… to see something really scary?

Why whatever do you mean, “that’s fucked-up?”

There is, in so many of the cosmic-y comics I like so much, the notion of a “node,” or “critical turning point.” It can be an object, it can be a person, it can be an event or set of events. Maybe it’s Hegelian or Nietzschean or some other 19th-century German-ian – as in its operation, there’s reconciliation with the past, but also a distinct discontinuity; there’s redemption and transformation and realization, but also a dramatic necessity for blood-and-guts violent confrontation; there’s the sense of throwing off all the taboos to find both the depths of depravity and the chorus of angels all in the same moment. It’s idealism and excess, horror and exaltation. Plus boobies.

Flyin’ high

Here’s what happened: in the course of a series of Spider-Man issues which included more and more youthful voices and more and more explicit political positions, Stan Lee and Gil Kane did a pretty intensive story including street drugs.

Back from the Zone

This is Marshal Law post #2, out of (as currently conceived) five.

This one

Hello cosmos, I’m from Vietnam.

My brother’s Avengers run ended in the high hundred-teens, and I started buying issues in the 130s or 140s, so as I filled in the gap, issue by issue, and bought new ones, the Mantis story was a main focus for me.

Bootin’ the pooch

“Hey Professor, Professor?” “Yes, you in the back.” “Doesn’t he sort of have a point?”

BONUS POST: Thanks to Markku Tuovinen and his March pledge at the Doctor Xaos Patreon!

Let’s say that you’re a comics creator or line editor, and probably due to simple absence or neglect of infrastructure, something gets written in that comic for real. Specifically, your villain character has a point. His or her grievance is valid. His or her rebellion is justified. His or her determination is admirable.