BRZRKR Volume Three

BRZRKR Volume Three

If you read my review of BRZRKR Volume Two you’ll know I went into this final part of the trilogy with really low expectations. Expectations that were, in the event, barely met.

On the plus side, this is a really fast read. There isn’t a lot of talking, and what there is can be ignored, so you’re basically just flipping the pages looking at Ron Garney’s explosive art. And by that I mean there are lots of explosions.

Our hero B (or Unute, or Keanu Reeves) is feeling tapped out, so now’s a good time to introduce a Lady Berserker, a scientist guy who turns himself into a Berserker, and finally a pair of Berserker twins who are heading off at the end to grow and plant their seeds. Which sounded kind of creepy, but what do I know. Meanwhile, Unute becomes mortal but then is reborn so he’s immortal again and at the end he’s back on another planet or in another dimension or something.

No, none of this makes any sense. It might mean everything and nothing. And of course the story is left open-ended. I guess the Berserker twins could go on to have further adventures and the bad guy could re-assimilate and come back to haunt them. But I’m out. Some readers (especially if they’re fans of the Tao of Keanu) might still find the elevation of an action hero into a god interesting or even deep, but I feel like it’s been done to death and overall this struck me as one of the laziest comics I’ve read in recent years. So even if they do go on I won’t be hanging with it.

Graphicalex

We’ll always have Colmar

This pretty place is Colmar, France. If you do an image search for Colmar you’ll find this same picture coming up again and again. So maybe these colorful houses on this one street are all there is to see in Colmar. I don’t know as I’ve never been there. I just did the puzzle. Which had one piece missing! See if you can spot it. Argh.

Puzzled

Batman: Justice Buster Vol. 1

Batman: Justice Buster Vol. 1

I’m sure Batman must have gone manga before this comic, which I think launched in 2021, but in any event that’s the hook here. Manga Batman.

What is manga Batman like? Basically he’s a cross between Iron Man, in a very robotic-looking armoured suit, and Spider-Man with the way he goes swinging through the canyons of Gotham on cables fired from his wrists. In terms of art style I wouldn’t call it excessively manga-ish, though you do get some faces characterized by the trademark pointy chins and missing noses. And of course you read the whole thing back-to-front.

Author Eiichi Shimizu plays some interesting riffs on the Batman mythos. Which is saying something, given how many times that mythos has been reinvented and reimagined over the last hundred years. Robin (or ROBIN) is now Batman’s AI assistant, and there are definitely some kinks in that system that need working out. Batman has the idea that his super-computer is going to help him stop criminals before they actually commit any crimes. What could go wrong with that? Meanwhile, Dick Grayson is a kid working with a detective who’s investigating the murder of his *(Grayson’s) family. There’s not much explained about that angle, but I’m sure it will be developed as the series goes on. And finally there’s a new Joker, now a masked nut who wants to be Batman’s sidekick. Yeah, he’s a good guy. Or at least that’s what he’s pretending to be.

Other familiar names are more recognizable. Alfred and Commissioner Gordon are the same as they’ve always been. Clark Kent shows up trying to get Bruce Wayne to join the Justice League, but gets turned down. Firefly, Killer Croc, Penguin, and Deathstroke are all here. There’s actually a fair bit of action, but one thing about the art I had trouble with were the fight scenes. They’re really hard to follow. I liked their “look,” which is less manga than the rest of the comic, but it’s not easy to make out what is happening. Which is a shame because the fight with Killer Croc seemed like it was quite something.

In other words, a mixed bag. More interesting for the storylines that are introduced than the look of the thing, but in any event worth sticking with a little longer. Even if the Justice Buster (the name given what appears to be a blocky-looking Batboat here, but which turns out to be one of those monster exo-suits) seems a silly sort of thing.

Graphicalex

Bookmarked! #62: Sweet Liberty

Unlike a lot of my tourist bookmarks, which I get as gifts from people who travel more than I do, I may have bought this one myself. But I don’t think I did. I know I have been to the Metropolitan Museum of Art though so it’s at least possible.

It’s quite nice, which is one reason it’s still in its plastic holder. Gold-plated brass with an applied decal image of a coloured lithograph of the Statue of Liberty.

Book: Liberty is Sweet: The Hidden History of the American Revolution by Woody Holton

Bookmarked Bookmarks

Maigret: The Shadow Puppet

Despite being one of the earlier Maigret novels, The Shadow Puppet was one of the last I read in the series of new English translations published by Penguin. Because of this, and because it was written during the years when Simenon was near the top of his game, I thought it might be fun to stand back and take a wider view at how well it fits into the rest of the Maigret canon.

Of course Maigret never changes. He’s the same rock as always, with no crime-solving “method,” no matter what others may say. Instead, he proceeds by an almost unconscious, sponge-like absorption of facts and personal observations, not allowing himself to have any opinions in advance. Indeed, he even denies having any thoughts on a case at all until he begins to grow heavy with a picture of what’s going on and the solution just develops on its own like a photo in a chemical bath. He’s the sort of man Keats would have described as being possessed of Negative Capability, comfortable with uncertainty and doubt. And that’s a remarkable quality in a detective, who we usually think of as bloodhounds. But the thing is, keeping an open-mind is a huge intellectual advantage in pretty much any walk of life, and I think this is a point Simenon wanted to emphasize.

As for the investigation here, I thought I’d quote from something I said in my review of Maigret and the Tall Woman:

Something about wicked women seems to have got Simenon’s creative juices flowing. Looking back on the books I’ve read in the series, it’s the bad girls who stand out the most. Madame Le Cloagulen in Signed, Picpus was probably the worst, but Madame Serre gives her a run for the money here. Related to this fascination with such women is an instinctive loathing of men who are excessively mothered.  The Flemish House and My Friend Maigret are the best examples. I wonder if there was some psychological projection going on here, as Maigret himself is waited on hand and foot by his wife.

This is The Shadow Puppet all the way. In the first place there’s the villain of the piece, who is a total psycho bitch from hell. Or, to use the language of today’s pop psychology, an extremely toxic individual. One of those people who just ruin the lives of everyone they come in contact with, mainly out of their own sense of frustrated ambition. And as for the mothered baby-men, they’re here too. Tragic cases, and Maigret does feel sorry for them, but it’s hard not to miss the contempt he holds them in as well. A real manly man, like the burly detective chief inspector, spends long hours at work and comes home to a set table and a fresh-cooked meal from his loyal wife, who doesn’t talk too much. That’s the ideal marriage.

I think it’s that old-fashioned sort of masculine identity that makes Maigret so sympathetic to the murdered man here. “Good old Couchet!” he finds himself repeating. What makes Couchet such a jolly (or actually not so jolly) good fellow? That he loves lots of women. He’s on his second wife but he’s taken lovers and has a regular mistress on the side. But it’s OK because he runs his own company and he’s rich and he lives in Paris so what do you expect?

Finally, as with most of the Maigret novels there’s little mystery for the reader to figure out. You just have to wait, along with Maigret, until the situation resolves itself. And in this case in particular it’s pretty clear who the bad guys are from the start, since they’re the ones who put Maigret’s back up. Meanwhile, the murder is itself almost incidental and what Simenon really wants to expose us to: the “syrupy greyness” of the moral squalor of the bourgeoisie. The lives of the Martins is full of “day-to-day unpleasantness, which was more repulsive than the murder itself.” The point being that murder only marks the end point in lives and relationships that are already rotten to the core.

Maigret index

Oh, the Humanities

From Why Liberalism Failed (2018) by Patrick J. Deneen:

doubts within the humanities were a fertile seedbed for self-destructive tendencies. Inspired by Heideggerian theories that placed primacy on the liberation of the will, first poststructuralism and then postmodernism took root. These and other approaches, while apparently hostile to the rationalist claims of the sciences, were embraced out of the need to conform to the academic demands, set by the natural sciences, for “progressive” knowledge. Faculty could demonstrate their progessiveness by showing the backwardness of the texts; they could “create knowledge” by showing their superiority to the authors they studied; they could display their antitraditionalism by attacking the very books that were the basis of their discipline. Philosophies that preached “the hermeneutics of suspicion,” that aimed to expose the way texts were deeply informed by inegalitarian prejudices, and that even questioned the idea that texts contained a “teaching” as intended by the author, offered the humanities the possibility of proving themselves relevant in the terms set by the modern scientific approach. By adopting a jargon comprehensible only to “experts,” they could emulate the scientific priesthood, even if by doing so they betrayed the humanities’ original mandate to guide students through their cultural inheritance. Professors in the humanities showed their worth by destroying the thing they studied.

Ravencroft

Ravencroft

After setting things up with the backstory of the Ravencroft Institute in the miniseries Ruins of Ravencroft, this title continues with more things happening in the present day. This includes an uprising by the Unwanted, led by their leader Bud, and an attempt by sinister forces to get hold of the Journals of Jonas Ravencroft.

As with the first Ravencroft volume I thought it was well executed. I like how the opening panels repeat as the images on the security camera screens on the next page, for example. But again it didn’t seem like there was much of a story. The main protagonists are John Jameson, Misty Knight (with a bionic hand attachment that has Wolverine claws), and Dennis Dunphy, as a guard who isn’t Demolition Man. It’s telling that the cover images rarely have much if anything to do with the contents of the individual comics until you get to issue #5. The dual climax combines the battle between the Unwanted and the security forces at Ravencroft and the long-delayed transformation of John Jameson into Man-Wolf. Too long delayed, in my opinion. And I felt sorry for the Unwanted, who really seem hard done by. Despite being grotesque vampire monsters I was cheering them on and hoping they’d destroy Ravencroft at the end. But instead they’re left even worse off. Meanwhile, Norman Osborn is hanging around and we suspect he’s up to no good. Dr. Ashley Kafka is back from the dead. And the Punisher is being held at Ravencroft too, though again I’m not sure why except to make a couple of dramatic entrances and then disappear.

As things leave off it seems as though the spiral death cult of Knull is getting ready to reawaken so maybe things are going to step up (or down) a notch. But two volumes into this series I still feel as though I’m waiting for something to happen. That’s not to say there isn’t a lot of action, because there is, but it seems like running in place.

Graphicalex

TCF: Fatal

Fatal: The Poisonous Life of a Female Serial Killer
By Harold Schechter

The crime:

At the end of the nineteenth century the Boston-area private nurse Jane Toppan went on a killing spree that would end up seeing her claim at least 12 victims before she was finally arrested in 1901. At trial she was convicted of murder but found not guilty by reason of insanity and so was sentenced to spend the rest of her life in an asylum.

The book:

There have been many attempts to psychologize the differences between male and female serial killers, and given the gender stereotypes at play in the story of Jane Toppan’s criminal career it’s not too surprising that Harold Schechter begins with this. But while I’ve found Schechter to be a trustworthy guide when it comes to historical true crime, I often pull back at some of his more speculative conclusions, and I did so again here with what he says about lust-murder being “a specifically male phenomenon” and the “quintessential male form of serial killing” (emphasis in the original). I think it’s worth quoting from what he has to say on the subject here at length:

Generally speaking, female serial killers differ from their male counterparts in roughly the same way that the sexual responses and behavior of women typically differ from those of men.

A useful analogy here (and one that seems particularly apt to so lurid a subject) is pornography. It is a truth universally acknowledged that – while men are aroused by extremely raw depictions of abrupt, anonymous, anatomically explicit sex – women in general prefer their pornography to involve at least a suggestion of emotional intimacy and leisurely romance. Whether these differences in taste are a function of biology or culture is a question I’ll leave to others. The indisputable fact is that the differences are real.

An analogous distinction holds true for serial killers. Female sociopaths are no less depraved than their male counterparts. As a rule, however, brutal penetration is not what turns them on. Their excitement comes not from violating the bodies of strangers with phallic objects, but from a grotesque, sadistic travesty of intimacy and love: from spooning poisoned medicine into the mouth of a trusting patient, for example, or smothering a sleeping child in its bed. In short, from tenderly turning a friend, family member, or dependent into a corpse.

To be sure, there may be other motives mixed up with the sadism – monetary gain, for example. Indeed, certain female serial killers may never admit, even to themselves, the true nature or extent of the gratification they deprive [sic] from their crimes. Their actions, however, speak for themselves. Whatever other benefits may accrue from their atrocities – a windfall of inheritance money, for example, or a release from the burdens of motherhood – there is, at bottom, only one reason why a woman would, over the span of years, kill off the people closest to her, one by one, in ways that are to guaranteed [sic] make them undergo terrible suffering: because she gets pleasure from doing it.

There is no doubt that male serial sex-murder tends to be more lurid – more gruesomely violent – than the female variety. Whether it is more evil is another matter. After all, which is worse: to dismember a streetwalker after slitting her throat, or to cuddle in bed with a close friend you’ve just poisoned, and to climax repeatedly as you feel the body beside you subside into death? Ultimately, of course, it’s an impossible question to answer.

I’m not sure how persuasive I find this. Isn’t, for example, the main reason for the different forms male and female homicide take the fact that women aren’t strong enough to strangle or bludgeon their male victims to death? Every killer has different opportunities.

But digging a bit deeper, this is the sort of analysis I see a lot of, especially online. The core issue being addressed is probability. Reality is always only probabilistic. Even the laws of physics allow for the craziest, most counterintuitive results. How much more is this the case when it comes to speaking of laws of human behaviour? All we can really speak of is the chance that some particular outcome will occur, or that some particular cause will be determinative. The long passage quoted is typical of the slippery rhetoric you get so often in such discussions. We go from what seems true “generally speaking” or “typically” to “truths universally acknowledged” and “indisputable facts.” “There is no doubt,” we are told about some matter that “tends” toward being seen a certain way. Actions “speak for themselves,” but then need to be interpreted. And finally there is the shrug at the end. Some questions, at least in the moral sphere, are impossible to answer.

Schechter has to be given some leeway here though, as what he’s trying to do is fill the gap in our understanding of Jane Toppan’s motives at a century’s distance. And since some speculation is necessary we have to go with generalizations and the perhaps questionable “confession” she made to the yellow press of the day.

Among female serial killers the two most common sub-types are the Black Widow and the Angel of Mercy. Not surprisingly, these identities plug into two stereotypically feminine roles: wife and nurse. Jane was the Angel of Mercy, and occasionally made use of the killer-nurse justification for her homicidal proclivities. She would conclude that a patient would be better off dead and take it from there.

During her nursing school days, she had made that decision about at least a dozen people, who – in her estimation – were too old, sickly, or just plain bothersome to live. Telling herself that she was doing them a favor by ending their miserable existences was, of course, simply a way of rationalizing her own sadism.

As I’ve said before in one of my film reviews, a nurse is the most terrifying figure in all of modern life. “A bureaucratic guardian at the gates of life and death. A dark fetish stereotype, invasive and maternal. Helpless in our hospital beds, they have us at their mercy.” You don’t mess with these people.

Schechter is right, however, to dismiss this as only a flimsy rationalization. And I don’t think the favoured analogy reached for by the newspapers of the day was any better. Toppan was repeatedly likened to a Borgia, on the basis of that family’s supposed fondness for poisoning their enemies. But I’m not sure how historically accurate this is (a book I reviewed a while back cast doubt on the “black legend” of the Borgias), and in any event I don’t think Jane Toppan was cut from the same cloth as Lucrezia Borgia at all. This was just something to sell papers.

What would have probably sold more papers was a more honest account, but given what you could put in print at the time Toppan’s sexual drives had to be talked around. This is where the kind of analysis that Schechter meditates on in his introduction comes in to play. As far as we can tell, Toppan did find killing people to be arousing. She would climb into bed with her patients after poisoning them and (in the language used by reporters) experience “a stress of passion, a craving for the satisfaction of her strange emotions. It amounted to the strongest uncontrollable impulse.” Then, after “the climax of her paroxysm came, she became normal once more.”

So Jane Toppan was a sexual serial killer, but I don’t know if we can ascribe any gendered psychological difference to her methods. She was a poisoner because that’s what she knew and it’s what she had the best opportunity to employ, with the added benefit of the poison she used being hard to detect. If a knife or a hammer would have made more sense, she probably would have used them.

Noted in passing:

Nursing is a demanding job, especially when you’re just starting out. But at the end of the nineteenth century they really put you to it:

For the two years of their training, student nurses were subjected to a brutal regimen. They worked seven days a week, fifty weeks a year, with no Christmas, Easter, or Thanksgiving holidays. They slept in cramped, dimly lit, unheated cubicles, three women to a cubicle. Typically, they were roused from their cots at 5:30 A.M. by the clanging of a wake-up bell. After making their beds, dressing, and consuming a hurried breakfast (which they were required to fix for themselves), they repaired to a parlor for morning prayers. By 7:00 A.M., they were on the job. Between their shifts on the various wards and their professional instruction, they typically worked twelve- to fourteen-hour days, with about seventy-five minutes off for lunch and supper. Their meals tended to be so sparse and unpalatable that many of the women spent all their meager wages on extra food.

***

Typically, the trainee had charge of about fifty patients. Besides her medical duties – which involved everything from catheterizing patients to draining their suppurating wounds – she was responsible for keeping her ward in proper shape. Among her daily housekeeping tasks, she was expected to sweep and mop the floors, dust the furniture and windowsills, keep the furnace fed with coal, make sure the lamps were filled with kerosene. She was also required to prepare and serve the patients’ meals, change their beds, launder their clothes, roll bandages, and keep her writing quills sharply whittled so that her records would be legible to the head nurse and attending physicians.

As a young woman in her late twenties, Toppan started getting plump, reaching 170 pounds while standing 5’3”: “unattractively plump even by the generous standards of her age, when, according to one guidebook, the ‘recognized perfection for a woman’s stature’ was five-feet-five inches tall and 138 pounds (‘if she be well formed,’ advises the book, ‘she can stand another ten pounds without greatly showing it’).” Ah, they liked thick girls back in the day. And I approve. But after her arrest and a diet of “hearty meals” in jail combined with a lack of physical activity Toppan packed on another fifty pounds (!) which meant she was no longer plump but “now bordered on the obese.” That’s a pretty wide border, and I think she may have crossed it. Then, after this, when she was moved from her jail to the asylum the medical superintendent wrote that under their care she “grew fat and was in excellent physical condition.” She got even bigger? And was considered in excellent condition? Now that’s generous!

Takeaways:

Nurses are great, but they’re scary.

True Crime Files

Ruins of Ravencroft

Ruins of Ravencroft

OK, just based on the name I’ll give you one guess what Ravencroft is.

Did you get it? If you said it’s the Marvel Comics version of DC’s Arkham Asylum, with its full name being the Ravencroft Institute for the Criminally Insane, and that it’s a maximum security prison that houses a mixed bag of baddies and is run by some highly dubious “doctors,” then you win a prize! A prize to be determined at some later date.

Wilson (don’t call him Willie) Fisk, a.k.a. Kingpin, is now mayor of NYC and he has decided to rebuild Ravencroft after it got destroyed by Carnage in a previous comic, so this three-part miniseries provides a historical backstory for the demon-haunted place. And I mean demon-haunted literally. It seems it was built on the site of an ancient Indian cannibal cult that worshipped the dark lord Knull. That doesn’t seem to be the worst thing about it though, as they’re also stuffing the results of experiments in turning humans into vampiric monsters into a hole labeled “Unwanted,” where they’re fed fresh victims all the time so they don’t ever die.

This was an odd sort of a comic. The three stories feature an early incarnation of Carnage, though Carnage isn’t really present (ignore the cover, which, like a lot of the covers in this series, is quite misleading). There’s just an ancestor of Cletus Kassady here who gets involved in a Bone Tomahawk adventure in colonial days. Then there’s a story about Sabretooth, and finally we get Dracula himself (the Marvel Dracula, complete with pencil moustache) facing off against Captain America.

I found it all interesting, with good writing by Frank Tieri, but the flashbacks stayed pretty murky. The Journal of Jonas Ravencroft seems important for some reason, but Jonas himself irrelevant. And once again we’re in the world of a shadowy cabal or deep state star chamber pulling the strings. What’s their agenda? You’ll have to wait and see.

So it’s just an intro or origin story and I guess it does a fair enough job of setting the table, but that’s all there is.

Graphicalex