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What I Think About Stuff- Zalgo Vs Azathoth



Azathoth Beckoning (but also bitchin' metal cover) by xlegendariumx
Zalgo VS Azathoth Or Internet Body Horror VS Idiot Sultan

The universe is a cold, unfeeling place, filled with a multitude of horrors. It is a dark, mostly empty space that threatens to kill us or harm us in a myriad ways that you can’t even begin to comprehend. 

Trust me son, you look into it deep enough, you’ll wish bug aliens actually existed.

When it’s not bombarding us with deadly radiation, it chugs meteors against our atmosphere in the hope some might get through. When meteors don’t work, it charges up its quasars, so it doesn’t have to aim. When quasars fail, I guess it will just run out of time. And if that doesn’t stop us, well, I guess it can always die, making sure it takes us with it now, doesn’t it?

You tenacious bitch.
Let’s face it: despite our propaganda and constant attempts (religious or otherwise) to convince ourselves that we’re the one true species and future inheritors of the cosmos, we’re little more than spoiled brats in the greater scheme of things.

Pictured: Humanity’s collective self-importance, given form.
What you need to understand is this: we’re not a mass of universal bad-asses. We’re not the force that keeps the universe in motion. Our observations and achievements are merely stepping stones toward our little trek across the great lake full of ‘gators that is the universe we inhabit.

We’re just a lucky, self-perpetuating chemical accident that took place in the dawn of time, on a planet in an impossibly perfect and ideal position in relation to our sun. Our intelligence is the result of eons of evolution, also brought about by accident.

In short, we are an accident that’s been going for a while now.

It’s only a matter of time before the universe goes to check what that weird smell behind the fridge is and comes back with a mop and cosmic chlorine.
Depressing, isn’t it? Don’t you find yourself feeling suddenly so terribly small and unimportant?  So utterly goddamn insignificant? Good. Because that is exactly the kind of mindset that back in the roaring 20’s, helped Howard Philips Lovecraft come up with his Great Old Ones and his terrifying cosmic mythos.


Then pop culture came along and ruined everything.

Way back in the time when I was a pimply-faced boy, I wrote a short fiction piece called Cthulhu’s Rant. It was essentially an angry letter by Cthulhu himself, upon realizing how humanity had turned him and his kind into plushies, posters and t-shirts. I used to think this was mostly because of our kind’s adaptability but I’ve found out that this, sadly, isn’t the case.

You see, it’s not about us being adaptable hard bastards.

It’s about us being denial experts.

“You know, maybe we aren’t the absolute center of Exist-” “LALALALALA! I CAN’T HEAR YOU!” “Know what we should do? We should turn our existential terrors into toys for kids.”
In case you just climbed out of your cave and recently joined the internet, the Lovecraft Mythos (no, I’m not calling it Cthulhu Mythos, that’s like calling DisneyLand Mickeyworld) is a series of loosely connected stories that deal with cosmic entities with unknowable intents and purposes, who will one day devour mankind.

The idea you see, is that humankind is just a cosmic accident, an infection six billion strong, that is just in their way (not that we can in any way oppose them). One day, the Elder Gods and every horror imaginable will wake up and reclaim what is theirs and well, we’ll be gone, like every other race before us or after us. The most important thing is this: we’re not the sole victims of this tragedy.

I know that feel, bro.
But the leitmotif of the Lovecraft Mythos isn’t just about planet-eating space monsters. It’s also about people. About everyday bastards, academics, adventurers and inventors, fighting those forces of evil and sacrificing themselves, dying horrible deaths, going insane

Or d), all of the above.
And keeping the cosmic forces of evil at bay, if only for just one more day. Little specks of this mass we call mankind protect us from the entities that probably don’t know we’re there.
This is what I like to call a serious case of the Vonneguts, or Depressoptimism.

Known in literary circles as “Lovecraft’s Subliminal”
These stories are the singular most hopeful examples of humanity and they make me feel like even if we are stupid, insignificant fucking specs, we’re at least specs that will go down fighting.
We’re gonna give those cosmic fucks hell.

But we’re gonna need bigger, non-Neutonian guns for that.
That said, let’s use our imaginations and have our two cosmic contestants beat the everliving shit out of each other today, shall we?

WHO OR WHAT THE HELL IS ZALGO, ANYWAY?

What better way to know a man than through his work.
Zalgo is what the internet likes to call a Great Young One. He is essentially a meme that works very much like the gods of the Lovecraft Mythos and is part of a greater whole of message board monsters, like Candlejack or Slender Man.


Horror’s most passive-aggressive agent since the Saw Killer.

Zalgo first showed up as a malevolent entity that warped webcomic pages and old comic strips in horrible ways upon uttering his name or speaking one of his incantations, warping the protagonists and the space around them in terrible shapes that defied logic or common sense. 

A couple of them were honest-to-god scary.
Zalgo is said to be an entity that is all mouths without eyes, a creature that Dwells Beyond the Walls.

Now, judging how the internet sometimes goes meta (and how Zalgo originated in the Something Awful Forums, the internet capital of overthinking things), this probably means that Zalgo is essentially the average internet user, perverting every scrap of information in new and horrible ways. 

Zalgo is, essentially, the collective horrible of every one of us on the internet right now.

Including you, dear reader.
Interpretations aside, Zalgo is a creature that warps and perverts reality. He has his own incantations, his own weird language, text warping and all that. He is, in everything but a name, a Mythos Monster.
But he’s not a Lovecraft creation. Instead, he is a pop culture creature that serves to pit the Old Vs the New idea, which is why I chose to pit him against the greatest cosmic foe imagined by the 20th century.

Oh I’m sorry, you thought I was talking about this sad bitch over there?
Powers and Abilities:

·         Moore’s Inconstant: That’s pretty much all you need to know. Zalgo warps all it touches and that’s about it. Sure, he lacks experience but at least he’s...

·         Intelligent: Zalgo appear to be an intelligent, malevolent entity, a sure plus in the upcoming battle.

·         Freedom of Movement: Like the 5th level wizard spell, Zalgo can move at will across the cosmos, but not across time.

And now for our next contestant, Azathoth.

WHO OR WHAT THE HELL IS AZATHOTH, ANYWAY?

Pictured: Azathoth’s (possible) asshole.
Azathoth is the ultimate deity of the Lovecraft Mythos. He is the Idiot God, the Nuclear Sultan at the Center of the Universe. It is a thing of immense size and power, a creature that babbles and hungers.

He is essentially the God of the gods in the Lovecraft Mythos.

No, no go ahead! Tell me all about how terrible your non-interfering God is.

His massive corpus is surrounded by a mass of Lesser Outer Gods, who are trapped in Azathoth’s event Horizon, madly dancing and piping in order to please their mindless master.

His sole agent in the universe is Nyarlathotep, his voice and terrible hand, the Crawling Horror.

*Sigh* “It’s a living”.
But no matter his terrible power and the myriad of his agents, Azathoth has one glaring characteristic:
He’s an idiot. And not in the cutesy herp-derp sense. He’s a bona-fide, official idiot who can play chess with a sack of potatoes and lose in three moves. Azathoth has absolutely no goddamn will of his own, no idea. He is just…well…like a force of nature.

The kind that destroys nature in the process.

Powers and Abilities:

·         What are you fucking kidding me you want a goddamn definition?: Azathoth is God in the Lovecraft mythos. He can do fucking anything, only he doesn’t know how. Matter of fact, he doesn’t even know he can do it.

·         Idiot: Azathoth is a doddering idiot.

·         Locked in place: Azathoth cannot move from his position. In fact, even when summoned, only his appendages or servitors may appear in his place.

·         Agents: Azathoth works through his agents. He may lash out at some points, but he’s helpless otherwise.

Why are those two fighting? Fuck if I know

Move along, three-dimensional being.
That said, let’s get down to the fighting.

Oh I’m sorry you thought there were gonna be pretty ladies Involved?
In the center of the Universe, the Idiot God swoons and croons, his terrible voice echoing across light-years, in synch with the piping of his desperate servitors. Drooling from one of its mouths, Azathoth calls out to his agent, Nyarlathotep and wishes for a great fire so he can observe tiny civilizations burn.
 
Across the cosmos, the being known as Zalgo pushes into reality, his body constructed out of the stuff the universe is made of. It opens its mouths and tastes reality, finding Azathoth’s position and savoring the taste of its brain. Extending pseudopods made out of Dark matter, Zalgo crawls across real-space toward his opponent.

The New God and the Great Old one meet on Azathoth’s turf. Zalgo looks at the piping, screaming court and reaches out, suddenly realizing that Azathoth himself begins to drag him toward it unconsciously. Zalgo fight back and tears himself away, choosing instead to attack in a different manner:

Warping the shit out of the space around Azathoth.
The manipulation warps and distorts the Nuclear Sultan’s court, breaking it apart. Azathoth is wakened violently from his reverie, as the piping ceases, feeling very much uncomfortable for a moment.


Imagine it as the cosmic equivalent of getting kicked in the balls.
Screaming like a baby roused from its sleep by hunger, Azathoth lashes out at Zalgo with a tentacle millions of kilometers long. Zalgo takes the hit and is tossed into a lifeless planet, smashing it.
 
The lesser Gods scatter all around, trying to get away, when Azathoth flexes his mind and orders them to attack. Unable to escape his hold on their minds, the beings attack Zalgo en masse and swarm him, clawing at his form, biting and choking him.

Round one goes to Azathoth.

Round two: where the kid gloves are taken off and everybody is fucked.
Zalgo retreats and warps the Lesser gods, twisting their minds and shapes, turning them into a legion under his command. At this point, Azathoth has pretty much forgotten about his enemy and slipped back into his idiotic reverie.

He’s kind of like a chipmunk in that regard, only he doesn’t acknowledge that anything else beyond him exists except when he’s hungry.

Using his new-found legion, Zalgo attacks azathoth with a swarm of gods. Many of their number get trapped in his event horizon, but a few slip past it, along with Zalgo and reach the corpus of Azathoth.

The Nuclear Sultan feels myriads of mouths and other horrible appendages rip into his flesh, causing great geyzers of blood and nuclear fire to erupt all over him. Feeling pain and anger for the first time, the Sultan responds  with great panicked motions, crushing, spewing fire, seeking to clutch and destroy all those around and inside him.

Zalgo slips inside his flesh, warping it to allow him access and seeks to cause the greatest possible damage, sliding inside the solar-system sized innards of his enemy. He warps his hearts, twists his intestines and wreaks havoc inside him.

Cancer for the gods.

Azathoth roars and whimpers, screaming at the void and at the thing eating him from the inside out. Zalgo moves upward, crossing the distances toward Azathoth’s brain, so he can finish the job.

But the idiot Sultan knows that this is a bug and bugs can be swatted. Collapsing the space around his brain, he cuts off Zalgo, who falls back and tries another venue of attack:

Spawning Minions from his enemy’s own flesh.
Azathoth bleeds from everywhere, beset by creatures that are part of him. The malevolent bug that is Zalgo has managed to land a considerable blow.

Round Two goes to Zalgo.

EXTINCTION ROUND.
A hazard is required to break the tie? But what could possibly hurt two malevolent, invincible deities? 

What could hurt Azathoth, who is the center of the Universe and Zalgo, the thing beyond Space?

OOOH! Here’s an idea:

How about the entire goddamn universe collapsing all around them?

Think about it: Azathoth writhing, his mind sending strange signals, his corpus wounded, cracking the stuff of existence around it. The clash of the gods causes cracks in Time, causing moments and continua to spill out in real-time, rewriting and overlapping histories, before they tumble down into holes in space, places where they mass and grow.

All around the two Gods, the Universal Membrane is cracking and tearing. The Universe is about to unravel around them and the victor is the only one who can do it.

Azathoth feels suns tearing down and Zalgo knows his time is short. Bth Gods need to strike soon. Nyarlathotep, realizing the destruction, slides into a neighbouring universe, in order to avoid the catastrophe.


“And I…am…outta here!”

Azathoth collapses his form to crush the bug. Zalgo pushes out and attacks with his remaining flesh golems, slashing at the Idiot God, who realizes he doesn’t have time for this. Relesaing his eldritch power in a burst light-eons wide, he destroys Zalgo’s army.

Annihilating any surviving nearby civilizations ina  glorious burst of solar flame.

The two gods stand alone. Azathtoth reaches his tentacles and grabs Zalgo, tearing at his form. Zalgo slips away by manipulating space and Azathoth comes right after him. The wall of nothing that has become the Universe closes in, as the two toss and turn across light-years.

Zalgo decides to play it as rough as he can. He warps a number of neighboring suns and tosses them at Azathtoth, who takes the blow and screams in pain. His purpose wasn’t the blow, however. It was to move behind his enemy and warp him when he had let his guard down.

Azathoth reacts reflexively when he bgins to feel the warp and expands his corpus back to its original size, disrupting Zalgo’s attack.


That’s not to say the blow dealt by his enemy was ineffectual. Azathoth felt it, but now he’s above harm. Zalgo doesn’t have the time to take him apart once again, which means that he needs to cut his losses, only he can’t. This is the universe collapsing, you see. There’s no place to run.

Zalgo tries to give up his body and slide back behind the Walls of Being, when Azathoth grabs him and crushes him in his mouth, devouring his very essence. Zalgo is destroyed. He losat not due to lack of power, but due to lack of time, since he went against an enemy in his own turf. 

Addendum:

Horror is a subject that has puzzled me for many years. Even though I was genuinely scared by some examples of it, others seemed redundant, or incomprehensible and unnecessary. It took me a decade of trying to figure it out, when suddenly it hit me, as I was halfway through re-reading the Dunwich Horror:

A good horror story is one that details the pyrrhic victory of good over evil.

Western horror is mostly based on this. It’s in our mindset to not let the threat go and convince ourselves that no matter how horrible the enemy or how great the obstacle, we will overcome it. 
Unfortunately, most horror writers/producers/whathaveyou have misinterpreted this as: scary things are allergic to mcguffins and chainsaws to the face.

You see, Horror is about something terrible that disrupts normalcy and turns the lives or ordinary (or less than ordinary) men and women into a nightmare. Good horror is when those people suffer and are picked off one by one, until a handful (or one remains) to dispel the evil and restore normalcy.

Great horror is when the victory isn’t quite clear. Awesome horror is when you realize that the victory was pyrrhic and epic in scale, but it was more of a personal victory that went unnoticed by the rest of the world.

Horror is, at its root, the battle of good vs evil. Any attempts to deviate from that form have failed miserably. And let’s not forget that no one wants a story where Good loses. Which is why Stephen King, despite his terrible endings, is a ridiculously successful man, while John Carpenter’s Mouth of Madness mostly gets a ‘meh’ reaction by most audiences.

It’s because no one wants to see Evil win.

What I Think About Stuf-warren Ellis' Planetary


The film that no one will get right, but everyone would love to see by ash-elquilin


Planetary Or Oh, to Walk through pop culture’s silent pandemonium…

DISCLAIMER: The following article contains a lot of references to comic book history and nerd stuff that aren’t adequately explained. If you’re having trouble following, it’s because the nature of the reviewed material was intended for that exact purpose.

It is said that the very nature of success is enough to corrupt a man. It’s not unusual for people with too much money on their hands to spend huge sums on ridiculously overpriced luxuries 

Like, say, ornate hand-carved and heavily engraved butt-plugs.


Or go the other way and invest a fortune into building monuments to themselves and their greatness, in an attempt to grasp at immortality

Like by building ludicrous artificial islands with an average living cost of 2,000 bucks a day.
It’s no different for highly successful writers and artists. Oh sure, they might not attempt to build edifices in their likeness (after all, what is to an edifice, but the material representation of one’s mark upon the world?) but they will make constant attempts to infuse themselves in their work, transfusing themselves as characters in their narratives, with varying degrees of success.

Why hello there, Mrs Meyer; didn’t see you come in.
Others will go the other way and attempt to infuse themselves into their work through subtler means. By, say, slowly but surely turning their work toward a much more artsy and convoluted direction their before, infusing it with trivia, narrative details and references to inside jokes that only the writer and a select few might even pick up, never mind chuckle at.

Every successful writer has done this, at least once in his life.

Except for Alan Moore, who has kept at it for the past decade.

The hard-earned creative freedom granted to these writers by virtue of their success gives them such power over the content and presentation of their story that either allows them to achieve and realize greatness of such magnitude that it changes the very fabric of their medium, 
 
Or produces a narrative that makes no goddamn sense yet no-one dares point it out, for fear of being called ‘simple-minded peasants’. Well you know what, Jerry? Fuck you man! This comic sucks balls and you goddamn know it, you bullshit elitist piece of shit and I hope you choke on sushi rolls as you’re re-reading Finnegan’s Wake, pretending to understand what’s going on.

Planetary belongs to the former category, mostly because it is a comic book that is a gestalt of comic books, referencing comic books, with roots set deep in comic book history.

It is a reference within a reference within a reference, all the way back to the beginning of the medium…
A friend of mine once called Planetary “Meta-pornography for nerds” and he’s not that far from the truth. There are a lot of details of its plot and intricacies that a casual comic book enthusiast might miss, but will cause a seasoned nerd’s hairs to stand on end.
 
By reading these paragraphs, a lot of you might consider passing on this comic book series, thinking it too elitist for your tastes, but here’s the catch: it’s not. Somehow, either thanks to decades’ worth of comic book narrative experience or witchcraft

Most probably witchcraft, though…
Warren Ellis has achieved to balance out the mate and the actual narrative, creating a fascinating equilibrium, while at the same time giving the WildStorm Universe some much-needed depth.

And suddenly, Jenny Sparks and the Authority weren’t alone any more…
Planetary is also very, very angry. Oh sure, it’s clever and deep and rife with meaning, but goddamn, does the wrath of the Brit gush out of the pages! In many ways, Planetary is similar to Wanted, in the sense that it is the wrathful, yet calculated work of an established author, aimed at a very specific audience with a very specific purpose.

But whereas Wanted was about the underdog getting to shoot the schoolyard bullies in the face and fucking their wives, Planetary is about a handful of people proving to you, the reader, that the world is so much stranger, beautiful and full of potential than you could ever dare imagine.

It’s not so much an example of revenge porn, as much as a pamphlet, detailing the glory and majesty of a multiverse that’s just waiting to be discovered.

All this and more, can be yours with just 6 payments of $20.99! (shipment costs not included)
I would love to call it Wonder Porn, but that sounds way too awesome to use yet and besides, Planetary does have its very own grim, brooding, infant-killing side.

What the hell is that supposed to mean: “Don’t torch the goddamn baby?”

Instead, I shall call it pessimism porn. Because despite its promises of wonder, it does involve the death and suffering of innocents for a greater good, as well as a lot of insightful and absolutely depressing punchlines.

And a few surprisingly hopeful ones.
So, what does this fine example of pessimism porn bring to the table? Let’s find out:

Meet Elijah Snow:

In my mind, he’s pouting like an 8-year old girl.

Mister Snow is over a hundred years old and he’s been places, met people and seen things, not a single one of which could (or should) be considered normal. He’s considered the world’s greatest historian of the strange and with good reason, which is why he is invited to join the Planetary organization by…

Jakita Wagner:

Just one of her orgasms could shatter your pelvis...
She’s mean, she’s lean, she’s the toughest, fastest, ballsiest woman you’ve seen in a comic book and she loves getting deeper and deeper into the weirdness and the strangeness that Planetary represents. She could have been the complete antithesis of Elijah, had it not been for…

The Drummer:

Your computer-savvy acquaintance that you couldn’t ever bring yourself to hang out with.
The Drummer (First Name The, Surname Drummer) is a superhuman with the ability to see and control the flow of information and talk to machines. While this summary may make him appear as the single most awesome and interesting character in the team, his social skills are sorely lacking.

He’s also kind of a wuss.

But what sort of comic-book organization would Planetary be without its villains? But who could possibly serve as a proper antagonist to a globe-spanning group of mystery archaeologists, aiming to bring out the secret knowledge and wonder of the world to the masses? Hmmm, how about…

The Four:

Still footage, extracted from [DATA REDACTED], moments before the launch of [DATA EXPUNGED]
The four are a group of superhuman beings intent on [DATA REDACTED] with the express purpose of [DATA EXPUNGED] brush with the Planetary Oragnization back in [LEVEL OMEGA CLEARANCE REQUIRED PAST THIS POINT]

I mean, wow, right? Warren Ellis really did nail it with that one! But, then again, every great work has its flaws, so here’s the best and worst parts of Planetary, in short. First off, the good parts:

Planetary is the abridged version of the history of the WildStorm Universe.

Fictional history in the making.
WildStorm was one of those companies that tried to break into the superhero scene at a point of oversaturation and very nearly lost everything in the process. Its heroes were run-of the-mill violent, angsty teenagers with ill-defined superpowers and it would not have survived the process, had its desperation not drawn in a number of established writers who wished to abuse their creative freedom within its boundaries.

WildStorm has a lot of great stories (seriously, check out StormWatch: Team Achilles) and a lot of excellent ideas planted there by creative minds and left to flourish, but it lacked a coherent, unified history. This was originally not thought to be that big of a deal (what with WildStorm being too busy showering the success of titles now handled by writing legends), but as its audience grew, a need for continuity and coherence arose. 

The Authority was the first series to attempt to infuse that depth, but it wasn’t enough, not on its own.



This is not the first time Warren Ellis has attempted to resurrect the pulps. In fact, I’m not even certain he ever gave up on it. But let’s say he began with APPARAT (BUY IT NOW) and that Planetary was the culmination of his work in that regard.

In that context, Planetary is the way comics books must be: a parade of wonders, horrors and excitement, brought to you monthly for your enjoyment. It’s a format in which you ought to and should experiment and push its borders, recycling old tropes and ideas and giving them new and exciting shapes.

Planetary’s covers change with each issue, showcasing a different style, theme and approach, always making you want to see what the hell is going to happen next. The series sells itself by constantly shifting and approaching different subjects, serving to build a greater, grander mythology than we could have ever imagined. It also serves to create stepping stone the size of 2001’s monolith for WildStorm, which it should damn well better use to its fullest extent!

Oh. Um…wait, nevermind…

Planetary is comic book conspiracy theory, done right:

I know it sounds ridiculous, but why am I not laughing?
Planetary works with the utter silliness and paranoia of conspiracy theory and of secret powers controlling mankind’s history and turns it on its head. What began as a silly little joke in Authority, now turns into part of the core of the narrative.

The theory of there being lobbies or secret brotherhoods controlling the world suddenly becomes a far greater and more tangible threat when superhumans are involved. How has the OverMan changed? Who does Batman work for now? Is the JLA a non-profit organization anymore? Who watches the X-men?

Suddenly, layers upon layers of government conspiracy and multiversal implications appear and the same old NWO-are-after-our-brains spiel becomes relevant and scary and fucking awesome again!

Which is the other greatest selling point and also most glaring flaw of Planetary as well, as we’re about to see. This mostly happens because:

You soon find out that you stop caring about the progression of the series itself:

Well, whoopdie-fucking-do, now show me some more Secret Science Cities!

Back in my Transmetropolitan review, I mentioned how Warren Ellis’ world building hurts his story and Planetary is no exception: the world he hints at and its terrors, lurking just behind the main storyline are far more mysterious and grand than the main conflict. In fact, by the time the great big conflict between the Four and Planetary reaches its climax, I find myself more and more frustrated at the thought of not witnessing just one more (even tiny) bit of the world’s secret history, which I grew to love.

Of course, the majesty of the backstory is not in and of itself enough to make me indifferent to the story. Matter of fact, I would have been much more invested in it, had I not found out that…

Jakita and The Drummer aren’t all that interesting, either:

 Drummer and Jakita, in a rare moment of character development
Jakita’s strong, tough and gets bored easily. Drummer’s weird, but a nice kid and useful to have around. They’re also orphans aaaaannnndddd that’s all folks.

It’s amazing how, even though these two have an entire issue devoted to them each, they are so shallow and uninteresting characters, without any personality to them. To be perfectly honest, I found them both to possess much more flair and personality in the very first issues (when they were just two super-powered weirdos, pissing off Elijah) then 25 issues in, when they are suddenly reduced to supporting cast, serving to make Elijah look cooler by comparison.

And last, but not least…

The Last Couple Issues:

A moment of explosive tonal compression.
Planetary, like Transmetropolitan, suffers from a lack of focus. On one hand, it is the story of a universe chock-full of superheroes but plagued by human pettiness. On the other, it’s a story about freedom of information against the secret masters of the world. It’s a tale about strangeness and hidden wonder versus banality and predictability.

It’s a story about stories, but it also tries to be a story about its characters, about halfway in. And that doesn’t work, not for me anyway. While I did like the conflict between Planetary and The Four, I found that it should have been an entire other comic book series altogether. There is too much wonder that we missed during those issues that were too busy with portraying their secret wonder, missing out on some grand stuff, the kind that only Warren Ellis’ world-building can conjure.

Planetary attempts to return to the parade of wonders approach in its final five issues, but at that point, the entire attempt becomes…jumbled and not as potent as before. In fact, if anything, it feels out of place.

But you know what? You should buy this comic. Even if you’re not into pop culture history, even if you don’t know who the fuck Doc Savage and The Shadow are, even if you can’t tell the difference between the Crisis on Infinite Earths and Infinite Crisis.

Protip: one requires a PHD in Nerd sciences. The other needs a couple quick Wikipedia references.
You should buy it because it’s beautiful, depressing, hopeful and terrifying, all at the same time. Because, if Planetary was a food, it would have been an entire fried chicken with a side of an entire box of Oreos and a huge-ass bowl of ice-cream

Served with a side of crunchy, curly fries.
Sure, it would be the equivalent on declaring full-scale chemical warfare on your stomach and subsequently your lower intestine, but goddamn is it a fun ride that you ought to try!

Addendum:

Planetary’s wonderful art and its impossible contraptions are brought to you by John Cassaday, who apparently has a dream-projector for a head and the spinerettes of Ananasi for fingers.

Superhero art, done right.