Thanos and his lieutenants – Cull Obsidian (Notary, playing a character known as “Black Dwarf” in the Comics), Ebony Maw (Vaughan-Lawlor), Proxima Midnight (Coon) and Corvus Glaive (Shaw) – begin Infinity War by intercepting the Spaceship carrying refugees from the destruction of Asgard at the end of Thor: Ragnarok (2017). Thanos subdues Thor and hurls Hulk (Ruffalo) across space before murdering a sneakily recalcitrant Loki, thereby successfully making off with the Space Stone that was the Power Source for the Tesseract that fuelled the Invasion plot at the heart of TheAvengers (2012). This forms one of the six infinity stones that Thanos requires for full mastery over the governing principles of the Marvel Multiverse. Ebony Maw captures Strange (who is using the Time Stone as a focus for his own Superpowers) during a confrontation at the Sanctum Sanctorum in New York (see Doctor Strange (2016) for more on the sanctums and the Cities to which they are connected) and is pursued by Iron Man (Downey Jr) and Spider-Man (Holland), who stow away aboard Maw’s vessel at it leaves earth. A bout of fisticuffs in Edinburgh sees Proxima Midnight and Corvus Glaive ambush amorous runaways Scarlet Witch (Olsen) and Vision (Bettany) in pursuit of the Mind Stone inserted into Vision’s forehead during Avengers: Age of Ultron (2015): World War Two veteran Captain America (Evans), along with loyal members of his faction of Avengers (see Captain America: Civil War (2016) for more on the cause of this schism) rescues Scarlet Witch and Vision and suggests they all travel to Wakanda (for which see Black Panther (2018)) in hope that Wakandan Scientist Shuri (Wright) has the Technology to remove the stone from Vision without destroying him in the process:-
Giant, beetle-like Aliens dubbed “Scarabs” destroy earth’s twelve most populous Cities in the autumn of 1951, fortifying the impact of their Invasion by use of superior Weapons and Technology to bring much of humanity into conditions of Slavery. As with the invaders from Mars in H G Wells‘s War of the Worlds (April-December 1897 Pearson’s; 1898), the Scarabs have been observing the planet for some time, and have scheduled their arrival to occur at precisely the point between planetary depletion from War and developments in Nuclear Energy. Nigel Kneale-scripted dramas such as TheQuatermass Experiment (18 July-22 August 1953 6 episodes) and Quatermass and the Pit (1968; vt Five Million Years to Earth) direct Starfall‘s comprehension of the thematic link between humanity’s predisposition to fascistic behaviour [see “Nigel Kneale and Fascism” under links below] and the suitability of planet earth as a target for the Colonization of Other Worlds:-
Commentary is rendered as reality conspiracy. White-coated Scientists Sitterson (Jenkins) and Hadley (Whitford) preside over a team of underground technicians whose aim is to draw victims into a Godgame dedicated to satiating the appetites of chthonic entities who are the ages-old Secret Masters of planet earth. Similar danse macabre – the pope, emperor, king, child, and labourer archetypes of medieval tradition are here commuted to whore, athlete, scholar, fool and virgin – are carried out at other facilities around the globe according to local custom: this provides Goddard and Whedon with an opportunity to send up Swedish sobriety, Japanese schoolgirl tropes and so on, and thereby to display Whedon’s usual facility for ventriloquizing Fan Language through characters. As long as one of these global offerings to the gods (see Gods and Demons) of down below goes off, the End of the World is averted. American college students Dana Polk (Connolly), the “virgin” and, therefore, according to the rules of the genre, the “final girl”, Curt Vaughan (Hemsworth; the “athlete”), Jules Louden (Hutchison; the “whore” who dies as soon as she exposes her breasts), “scholar” Holden McCrea (Williams) and dope-smoking free-thinker Marty Mikalski (Kranz) – a character similar in register to that of Zeke Tyler from TheFaculty (1998) and, indeed, to a great many similar characters in American high-school movies – all start the film by adhering to the clichés of the form but gradually begin to deviate from the railroaded idiocy of their roles as the Technology of the presiding technicians – a holographic containment field around the cabin, Drugs in Louden’s blonde hair dye that make her dumb, pheromones, trapdoors, surveillance and the like – begins to go awry. This is counterpointed with the failure of the corresponding rituals around the world, and a fair degree of Humour is derived from the interplay of filmography and Fandom, and from Hadley and Sitterson’s growing comprehension of impending doom, but the film never quite succeeds at being both scary and ironic. If there is any point to postmodernity (accounts differ) it is about who owns or delivers the constructed narrative and what they derive from it, and about what kind of moribund or frightening truth is revealed when that process is undermined. Sigourney Weaver is (as usual) convincing in her role as “The Director” – a kind of precursor to her depiction of the Villain Alexandra in the television series The Defenders (2017) – but the off-stage unknowability of the chthonic entities here arouses none of the intensely lyrical subjectivity of H P Lovecraft‘s protagonists in the face of cosmic time, or the connotations of Holocaust attendant to the appearance of the lost daughter in Hideo Nakata’s Ring (2000), or even the existential implications of Cube (1997). Dana and Marty share a spliff at the end of the movie and decide that humanity is not worth saving. Would that the vastations of planet earth were so easy to shrug off:-
Much of the bi-associative strangeness of the book’s descriptions of Area X is preserved: blossoming branches act as antlers on deer, human limbs are melded into the root systems of trees, concentric rows of teeth occur inside the crocodile-like Monster that attacks the women as they explore an orchard of humanoid bushes. “A religious event? An extra-terrestrial event? A higher Dimension? We have many theories and few facts,” admits Ventress. “When you see beauty in desolation it changes something inside you,” says VanderMeer’s protagonist in the novel. “Desolation tries to colonize you.” This is, perhaps, the most important attribute of the New Weird – that it replaces human delusions of self-importance with deeper and more mysterious truths. From the Space Opera scope of M John Harrison‘s Kefahuchi Tract trilogy with its pointless repetitions of people and the monstrous haunting of humanity from the Time Abyss to the Drugs and crime (see Crime and Punishment) and photography sequence of the Cass Neary novels by Elizabeth Hand – both series of novels display their authors’ facility at counterbalancing Postmodernism with a deep comprehension of genre – the form must go beyond its delivery mechanisms to achieve its emotional payload. More often than not the weird does this by combining the real and the uncanny and making the uncanny seem more real than the everyday delusions of human assumption. Symbolism and surrealism is very often important to this process, as is a central scientific metaphor. In the case of Annihilation, this is cellular activity and its connotative capacity for communicating the implications of Evolution, Climate Change and Medicine:-
Concrete Cow 18 is this coming Saturday 17th March in Wolverton, near Milton Keynes. You should go if you’re at all interested in roleplaying games. I’m offering the following game in the morning session:-
The Bees of the Invisible
“We are the bees of the invisible. We madly gather the honey of the visible to store it in the great golden hive of the invisible.”
Rainer Maria Rilke
Five bookhounds and a dreamhound convene for an auction of unusual items at a Welsh country house.
It’s all been a bit of whirl since you did the scenery and the costumes for Ninette and Gavin, no time for anything; this job is immense. You know His Lordship is vexed at the overrun but you have to get every bit of it just right, for Caroline.
Nothing’s been right since the shell-shock. The sleepwalking is a bit of a worry, to be honest.
The sea is churning right there on the wall but they don’t see it: a Claudean sunset with pink clouds, fluted and pointed like the prow of boats. We live our real lives in the dream light, far from men – that’s what she says. People misunderstand you and the Lady Caroline. When she’s with you there is not one fragment of your true being, of your real personality, that does not participate unreservedly in the eternal celebration of sovereign night.
Investigator Name: Rex Whistler Drive: Muse of Fire Occupation: Artist Occupational benefits: Anagnorisis – you may spend your point of Mythos to trigger the denouement of the game; you have Medium as an Investigative Ability. Pillars of Sanity: Drive fast, die young; huntin’ and shootin’. Build Points: 2
Art: Engraving 1
Art History 4
Cthulhu Mythos 1
Dream Lore 1
Credit Rating 2
First Aid 5