrupt. Very anticlimactic.

Then...uh...there's a whole epilogue chapter about how the New Statesmen are all slowly dying from a genetic flaw in their creation, and how when they die all their psi-energy is being fused together to create an apocalyptic demonic entity called the Angelus.


And also the government has been working on another batch of optimen, even more powerful than this old dying crop. I thiiiiiink the implication is that the hippy convoy was murdered for stumbling their way into the creation lab? Maybe? I don't know why the feds would slaughter them all instead of attracting much less attention by turning them away at the fence of this "experimental radar facility" or whatever, but, well, you know.

We never find out what sequence of events led to the apocalyptic war from the intro. I guess remnants of Phoenix's organization probably played a role? And probably the new optimen batch? And probably that Angelus thing too? I think? Probably?

The end.


What was the point of this entire plot? Why was there even a story about fighting Phoenix if he was incidental to the more important stuff? Or, rather, why did we get an intro and outro about that more important stuff if the main body of the work was just a smaller-scale story about fighting Phoenix that isn't relevant to that?

Also, what was the point of the whole "statesmen" thing anyway? The optimen being assigned to the states was a centrepiece of the intro-exposition, but I don't think it was ever actually relevant to the story at any point. You know. The thing this comic is NAMED after. Why is it named that? Why is it a thing?

What was the point of literally anything in this entire comic?

My best guess, granting maximum charity to the creators, is that they intended for the Phoenix arc to just be New Statesmen's opening adventure. If this was meant to be a whole setting with a bunch of stories taking place within it, all ultimately culminating in the apocalyptic scenario with the world war and the Angelus and whatever, then I can understand the first story having a narrower scope. The outro would then be the creators trying to cram the rest of their ideas in at the end after realizing that no one wanted to read this comic and they'd never get to publish more of it.

If there was meant to be a lot more New Statesmen that the authors never got to put to page, then...well, I guess that's sad for them, but I also can't bring myself to say that it's any kind of loss to the world.

Aside from its occasional bits of prescience regarding American politics which I've praised throughout the volume, New Statesmen is a miserable product. A miserable product, and the herald of a miserable era for cape comics in general. This had to have been one of the first follow-the-leaders of Watchmen, and good god does it set the trend of mistaking that comic's style and its substance while ramping up the "subversiveness" (read: juvenile edge) beyond eleven. Everything wrong with 90's comics is foreshadowed to the point of blueprinting in New Statesmen.

The art isn't great either, barring a few exceptions.
 
The reason I bring this up here is that Leila's reviewed some very symbolism-heavy works in the past and has more of them coming up, so I was interested in her thoughts on this. Though I'd argue Lain and especially Utena, while heavy on symbolism, aren't solely symbolism

Symbolism without good story telling is basically a more pretentious version of people who try to make stories by gluing together tv tropes.
 
Symbolism without good story telling is basically a more pretentious version of people who try to make stories by gluing together tv tropes.

Though I was also thinking of stories where the symbolism is the storytelling, or where the symbolism is the selling point. Granted, those are usually extreme niche cases, talking nigh abstract surrealist stuff here
 
Action Comics #1
This review was comissioned by @Gun Jam.


Action Comics' 1938 debut wasn't the beginning of DC as a company, but it marks the point when DC really started to come into its own as a publisher and began its growth into a nation-infusing pop culture juggernaut. Both because it was an anthology series with a diverse range of content from numerous contributors that could keep a large audience on lockdown, and because of one particular piece of content that...oh who am I kidding you all know what I'm talking about.


I'm not entirely sure that Superman really was the first superhero. There were various pulp magazine and early comic adventurers and vigilantes who had some combination of "secret identity," "unique powers," and "garish costume/callsign." I've already reviewed "The Living Shadow," which came out nearly a decade before AC1. There's also at least one other new character introduced in this same AC launch issue as Superman, a fellow by the name of Zatara, who fits at least nearly all of the cape criteria. But, even if he wasn't exactly the first, he was absolutely the codifier. The naming scheme, the spandex uniforms, the confluence of all rather than just some of the genre codifiers I listed above, we have Kal "Clark Joseph Kent" El to thank for all that.

Having now read Action Comics #1, I wonder if part of the reason why Superman had so much more influence than other adventure serial protagonists of his time isn't actually because of that combination of elements, though. See, reading 1938 Superman alongside its temporal peers, what jumps out at me the most is how much better it is than anything else in the issue. The stuff that ended up catching on and being copied - the spandex, the dual identity - may have been totally incidental to what actually made Superman such a success. Really, it just happened to be better drawn and better written than the era's standard. If Joe Schuster and Jerry Siegal had done something else instead of Superman and brought the same effort and skill to bear, I think there's a good chance that that would have been DC's big runaway success.

Anyway. Something that @Gun Jam said that they wanted me to do was comment on Superman's original portrayal and how it differs from the version most of us think of today. So, I'll focus on that primarily.


Superman's origins are established very tersely. His home planet hasn't been named "Krypton" yet, and the concept of him drawing his power from the sun is also not present. Rather, his powers are supposedly down to his species having spent many millions of years' worth of evolution within the humanoid body plan, and thus natural selection has had a chance to optimize it. Not how evolution works, but I mean, this is fucking Superman lol.

Interestingly, there are a few bits that imply that underneath their human-looking exterior, Clark's species have as much in common with insects as they do with mammals. That's an interesting scifi detail that seems to have been totally dropped in later iterations.

More importantly to who Superman is as opposed to what he is, there's no adoptive midwestern farm family. The motorist who found baby Clark Kent's space pod brought him to an orphanage, and there's no mention of adoption.



We go straight from there to Clark's adulthood, with him working as a news reporter while going out in costume to fight for justice. It's very important to understand that what "justice" means to this version of Superman is not necessarily what it means for his later iterations. Remember, this Clark Kent wasn't given an archetypally wholesome smalltown USA childhood. He's an orphan who joined the workforce at a young age before eventually making it into journalism, and it shows.

His first ever "onscreen" adventure has him breaking into a governor's mansion in the middle of the night to force the governor to belay the execution of a convict Clark knows to be innocent. The first bullet we ever see his skin deflecting is fired by the governor's bodyguard, and that same bodyguard is the first enemy combatant we see him knock out. He also takes pains to operate at night when he can get away with it, and to minimize his exposure to police and press. At the point where we start following him, Superman has managed to keep his existence mostly secret from the public, though rumors are slowly emerging and he knows he won't be able to keep it up forever.



His relationship with The Law is ambivalent at best. In a way that foreshadows Batman much more than it does Superman's own later incarnations.

But hold on with that, we're going somewhere else with this train of thought in a little bit.

Superman's more covert modus operandi is necessitated in part by him not being all that powerful yet. He can outrun a car, punch through a steel door, or leap over a tall building, but he can't fly or throw buildings around. His skin is bulletproof, but the captions explicitly spell out that an antitank shell would get through. Part of it is also down to personality. Partly to avoid suspicion and keep himself out of situations where he might need to use his powers in public, partly out of personal temperament, Clark Kent out of uniform really is a mild mannered reporter. I wouldn't go quite so far as to call him a loser, but he doesn't get the respect he feels he deserves, and he's actually bothered by not getting that respect. There's some genuine angst brewing under that repression.

This is best explored when he manages to get attractive coworker Lois Lane to go on a date with him, and she ends up getting disgusted with him when some drunk guy at the club starts harassing her and he timidly backs off for fear of getting into a fight and revealing his strength.



The jerk turns out to be a gangster, and he and his buds end up chasing after Lois to teach her a lesson about humiliating him in public like that. Clark sees them tailing her out, and quickly changes into his Superman outfit to save her. The way she reacts to him now - this hypermasculine demigod who protects her in a way that her date just failed to do - leaves Clark in visible pain after he drops her off and vanishes. Wishing he could just be himself while also being himself.

A bit of that resentment seems to come out when Clark is in uniform, in his tendency to engage in mean-spirited snark at his enemies' expense.


Panels 2, 3, and 4.​

He's actually pretty dang funny, sometimes.

When his enemies are rich slimy types in particular, he can get downright nasty. Not in a Geneva Convention violating way (not that that was a thing yet in 1938, but you know what I mean), but still, harsh.



In other words, the OG Superman was, in fact, Spiderman. There might be a few preludes to Batman in here as well, but it's mostly Spiderman. Spiderman was the first superhero.

...

I now genuinely believe that Spiderman's genesis was the 1960's Marvel crew looking back at early Superman and going "I wish DC still did that."

It was just straight up a Superman retroclone.

...

Clark Kent having a real inner conflict is a big part of what separates "Superman" from the other stories it shares Action Comics #1 with. The other adventure heroes in this comic book don't have anything close to that level of complexity.

Another thing that separates it is the degree to which it shows rather than telling. Superman does rely heavily on third person narration in the captions, but it relies on them notably less than most of the others. The reader is allowed to glean a lot about both the plot and the characters from dialogue and thought bubbles, rather than it all just being dryly exposited at the top of the panel. It shows either greater respect for the audience's reading comprehension, or greater skill at storytelling. Possibly both.

Yet another is the art quality, especially when it comes to portraying the "action" of these action comics. Like, compare these two panels from "Superman" and a western piece called "Chuck Dawson:"



Joe Shuster knew how to draw the human body in motion. He could capture effort in a character's face and muscles, and he could show the resistance as bodies pushed or bounced off of one another. Most of the other artists in Action Comics #1 were a lot closer to the Chuck Dawson level. There's plenty of good art in these other stories, but precious little in the way of good action art. Given the title of this publication, well, it really isn't any wonder people liked Superman the best just based on its visuals, before getting into the story itself.

On that topic, remember that "Zatara" thing I mentioned at the beginning? Zatara is actually a really interesting point of comparison. If Spiderman was a retvrn to tradition for cape comics, then the first episode of Zatara is almost a look forward at what Superman would eventually morph into.


Zatara is a crime-fighting wizard who goes out in a stage magician outfit and a bunch of similarly circus-themed minions (some of them very painfully racialized). He coordinates openly and eagerly with the police. His magical powers are flexible and ill-defined to the point where it's hard to tell what's a challenge for him and what isn't. As far as character development goes, he's bland at best and a black box at worst, the story entirely focused on the minutiae of his fight with the current villain rather than the hows or whys behind his participation in it.

He might not be nearly as powerful as later Superman, but in terms of ethos and narrative focus Zatara is absolutely a premonition of what Superman would eventually be watered down into. It's ironic that Zatara was overshadowed by Superman in the beginning, and that the publisher realized Superman would be a better sell even before the fact when they decided to put him on the front cover. Zatara is boring.

I will say in Zatara's defence, though, that his mind control spells being in Black Lodge language is pretty kawaii.



So he at least has that going for him.

The rest of the AC1 lineup is variable in quality. It's mostly comics of the vigilante detective, sports drama, or cowboy revenge quest persuasions, but there are also some illustrated prose pieces. One of these in particular, a fictionalized account of the travels of Marco Polo, caught my eye. Mostly by virtue of its accurately garish depictions of period clothing.



It's really too bad that at some point everyone decided the past was all muted whites and browns and greys. If you look at any art or artifacts actually from the middle ages, it's clear that people back then put a lot of pride and effort into making the most of their few, labor-intensive articles of clothing. So, it's nice seeing an illustrated work from before that brainbug set in.

The writing itself is unfortunately dry, and the author doesn't do much to make Marco a real protagonist rather than just a hovering video camera to explore the medieval world through. But, I do like the character and clothing art. And also appreciate the generally nuanced (if dull) portrayal of nonwhite peoples; some of the other stories are unfortunately much closer to what you'd expect from 1930's American race relations.

...

Did 1200's Europeans actually refer to the Abbasids as "Babylonians," though? There's one panel where they refer to the caliphate's ships as "Babylonian." Was that a thing? Maybe it was a thing, idk.

...

Some of the others are okay. The cowboy one is perfectly readable, if very formulaic. There's also a little four-page slapstick comedy bit called "Sticky Mitt Stimson" about a halfwitted burglar using hairbrained schemes and disguises to just barely put one over on the equally halfwitted police that I liked (as much because of how uncannily close its art style is to "Beetle Bailey,' which was made decades later by a different creator). But...I don't really feel like I have too much to say about them. It's not just the fame retroactively making me give it more attention; Superman really was that much more interesting than its friends and relations.


The changes Superman underwent in the following decades look almost sinister now, seeing where he started out and what kind of ethos he originally espoused. Before he was a champion of "Truth, Justice, and the American Way," Superman's political outlook was like such:



And yes, this plot thread leads to him taking out a corrupt warmonger in the US Senate. I guess we can add Raiden to the list of characters who are closer to OG Superman than later Superman is.

World War 2 and its rally behind the flag effect probably did some of the damage here, but much more of it was done by the postwar red scare. And it was done on purpose.
 
Yeah. The way the red scare pushed the anglopshere back rightward is terrifying when you look back on it. There's this, huge void in the 50s and early 60s that no one talks about were it feels like all the hope that social deomocracy promised (ignoring for now if it was ever interested in fulfilling those promises) evaporated away.
 
It's not just the Red Scare, though it probably was an impetus to the final evolution - certainly I think there's a conversation to be had about Seduction of the Innocent, the Comics Code Authority, and where they fit into the anti-Communist conservatism of the 50s. But having read a lot of the comics of this era, even as early as 1940 Superman was evolving away from the characterization here. He was becoming more public, less socialist - though certainly not entirely, the 1941 newspaper comics spent most of the year dealing with a crooked landlord and his attempts to kill Superman - and definitely less prone to snark and rough interrogations, though again, still not entirely. Him using a flagpole to hurl a couple of crooks long distance remains one of my favorite sequences from this era.

And beyond that, there's the red, lightning-powered elephant in the room: Captain Marvel.

It shouldn't surprise anyone that Superman spawned a horde of imitators, but Captain Marvel was the only one who was outselling Superman. From what I know, throughout the 1940s, and especially in the years after WW2, Superman was progressively retooled to be more like Captain Marvel. I.e. a lot more conservative American wholesome and righteous. By the time the 1950s rolled around AFAIK Superman was already a bright, cartoony, child-friendly book. The events of the 50s just cemented that take in popular consciousness for good.
 
I think there's an interesting conversation to be had about the ways in which Superman started as a very Jewish Moses/immigrant metaphor and was almost gentile-icized around the same time as he was watered down, and the ways in which trying to use him as a stand-in for all immigrants has both been beneficial in telling meaningful stories but also does ignore his originally strongly-Jewish context.
 
I think there's an interesting conversation to be had about the ways in which Superman started as a very Jewish Moses/immigrant metaphor and was almost gentile-icized around the same time as he was watered down, and the ways in which trying to use him as a stand-in for all immigrants has both been beneficial in telling meaningful stories but also does ignore his originally strongly-Jewish context.

It's Jesus all over again.
 
Did 1200's Europeans actually refer to the Abbasids as "Babylonians," though? There's one panel where they refer to the caliphate's ships as "Babylonian." Was that a thing? Maybe it was a thing, idk.

Well a quick search of Marco Polo book finds babylon mentioned a bunch of times, like this one:

Marco Polo said:
Now, about the time that they reached Layas, Bendocquedar, the Soldan of Babylon, invaded Hermenia with a great host of Saracens, and ravaged the country, so that our Envoys ran a great peril of being taken or slain.

The footnotes clarify that "Babylon" here means Cairo, so yeah the comic is correct!

Footnote said:
"Babylon," of which Bundúḳdár is here styled Sultan, means Cairo, commonly so styled (Bambellonia d'Egitto) in that age. Babylon of Egypt is mentioned by Diodorus quoting Ctesias, by Strabo, and by Ptolemy; it was the station of a Roman Legion in the days of Augustus, and still survives in the name of Babul, close to old Cairo.
 
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It's Jesus all over again.
Christianity would be much more interesting if instead of Jesus coming back after three days and then disappearing again it had Last Son of God Jesus, Teen Jesus, Power Armor Jesus, and Cyborg Jesus all fighting each other over which one gets to be the real Jesus following Jesus' death until the real Jesus shows back up and says "I'm the real one, sit the fuck down."
 
That's an interesting scifi detail that seems to have been totally dropped in later iterations.
I have seen it occasionally referenced loosely, or be treated as a nightmare early in Clark's life when he's trying to figure himself out and is unsure of his heritage, plus one of the "Evil Superman" movies, Brightburn, spent a lot of time comparing their evil kid superman to a parasitic wasp...
On that topic, remember that "Zatara" thing I mentioned at the beginning? Zatara is actually a really interesting point of comparison. If Spiderman was a retvrn to tradition for cape comics, then the first episode of Zatara is almost a look forward at what Superman would eventually morph into.
His daughter eventually became much more popular as a super hero in DC comics later on.
The footnotes clarify that "Babylon" here means Cairo, so yeah the comic is correct!
Neat details!
 
Retconning his background to make him a midwestern "real American" farm boy instead of a New York City orphan is the part that really feels very distinctly like red scare culture war bullshit. When was that change made?
The Kents are introduced in Superman #1 in June, 1939, though at that point he was still a city boy. His rural upbringing was at the latest established in 1947 in the radio serial, but I'm unsure if it might have happened earlier and can find no evidence one way or another.

Edit: found it. August 31, 1942, in the radio serial. That's the first time the Kents are established as farmers.
 
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Edit: found it. August 31, 1942, in the radio serial. That's the first time the Kents are established as farmers.
The radio serial introduced a lot of stuff that became intrinsic parts of Superman canon, like Kryptonite and Perry White.

I don't know how sinister I'd declare their motives, though, the radio serial also famously had an entire storyline where Superman took on the KKK that accurately depicted a bunch of the Klan's 'secret' rituals and call signs, which had been leaked to the show by an undercover reporter as part of a successful attempt to destroy their credibility.
 
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Interestingly, there are a few bits that imply that underneath their human-looking exterior, Clark's species have as much in common with insects as they do with mammals. That's an interesting scifi detail that seems to have been totally dropped in later iterations.
Your Lovecraft background now makes me want to see a sci-fi 1930s with first-iteration Superman and also the Lovecraft aliens.
In other words, the OG Superman was, in fact, Spiderman. There might be a few preludes to Batman in here as well, but it's mostly Spiderman. Spiderman was the first superhero.

...

I now genuinely believe that Spiderman's genesis was the 1960's Marvel crew looking back at early Superman and going "I wish DC still did that."

It was just straight up a Superman retroclone.
That's amazing. I knew there was a reason I liked Spider-Man. Peter doesn't seem quite as politically active, though.
And yes, this plot thread leads to him taking out a corrupt warmonger in the US Senate. I guess we can add Raiden to the list of characters who are closer to OG Superman than later Superman is.
Also hilarious, and probably inappropriate for the notional setting mentioned above, but.
I think there's an interesting conversation to be had about the ways in which Superman started as a very Jewish Moses/immigrant metaphor and was almost gentile-icized around the same time as he was watered down, and the ways in which trying to use him as a stand-in for all immigrants has both been beneficial in telling meaningful stories but also does ignore his originally strongly-Jewish context.
And Samson. Born with astonishing strength, at least.
I have seen it occasionally referenced loosely, or be treated as a nightmare early in Clark's life when he's trying to figure himself out and is unsure of his heritage, plus one of the "Evil Superman" movies, Brightburn, spent a lot of time comparing their evil kid superman to a parasitic wasp...
I'm pretty sure it was called Blackburn, after the real town in Ohio? (Apparently Ohio has none of the three towns named Blackburn in the US or dozen elsewhere.)
 
That's amazing. I knew there was a reason I liked Spider-Man. Peter doesn't seem quite as politically active, though.
He did buy into Libertarianism for a while early on, despite everything in his life pointing to how bullshit it is.
And Samson. Born with astonishing strength, at least.
Nowhere near the ego or violent overreaction though.
I'm pretty sure it was called Blackburn, after the real town in Ohio? (Apparently Ohio has none of the three towns named Blackburn in the US or dozen elsewhere.)
No, I remembered right: Brightburn - Wikipedia
 
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