The death of history comes when nobody is there to remember it

The title might sound like a bullshit sentiment, and it kind of is. Mostly because that is a personal point of view as someone who was a history buff in his teens. With the Internet’s sub-cultures still reeling on the loss of sadpanda, and that site-wide mirror being more or less a confirmed hoax at this point, it really made me think back how little we value history and its artifacts. Are you saying bunch of porn counts as historical artifacts? Very much so, especially if its older than decade or so. While most people will get stuck on the whole porn issue and what sort of porn it might’ve been, the same people don’t seem to consider what sort of sociological statements those pictures were making. For example, the much discussed (for better or worse) lolicon has gone through numerous iterations since the movement surfaced in Japan in the 1970’s. You can see its effects everywhere in the media in completely standard and normal ways, like Captain Harlock having having Mayu as a level of plot device, one of the reasons why Harlock still protects Earth from its inner deceit and alien threats. While Harlock could have numerous reasons, a character like this was surely influenced by the pop-cultural scene of the time. Similar things can be found in many other works in the era, culminating with Cybele Vol.1 seeing its Comiket publishing in 1979, and probably pushing itself to the mainstream popular culture with Comic Lemon People first issue hitting the magazine stands for all to buy in 1982. This magazine had such impact that modern Japanese popular culture wouldn’t exist without it in its current form.

Think what you may, White Cybele has a very classy cover

Much like everything in history, things are complicated. It is disingenuous to say that it is sexual objectification of children, but that’s what many seem to go to first. What lolicon was in the 1970’s and 1980’s was effectively what people understand with modern moe; the use of cute, young characters within works. Discussion during these eras were about affection towards these characters, and their desires. That must be emphasized; characters. By definition, a real person does not step into the equation. The age range of these characters was not defined either, like it is nowadays. These characters could be almost anything, as long as the visual style represented the idea of these cute, somewhat innocent characters and their visuals. The culture of cute is a very much a large component here, and with the 1960’s and 1970’s producing a generation that grew up on modern cartoons and comics in post-World War II Japan, it was more or less natural growth in terms of cultural landscape. Within this cultural scape, a lolicon wasn’t someone who had predatory tendencies towards children or pedophilia in any form; it refers for a preference for a certain style and look of the character. In many ways, the term moe has superseded lolicon as it carries largely the same connotation of cute characters. The historical background is largely the same, and even the marketing is similar. The term is simply more politically correct, perhaps to distance itself from how people consider lolicon to be only porn. I should also mention shotacon, which is more associated with female fans; the admiration of similarly cute, beautiful young men and boys. However, this term too is nowadays marred with its sexual connotations.

To put emphasize again; what determines these in the 1970’s and 1980’s is aesthetics. Young, cute looking characters that are the object of fan affection. As you’ve probably surmised, the Western use for the term is very different and based on different historical and cultural background, and partially reliant on intentional misinterpretation.

This is all terrible condensed, and needs its own proper post before I even attempt to cover the best years of Comic Lemon People, but one thing should be clear to most of my readers; the above isn’t exactly what what the Global, especially the Western, consensus is on the topic. We are talking about one nation’s rather major movement in popular culture history, which has been marred needlessly. Without reading around, listening to the people from the era from that specific place, reading and listening to first and second hand sources, you might think that pedophilia and lolicon are the same thing. In fact, they vehemently different; they are both qualitatively and fundamentally two different things. Drawn picture is not the same thing as a real person, or a photo of a real person.

Let’s assume we have lost fan made works from the 1970’s and 1980’s from the Internet and we can’t obtain physical copies anymore. The people who lived during that era are now dead and we can’t have their recollection from the era nor is there any properly documented interviews from them. Without first hand accounts, we can only rely on accounts that might or might not be correct. Writers may have an agenda and paint the movement in black colours, demonizing it to hell and back. Some sources might not even be in the same language as the target topic, misunderstanding major elements. Works that use sources that intentionally colour history is not uncommon, as history is full of propaganda. Be it political, religious or whatever, any and all events in history has different sides seeing different things. It’s like people watching a die from six different sides; they all see a different number. What we need to do is view that die from all angles and understand them for the whole picture.

LUM IS OVER is probably the best example of cross-cut of numerous creators from 1987 collaborating around Lum, with over thirty individuals pouring their affection in pin-ups and illustrations

It is not a secret that lolicon had a sexual element to it, but frankly everything has. It simply has been blown out of its proper proportions, probably because how influential Comic Lemon People was in the mainstream. Nobody seems to consider the 1970’s boy and girl characters as a result of this movement in itself, unless somebody directly mentions that shotacon was named after Tetsujin #28‘s main character, and that show had its inception in the sixties. Despite Elpeo Ple is cited as Gundam‘s household loli character (after all, she was named after Comic Lemon People, Kikka Kobayashi already was around in the first series. Hell, even Fraw Bow counts despite the character’s older age, but she still maintains that cute charm around her compared to most other female characters in the show. Don’t forget that Lum of Urusei Yatsura is considered the first real anime and manga sex symbol, and she is very much part of the lolicon culture of its era. Aalt, she’s too old for that. No, she’s the perfect age, because remember; it is about aesthetics of cuteness. Cuteness and sexiness do no exclude each other, as much as certain cultures think otherwise. Lum’s roundness, alluring eyes and soft body was in many ways first of its kind, trailblazing path to modern shoujo and even styles, where eyes got rounder and cuter with the time.

It’s not even Comic Lemon People that made its wake. While Lemon People might the one that’s on the tongue of most Westerners when talking about lolicon serial comics, Manga Burikko was its direct rival. Not only did it coin the term otaku, but its main editor Ouzuke Eiji wanted to produce shoujo manga, or girls’ comics, for boys. He called this New-Wave shoujo manga. His influence, as well as the whole era’s, is vividly felt in the 1990’s shows. Bishoujo Senshi Sailor Moon is probably the most prominent example of this alongside Magic Knight Rayearth. In truth, the whole movement was well under within animation and comic industry in Japan in the mid-1970’s with Majokko Megu-chan being an early magical girl show that was prominently aimed at boys, much like Cutie Honey ended up being. By the 1990’s, lolicon as a style and aesthetics had become the mainstream visual flavour and style. This continues to this day, hence why moe was needed to surface as a specific and direct continuation. Historically speaking, lolicon and bishoujo fell under the same overall umbrella, with both having some differences but exactly the same aim in visuals.

I had two covers to choose from for Manga Burikko my archives, and this was the one that most wouldn’t find all that objectionable

It wasn’t just these two aforementioned comics; lolicon and loli was quite honestly everywhere with major companies and major magazines advertising and selling products proudly labeling their products with lolicon. This wasn’t about the porn, but again the style. Major players like Uchiyama Aki were publishing in standard comic magazines aimed at both boys and girls all the while he was working on adult magazines. He was publishing clearly labelled lolicon comic in same magazine as Ozaku Tezuka, and they were both doing characters that fit the same exact aesthetic description.

As you’ve probably surmised, lolita complex in Japan is very, very different from what it is considered as in North America and Europe. However, that definition crept into Japanese mindset as well in the late 1980’s and was more or less set in stone in the 1990’s, when the term mostly vanished from the common use. Perhaps the most commonly cited incident that put a negative tone on the term and its proper surroundings is Tsutomu Miyazaki kidnappings, where he kidnapped young girls, murdered them and not just raped their corpses, but also ate them. Moral panic is caused by lesser things, though Tokyo High Court ruled that he acted on his sexual fantasies rather, which of course was directly linked to his hobby as an otaku. The cultural backlash was understandable, but perhaps it was the straw that broke the camel’s back. Discussion about loli and lolicon in Japanese context, in even Japan, does not consider its proper place as a mainstream style and only applies the bastardised understanding of it, partly influenced by the Western misconceptions, party by the intentional obfuscation and and partly by sheer misunderstanding. It is no wonder the term has different application nowadays, even when the whole modern Japanese comic and cartoon culture stemmed from it.

You may argue that language changes and whatever arguments for non-sexual use for loli or lolicon once existed doesn’t matter. Language may change, but its historical context should not. To use an example, the Finnish word neekeri is a direct loanword of nigger, but it had none of the negative connotations to it until the American negative connotations were associated with it. Before that, it was another normal way to name black people. However, with new generations fretting the term and its origin, censorship has forced books to remove the term and even candies change name. There is a chocolate pastry filled with cream that used to be called Nigger’s Kiss, but nowadays it has removed all branding from this and renamed itself as Brunberg’s Kiss. The past generations have demonized what was harmless word and such it is viewed as one, even in its proper historical context.

The point really being that I was making is if we lose first-hand information sources, we might as well rely on hearsay. However, when a historian has first hand information, recollections from an era from an independent person, it is a treasure of information that can be compared and contrasted to what is known from the era either from other first-hand sources or official records. However, when it comes to popular culture movements and events, official records are always dubious at best, unreliable at worst. That is why a place like sadpanda was such a treasure trove, because it contained not only author’s own works from forty years ago, but also serial comic magazines and self-published works, filled with fanart, letters, opinion pieces and news on politics and events that affected the pop-culture of the time. These sources are imperative to understand not just the lolicon scene we’ve been talking about, but the whole comic and animation culture of the time. That is only one view point, reading newspaper magazines and other sources is as important as well. Thus, losing one of them, any of them, will impact on how later generations are able to understand history. History just doesn’t happen; it a never ending movement forward. Most of what I’ve said about in this post has been by going through era specific first and second hand sources, some of which were on sadpanda.

Human history is fragmented at best. At worst, it is a puzzle that has lost an amount of its pieces. We should aim to keep every bit of history safe, even if we object to them. A statue of a South State’s general should be left as it is, to remind people that there is history and that it is a complex mess of human actions and perspectives. We should not allow destruction of any kind of resource, statue, book or whatnot, to be destroyed simply because it might offend sensibilities or it simply doesn’t fit modern culture. The moment humanity decides to ignore this in favour of some sort of one truth above all, history creeps toward its death. History is a tapestry painted with fine tipped brushes of endless shades, not with broad bristles in primary colours. Those who forget history are bound to repeat it may be an old saying, but it is a saying that will get repeated down the line, if people continue to be Brutus to history’s Caesar.

Compete with two similar products, not with one same

Some time ago I read an article about why video streaming platforms like Netflix will go by the way of the Dodo soon some time ago. The main argument was IP and copyrights and how they strangle the system. Not in the way you’d think, but because they allow companies to have a monopoly over a single show and not allow it to spread around to other streaming services. This supposedly leads into a position the monopoly over a show leads into an unfair competition as other platforms don’t have the tool to compete, the same show. I wish I could remember where I read this, because its so goddamn dumb. I have to wonder at what point we dipped over that consumers think two different platforms can’t compete with each other unless they have the same product in the lineup. That is nothing less than misunderstanding how two competing companies compete with their products. This to stay relevant to the blog, we’re of course going to use games as an example.

Super Nintendo and the Mega Drive competed each other just fine without largely sharing the same library. While the SNES dedicated itself to be a role playing machine alongside other games with slower pace, MD was more about the arcade action, all the while PC Engine had loads of shooters and B-Tier action games. Despite their preference in genres being rather clear, especially in the US, where MD had a sort of infamy for sports games among certain circles, the three consoles did compete directly with different entries in the same genres. Sega had Alexx Kidd to counter Super Mario Bros. before Sonic the Hedgehog was around the corner, and PC Engine had titles like Shubibinman and Valis, though Valis is more known for its Mega Drive entry in the Overseas market. Nevertheless, the series’ halcyon days were on the PCE. All these offer a different kind of platforming experience with their own flavour of style and approach, with varying degrees of success.

On the RPG side, Sega had its Phantasy Star and Shining series of games, with Koei bringing its Uncharted Waters series to the table. PC Engine had Cosmic Fantasy, Cadash, Vasteel and such, though Far East of Eden was first largely a PC Engine game before it jumped the ship when PC Engine effectively died. SNES had its fair share of RPG most already know, ranging from Dragon Quest to Final Fantasy.

The point I’m trying to make with all that is that streaming services aren’t dying because one service has a monopoly over a show. While it is true that people don’t really want to subscribe to a service just because it has one or two shows they’d like to watch, and seemingly have gotten used to the idea of everything being one place, these companies compete with each other with their unique libraries and takes on the same base concepts. Any station or streaming service could have tackled Game of Thrones with their own high-budget, semi-realistic adult fantasy epic if they had chosen to do so. None of them even seemingly attempted this. The same can be said for Star Trek Discovery, though The Orville was its direct competitor, and by all means, did get far better reception and is the show with superior writing. Star Trek Discovery currently stands as the show with the stupidest writing among all shows we have now, which doesn’t exactly spell promising future for the upcoming Picard series, especially now that Amazon picked it up after Netflix supposedly doesn’t want anything to do with modern Star Trek. I can’t blame them.

Back when The Addams Family debuted in 1964 on ABC, it was followed by The Munsters six days later on a rivaling network CBS. It is often mentioned that Bewitched first aired at the same time as well, though on ABC. While this sort of pace of production probably will never be matched nowadays, shows also have longer pre-production and hype period before they ever come out should make it easy for different channels and streaming service to put up their competing shows. While The Munsters enjoyed better ratings, it has been criticised for relying more on elaborate make-up and special effects over creative writing and show content. Perhaps that why The Addams family has stuck harder to the global pop-cultural schema while The Munsters hasn’t seen as much growth or appreciation, despite that relaunch attempt with Mockingbird Lane, a serious horror take on the series, which got less than appreciative reception.

Two different providers rarely compete with each other with the same product; they compete with two products that offer the same baseline consumer experience. This is why console business has become more twisted, as both Xbox One and PlayStation 4 offer largely the exact same baseline experience with all the multiplatform games, which means most of the third party companies don’t really care which one might succeed more over the other. Well, unless the first party games manage to install a large userbase, then the third parties will follow in-suit. All the generation winning consoles had the largest library of games exclusive to them.

While television (streaming is just modern television) and gaming are two different kinds of medium and forms of entertainment, the comparison is still apt. A monopoly over a single product is not a problem in itself, as long as the product is not one single, all-encompassing product that allows no other to enter the market. That’d be true monopoly then. We can make jokes about Microsoft and Windows all we want now, but that’s effectively what people who wish there would be only one console, one streaming service or one provider for anything really. No company will be altruistic if they have the whole market in their hands, they will take as much control as possible and squeeze. Much like how Disney is doing by amassing larger and larger amount of media property and companies under their belt. Disney is already the largest media empire we have, and if things continue to move to this direction, we are going to end up with few extremely large corporations controlling the media landscape.

However, Disney still has competition with Warner-Brothers. Perhaps the most relevant competition is their Looney Tunes against Disney’s Merry Melodies, or in modern era, DC vs Marvel. Two isn’t exactly a healthy market and there are more comic labels out there, like Dynamite, but the Big Two are most well known across the world. It is far from a healthy market still, and the competition is questionable at best at times. On silver screen however, Disney has taken the lead in the Superhero movie department with better quality scripts, though the future can be questioned.

While these corporations have ownership over whatever they are legally owned, nothing can keep from other companies or individuals using these materials as a source of inspiration and create something to compete. However, fans will always be willing to make fan games or fiction instead of creating something new and original. One of the many reasons why original homebrew and indie scenes can be very fresh places to visit occasionally due to new ideas propping often up, independent of the major providers. DL Site isn’t good just for porn, but for for wholesome new games and other content as well. Sometimes both.

No, streaming services aren’t going bust anytime soon because they can’t compete with the same show. However, if they are not able to provide a quality alternative, like how The Orville is to Star Trek Discovery, then that’s problem either in the creative lead department, mismanagement, or simply because that section of the consumers is not their target audience.

Battletoads is British Punk

I said I’d skip E3 this year and write nothing about it, but when something goes so wrong like Battletoads is being made into a modern Nickeledeon cartoon inspired style, something is really, really gone to the extreme wrong end. You know at what moment I got worried? Right from the start. Let’s just link the damn trailer and let’s continue from there.

 

Oh God. That’s chromatic aberration in the logo

Chromatic aberration is an error introduced by film in older animation and movies. In recent years it has made a resurgence in modern digital media as an effect, despite decades of work being done to eliminate it completely. Not only it looks distracting when overused, but its become a trope on its own already. It can be found almost everywhere and it almost never looks the part it was intended to. On top of that, it doesn’t help people with poorer eyesight or sight that gets crossed. It fucks ’em up even worse. Credit where credit is due, you can barely see it in the logo, but goddamn this leads into some hot neon pink shit I can already tell.

That’s a flipped double bird to the old guard in form of a fish

And this was the point where my first thought was They missed the cultural starting point for Battletoads and many of the fans will outright hate it. At this moment on the official Xbox Youtube video, it has 8,4k dislikes vs. 4,7k likes. However, what do I mean that the developers missed the cultural starting point with Battletoads? While everyone always touts and mentions how Battletoads is mostly a Teenage Mutant  Ninja Turtles knock-off with green skinned fighting frogs, the fact is that’s nothing unique. Late 1980’s and early-to-mid 1990’s saw numerous anthropomorphic animal mascots and franchises across the board, from Sonic the Hedgehog to The Mighty Ducks! and Bucky O’Hare. Biker Mice from Mars was pretty goddamn rad, and its Finnish dub made mediocre show into a masterpiece. It would be error to simply coincide Battletoads with its contemporaries just for convenience. TMNT might be seen as the starting point for the humanimal trend, but for Battletoads’ style, the roots are not across the pond, but in late 70’s and 80’s British pop- and punk-culture and tripzines.

Let’s use this Battletoads key art as a reference point. And oh, the main enemy mooks are goddamn punk rats

Much like many other NES game, Battletoads‘ art is amateurish, but at the same time so damn fine. It’s free, original and rough. Rough is the key here, as that serves as the main link to the tripzines. It might be rough looking, but that’s part of the charm. It’s not overly cute, is full of that early 90’s attitude and everyone’s pretty much colour coded how they’d appear in the game. The NES colour palette was limited, so designing character that in mind always helps. You can also tell the ‘toads apart from each other easily with little things like shades on Rash, dark eyeshade, belt and gloves on Zitz and Pimple just being bigass dude. Note how the names are part of the whole boys’ shock culture with their grossout names. All part of the charm.

The roughness of course comes from British cartoons like Danger Mouse and Count Duckula. This roughness is not exactly intended in itself, but unlike their American competitors, British animation houses had to work with tighter budgets and the end result often ended up being rougher than intended. This includes such shows as SuperTed as well, though at this point the Rare wasn’t bunch of kids anymore. Where the edge for Battletoads comes from are the numerous hard hitting tripzines, self-published comic strips analogous to Japanese doujinshi scene. UK Underground Comix! has numerous scanned copies, sometimes originals even. Some of them are rough, some of them are even great, and all of them are rowdy. Of course, I would be dismissive if I didn’t mention 2000 AD, the British science fiction comic from the British. Robo Magnus there in the middle, with its looming posture and metallic mask he wears.

Battletoads would fit with these guys just fine

I would also do a small crime against British comic publication if I didn’t mention The Beano, a Scottish children’s comic magazine that’s been running from 1938 to this very day. The Beano in many ways defined the British comic style for the century alongside with the aforementioned SF comic.

But of course, where would be in if we didn’t start with the royalty? The original Dark Queen was based on Elvira, Mistress of the Dark and it shows.

 

This being the UK, I bet having a small potshot at the royalty was there in the back of the head somewhere. The whole point of a design like this isn’t to objectify women, but rather give the dominant role over the ruled ones. The whole Dark Queen motif invites the ideas of things forbidden and evil pleasures. It’s a pretty generic but solid design, unlike her modern version.

And this one? This one looks like shit and here’s why; that it a dull outfit with a dull facial expression with dull colours. Sure, black suit isn’t exactly colourful in itself, yet it pops up better in a game that isn’t filled with pink and purple like the 2019 Battletoads’ trailer is. There’s nothing royal about her, she has no aura to rule with under that design. She looks more like some kind of communist general or a mad scientist than a Queen. To put it simply, this design has no power.

At least they kept her gloves.

Then again, the combat amphibians themselves don’t fare much better.

Hoo boy. Sure, the original Battletoads cast didn’t have the most dynamic idle stance, but Rash just standing there like some lanky bitch simply irritates. You’ll also notice that the ‘toads are of different colour than in the keyart above, and that’s because they went through colour changes until they set with these colours. Though why the hell they messed otherwise perfectly good designs to make them worse is anyone’s guess.

However, the visual history is of American comics and cartoons, which does not fit the already established visual style of the franchise. It goes to the opposite direction, choosing to be family safe and effectively disregards what the previous games wanted to convey. Killer Instinct may have brought Rash into 3D, but holy shit it shows respect towards the series and its spirit in every single way this new game doesn’t.

You know what makes this incarnation of a Battletoad so damn great? It’s fun and cartoony, its mischeavous, it showcases childish humour and yet its rough, raw and has edge to it. There are no flip flopping with a goddamn fish, what you get is massive fisting and spiky booting. There are actual spikes, not whatever shit green shit Pimple’s redesign has on its wrists and belt.

They also use flipped sprites in an era where memory should not be a goddamn problem. This is best seen with Zitz’s, the middle one’s, arm thingies

That’s all good Aalt, but Battletoads was always kiddy stuff. That’s what many may want to think, but the arcade Battletoads showcases what Rare would do if they had pretty much no limitations regarding censorship.

This game shows perhaps the best what sort of core Battletoads have in terms of visual themes. Visceral violence and hard hitting head bashing with nothing held back. You smash your enemies heads in, you cut them off with an Axe kick, you split them with a spiky slam or kick them off the screen as they scurry off. It’s everything your mother would hate in games that look like they’re for kids. All that is lacking from the new Battletoads game and that is why there is a large portion disliking it. Rather than looking and feeling like a Battletoads game, it looks like a cheap knock-off.

It’s also so goddamn purple. It’s more or less clear that the game is being made for the new retro audience rather than to the people who played the originals and have been rooting for a new game for few decades. And what we get? A game that looks, and I echo so many others, like a bad FLASH game.

Credit given where deserved, the graphics look slick  in their intended way, animation is pretty good and all that, but it doesn’t look the part. The gameplay looks like an incoherent mess with plastic, cartoony deformation everywhere. Of course, can’t say much about the game play without playing it first, but this being Xbox One exclusive means that chances are I’ll never play it.

It’s really pathetic a game this awaited, especially by its fans, ends up looking nothing like it should have. That is not say that a more cartoony version of a classic belt scrolling action game could work, it just needs to be made in the same spirit with some damn respect for the source material. Like Streets of Rage 4.

Canon obsession

If you’re a fan of some long series of books or comics, games or TV-show, chances are that you’ve partaken in discussion pertaining canon. That is, discussion (or more often than not, flamewar) of events that happened within a given fictional setting and how these events relate to each other. It is the nerdy version of two historians or otherwise more well-versed people discussing real world history in its proper context, perhaps even debating different points of views past scholars have made.

Let’s be honest here; canon is something that can and will change however the author, group of authors or the property owner wants at any any given point in time. It is completely malleable, everything that has been put on paper or on screen can be waved away for whatever reason given. Retroactive canon is nothing new to any enthusiastic follower of a given story with multiple entries throughout the years. Small events are changed here and there, additions and retractions. Larger stories become a mess due to constant additions. New stories set in different time frame contradict previous stories either directly or introducing stuff that wasn’t there before for no other reason but to inorganically tie this new story to the older. Then you have remakes breaking the older canon by introducing all this new stuff and supposedly fixing what was broken in the old. Unless the work in itself is completely finished and the author is resigned from changing it, no fictional story is ever set in stone.

Silly Aalt, we just didn’t know they existed before the story told us about them. I don’t play the canon game like that. They didn’t exist in the canon until they were retroactively inserted there. Discussing things as they happened is fine and dandy. However, ignoring the real world situation and events when something new and out of place is introduced, like the aforementioned relatives, the thing muddles. The authority of course will try to play things in order to placate the fans, or in some cases, the investors. This doesn’t remove the fact that something like Spock’s adopted sister in Star Trek Discovery was pulled out from their ass. At this point oh so many fans will point out different variations of canon, how TV and silver screen events are only true canon and numerous books, guides, comics and whatnot do not count. Though even then, what’s on those screens doesn’t add up all the time, and then they have to issue a magazine article or a book to cover their asses.

Sometimes changing canon can change the whole motif of the work. For Muv-Luv, if you take into account the later explanations how the dimension travel and branching timelines work outside the main body of work, you’ll find out that there are multiple continuities within the BETAverse continuity itself, making Takeru’s sacrifice all but meaningless for all those other continuities. Takeru didn’t end up saving that world at the end of Alternative because of the timeline retcons, just one version of it. The literary motif of a person going through groundhog day loop to save in the name of true love was effectively destroyed.

Is that headcanon I see? No, that’s common sense. I said I don’t play these games. The obsession toward canon strong enough for people to invent new terms and ways to deal with it, like headcanon, i.e. a personal interpretation of events. In the current era of personal feelings and opinions being the height of argument, yeah just go with it then.

Though to be serious, that’s another issue with the whole canon thing. Unless the events are made crystal clear with no ambiguity, you’re more or less asked to refer to a source material like some book, or in modern cases, wikis that just list everything under the sun. Memory Alpha, the Star Trek wikia, is special spectrum kind of levels on the details they list in each entry. Things like how Warp Factor’s speed changed between The Original Series of Star Trek and The Next Generation. Nobody makes a fuss about it on the show or even acknowledges it, but writers’ guides changed how the speeds were represented. In The Original Series, you could go past Warp 10 speeds, but in The Next Generation Warp 10 was maximum speed you could go. The Star Trek Magazine did recognize this and made it work, but that’s not from TV or movies, so according to owner rules, it ain’t canon. It just stays one of numerous discontinuities between the two shows, but we fans are very apt at making excuses for sloppy writing and changed rules on a whim. For all we really know, Warp 10 as the max speed would apply to The Original Series as well and anything that went over Warp 10 should be corrected proper.

Star Trek is the most overused and driest example anyone could use for a discussion about canon, but its so persistent in our global pop-culture that there’s nothing like it. We know Spock, Kirk, Picard and so on. It’s easy. Not so much with Star Wars, but that’s a whole another topic. The fandom is known for its religious level of knowledge of the show and everything surrounding it that it’s become a living joke in itself. A respected joke, but a joke nonetheless. A Trekkie or Trekker, same deal.

While I’m at it, Ex Astris Scientia has a good article on visual (dis)continuity between Star Trek productions. if you got few minutes to kill, give it a look out of interest.

That’s not being fair. No, it it isn’t. The whole deal isn’t fair to the consumer and fans overall, and yet there is this obsession on canon, on what really happened. Well nothing really happened, but the question I always ask Why can’t we treat these as their own stories? What is it that makes fans so keen on sticking to canon? I really don’t know, and I doubt anyone has a wholly satisfying answer to give. Perhaps its the fact that these stories we love are modern myths and legends, that we find something to love and shower ourselves with the how interesting the world and its characters are. We want to know more about all of it and how it all works together as wholesome piece.

The obsession persists in every corner of each fandom. It can’t be escaped. Perhaps long-form storytelling became popular because of this, but even them most shows that try it are episodic in the end, allowing the episodes to have standalone stories within the larger line. Y’know, something some TV-shows like Buffy did well beforehand.

All this demerits each of these stories as a single standalone piece and as a totality. For whatever reason the holy pedestal of canon can’t deal with stories that stand and use the overall frame as the main part of the fictional world. For example, can’t we take all Star Trek series as their own work with works within them all the while dismissing the overlooming canon? Apparently not.  People get rivaled up for everything. Reality is, of course, that Spock did not have an adopted sister or a cousin looking for God in The Original Series, but the obsession to fit everything in a single fictional history overtakes this. This is very marketable. Perhaps time and effort would be better spend in discussing the merit of the work rather than its fictional history that is very much dependent on the whims of the author.

Purple’s Qualia; Travel like light

I wonder where I should start with this one. Perhaps from the start, though what is the starting point is hard to determine. Maybe it was the fact that Back to the Future sparked my liking for time travel stories at a younger age, or that SF books and such have so much about it. Even the first Final Fantasy is a time travel story at the end, looping the beginning and end together. Time travel story after time travel story after time story. With further understanding on how world works, the stories themselves adapted the ideas, installing multiple world theories and others as the standard rather than BttF‘s popular linear time traveling.

At some point, it became clear that time traveling requires spatial traveling as well. I don’t remember what made this point clear to me, but one story had it as its major focus. It might’ve been a short story in a collection. Both spatial and dimensional travels are popular topics within fiction. These sometimes incorporate time travel, but time travel inherently has to have either of the other, sometimes both.

These stories are everywhere. Very few of them are anything new. Games, books, movies, comics, each form of media has taken their numerous takes on time and dimensional travel. I grew tired of them. Few times I didn’t exactly realise that these were major parts of a story, like Muv-Luv. You could say I did, seeing my main argument to hate it was Don’t bring you aliens and mecha into my realistic romance story but after learning it was an alternative world, I opened up to it.

Perhaps the thing that broke the camel’s back with these stories was the fact that branching universes breaks the intended motif of Muv-Luv, where Takeru has been set in an ever-looping hell before he can find that one path to save the world from certain death. However, with the series now having retroactively installed the whole branching timelines, there are no loops as such. Each time Takeru returns to origin point, he is at a branching point. Rather than saving humanity in BETAverse, he manages to save one of the infinite branches his actions are part of in infinite amount of BETAverses. The original intention, the very mechanic of Muv-Luv, of repeating a loop until one true path was found, was made moot.

How would you sell a story with time travel to someone who categorically is sick of them? I’ve been sold many stories described as the most scientifically accurate or realistic depiction of time travel, but that’s an oxymoron. With the current understanding, time traveling only exists forwards. We do it just by being. Nobody has yet gone back to the past and explained how it all works, or come returned (if that’s even applicable term) from the future to tell us how it works. To put it bluntly, none of if is realistic, none of it works, and we can only travel forwards.

Cover of the novel, with Marii’s purple eyes, but none of the qualia yet

Maybe that’s not exactly the starting point. More like presenting the colours and paint that are going to be used on the canvas. When Jinki:Extend was airing around 2005, I was aware of it but never watched the show. I liked its visuals but at the time I had my hands and mind busy elsewhere. Tsunashima Shiro’s style is distinctive and eye-pleasing. It is rather ageless as well, and will stand the test of time better than some of his contemporaries. Fast forward some thirteen years. At this time I’ve begun checking modern shows that I missed, comics to read during my downtime despite going through some hard times. Finding his works, very few translated as such, ultimately lead me to 2009 novel Purple’s Qualia by Hisamatsu Ueo and its 2011 comic adaptation.

Purple’s Qualia, or lit. translated from 紫色のクオリア as Purple Colour’s Qualia (officially formed as Qualia the Purple because of course this would be the official translation Japanese went with) is a story about infinite possibilities, about deep and loving friendship, sacrifices through trial and error, and perhaps most importantly, about a girl with purple eyes who sees all living things as robots. It is also a story with time and dimensional travel without actually having either.

More after the jump, we’re going a bit image heavy here.

Continue reading “Purple’s Qualia; Travel like light”

Reviving for new ages is a challenge

Earthworm Jim is one of those franchises that had a momentary impact. After two good games, a decent TV-show and mediocre three-isue comic series by Marvel, it all went to the shitter. It’s a weird IP, tied to a weird era of television and culture in terms of design and visuals. Everything from the slightly scratchy and clearly hand drawn visuals to the slightly gross-out and weird designs that was hallmark of shows like Cow and Chicken and even Rugrats. You would think that making a heroic earthworm in intergalactic quest for peace with comedic overtones would be relatively easy to work out, but the sheer nonsense humour and how the games presented themselves didn’t really leave much room for the TV-show or the comics to flourish. Earthworm Jim 2 is even more nonsensical than its predecessor. Both of them are quality titles for the system they were released for, but adapting something like Earthworm Jim is just stupidly hard due to the lack of any cohesive world, and that’s kinda the point too. Sit back and enjoy the chaos and whatever ensues. EWJ is a like an acid trip that kept pushing envelope of What the Fuck.

Earthworm Jim, much like many other franchises and IPs, needs updating from time to time. Especially now EWJ is effectively being resurrected both in comic form and as a game for the upcoming Intellivision Amico. I agree, resurrecting Intellivision is a nifty move, but keeping the controllers like they were in original Intellivision won’t bode well. Hopefully optional controls will be a thing. One point that Intellivision should update itself to modern era. To use examples of IPs that kept renewing itself for new generations  are numerous, from The Transformers to Super Mario, most long running franchises have managed to find new ways to expand their consumers or find a new niche. Sometimes both. There are numerous examples of franchises getting screwed by badly handled renewals, like how Star Trek Discovery is less Star Trek than The Orville. Star Wars can be used as an example for an IP that war warmed up again and then revamped for the 1990’s with comics, books, games and whatnot. Let’s not talk about 2000’s and 2010’s Star Wars for now.

Very few IP can stay the same without any change throughout its existence if the owners want to milk it years on end. Something like EWJ was mishandled extremely badly after the second game was released. Some of the later Mega Man games were terribly handled as well, ranging  from utter garbage like Mega Man X 7 to series ending games like Star Force. EWJ revival is in good hands, seeing his original creators Doug TenNapel, David Perry and the rest of the motley crew are working on it. Doug’s handicraft especially is what has always given Jim his iconic look. While there are some who would rather not have Doug on-board, and that this blog holds the stance that original creators are not necessary in order to create great, if not even better, new installments to an IP, the history of EWJ games has been lacklustre without the original Shiny Entertainment team. Something like Metal Gear is relatively easy to approach, as the series’ core is easy to follow and has set tropes to the extent first few Solid games are just remakes of Metal Gear 2 in many ways. The weird humour EWJ employes is harder to trace down properly and replicate by someone else without it looking like a botched copy. It can be done, but it without a doubt would require people who are willing to let loose. Maybe be willing to have few magic brownies too. As weird as it may sound to people who didn’t see EWJ’s momentary popularity, it was on a straight road to stars, only to crash and burn.

EWJ can’t become a similar hit it used to be at this time with the current zeitgeist in popular culture and video games. Even with revising it’ll have the baggage of past games on it. It will be compared to the best of the franchise and expected to at least be on the same level. Beating Earthworm Jim 3D isn’t hard, or that GBC game, but it’s extremely easy to lapse how this new game is being handled. It’s just as easy to follow the first two game’s example and make a third entry that’s just an extension of one or the other, which would really would probably meet a positive reception, albeit lukewarm in reviews and be called a derivative work. It’d be just as easy just to do something completely different and unrelated, failing to understand why the first two EWJ games were so well loved. Nevertheless, it is easier to do a proper EWJ title nowadays than what it was twenty years ago. The IP is inherently 2D action. With 2D being again accepted as a valid, completely and perfectly normal view and gameplay angle, Earthworm Jim has a chance of becoming popular again. Anywhere between late-1990’s to mid 2000’s that’d been almost an impossible task, though even now 2D games often get the shaft.

However, the era of anthropomorphic mascots has been long over, with Sonic effectively being the only one left. Jim was immediate result of Teenage Mutant Ninja Turtle‘s explosive popularity, much like Battletoads was. What we have now related to anything of the sort simply doesn’t exist. Cartoons solely for kids in similar manner to the 1990’s are rather rare and cross-media franchising has changed. It’s not kids that are the main target of these cartoons and toys anymore. It’s still the same people who live with their parents and still buy the Spider-Man toys from the local store. You can’t dismiss these lifelong fans, but at the same time considering expanding the market, especially towards kids if the IP is originally a children’s franchise, is important. It’s a mess of a juggling act, trying to appease the long time fans that demand and rave multitude of things, trying to keep true with the origin and serve new possible customers while you’re at it all the while trying to make something new.

Sometimes it’d be the best to ignore everyone and everything and see what makes a worm tick, and follow those lines to perfection. Sometimes.

On Scanning comics and magazines

While I applauded the sheer amount of unnecessarily large file sizes with stupidly large amount information in scans in my last post about the subject, here I’ll be arguing against this to some extent. It’s all about where you want to go with the result and what you want to preserve.

Perhaps the main example is what you’re aiming at; the original artwork at the core, or the magazine itself. Old magazines tend to yellow their pages, so the question becomes extremely relevant. The lower quality the paper printed on, the worse the picture will end up being. Furthermore, I’ll be using comic scans for this post alone, and at a later date talk about magazine scans that are in colour at some later date as that’s another whole thing. To illustrate the diaspora, I’ll need to use proper examples, right after the jump. We’re bound to have large images sizes in this post, as I don’t want to showcase itty bitty pictures if I can help it.

Continue reading “On Scanning comics and magazines”

On the Golden Age of Gaming

This blog has touched a lot on the cultural and historical phenomena regarding video games and their design throughout the years. For some these have been posts of interest, while others seem to regard the late 1990’s as the pinnacle of video games, despite the same has already been said about the mid-2000’s and early 2010’s. Arguments fly about and you, my dear reader, probably have a take on the subject that might support one but not the other. Maybe you even consider the late 1980’s the pinnacle of electronic games, but that’s how it is. We all deep down know that the Golden Age of video games was in the late 1970’s and early 1980’s, when computer, video and arcade games begun taking their modern shape.

The Golden Age of Arcades is established to be around the years 1978 and 1979, based on the release years of Space Invaders and Asteroids, which works just fine for them. The overall Golden Age of Games can be expanded from the the mid-1970’s to the 1983’s video game crash, as this was the period of rapid expansion consumer bases, genres, technology and popular cultural phenomena. This is contrasting the electronic gaming history to that of comic books’, where the Golden Age of Comic books, where most, if not all, classical archetypes and heroes were created, and the medium became a significant power in publishing.

The reason this contrast is made is due to the cultural phenomena usually work. These periods are of making the media into something that is able to stand on its own, establishing itself through various creators and enjoyed wide public attention, which naturally leads into impacting the culture in major ways. The very reason you still hear certain kind of sound effects in films and television when it comes to video games being depicted is because those bleeps and bloops are culturally associated with gaming as established by the Golden of Electronic Games. Be it the sound Atari games or the PC speakers made, certain sound is still associated with gaming by being handed down by the surrounding pop-culture. This era would fit the first two Console generations just fine, and majority of the early PC gaming as well, when people were turning their Dungeons and Dragons sessions into text adventures for their universities mainframes.

As a side note, you can pin point certain era of Famicom just by listening to the sound effects, as vast majority, if not all, developers used the same effects library in the early years.

But that side note throws a wrench into the whole Age discussion, as we must remember that all events weren’t global at that point in time. The 1983 crash had little to no effect outside the United States, as Europe was tightly grasping local micros at the time, and it wouldn’t be until the very late 1980’s and early 1990’s when console gaming had its breakthrough in Europe. This and IBM standard effectively killed multiple computer platforms, and Windows 95 cleaned the slate. Now we effectively have only three standards, four if we count Android, instead of each manufacturer having their own. The story’s completely different in Japan for many reasons, as Japanese computer history is a different beast altogether from its European and American cousins. If you’ve ever wondered why European developed games for the third and fourth generations felt so different and bit off, it’s because they were developed under a cultural paradigm that favoured platforms like the Commodore 64, Atari ST and Amiga 1000. These games look and play in a particular fashion, something we might get to few years down the line.

How can we say that this specific era is this or that when it only touches certain parts of the globe? The answer is; because of history.

We can’t say what era we are living in currently. World War I was originally named as The Great War, the war to end all wars, but then Germany decided to slap Poland around a bit. As such, we have to look at what sort of massive expansion gaming overall had during that time in the US and Japan with arcades and how little they impacted Europe at the same time. It wouldn’t take but few years until European arcades would see the same titles, but the impact rarely was in the same ballpark. Culturally speaking, Europe didn’t produce much content that would impact the global gaming sub-culture, but if you lived during that in France and UK, you probably remember few regional names that pop into your head right away. Now, how many of those are as well remembered in the cultural background as Pac-Man and Space Invaders?

To follow the Ages of Comic Books, we naturally are lead into the Silver Age of Electronic Games that encompasses the fourth and fifth generations. The reason again is comparative to comics, where old heroes were rekindled into new forms. Best example of this would be Mario, where we go from single-screen titles like Donkey Kong and Mario Bros. into fully-scrolling Super Mario Bros., re-imagining the games’ world as Mushroom Kingdom with kidnapped princesses and turtle kings.

While Famicom was released in 1983 in Japan, the starting point of the Silver Age must be set to 1985 with the American release. This is also a turning point in Japanese software development, where the quality of the titles began to ramp up. New competitors would establish themselves on the console market across the world, some spinning themselves off from the arcades like Sega (who already had a presence in Japan with their 1984 SG-1000) and Hudson hitting the market with NEC backing them up with the original PC-Engine in 1987. Atari still tried with the 7800, but couldn’t find a niche against the juggernaut that was the NES.

Despite all the above, what if I argued that the Golden Age would be from late 1970’s and up until the release of PlayStation in 1994? Despite the Crash of ’83, the third and fourth generations saw further expansion and cultural impact. The Super Mario Bros. and Sonic cartoons, comics, food stuff, everything that went into making electronic gaming into a global force didn’t happen just on few years. Modern electronic games are still a young medium, despite some having lived with them throughout their lives, they’re still younger than television, cinema, theater or literature. Maybe in a hundred years or so people will have enough perspective to view the changes in the game culture properly. Currently we are too close to these events with heavy bias to go by properly, and so much of it extremely well recorded. It would be extremely easy to dissect history into extremely small blocks, because we can do so. Those in the know would understand and acknowledge all those minute changes that had a ripple effect down the line.

Instead, maybe we should call the era from mid-1970’s to mid-1990’s the Classic Age of Gaming, where expansion was largely constant, new companies and hardware would pop up and die during the contest all the while others would grow strong and established. From there, we are now living through the Modern Age of Gaming, where we have seen the cross-pollination taking hold over the industry and the establishment of the Big Three with no real competition offered in the console market. Further mixing of genres and new impacting titles have been introduced, like Halo and Devil May Cry.

Even this might be somewhat arbitrary, but as mentioned, we’re too close in time to take back and see events as they are. How culture and industries move in the grander scale is hard if not almost impossible to surmise at they are going on, and perhaps the first mistake a young medium as comparing itself too much to other media and let those dictate too much what it should be.

VPN is digital importing

I’ve been importing games since the NES days. Teenage Mutant Ninja Turtles III: The Manhattan Project was supposed to get a full-blown PAL region release and was even advertised to get one, but the looming SNES probably was the reason they cancelled it. Too bad, TMNTIII is best of the bunch, even better than Turtles in Time. It’s been an easy time overall for importers. Region circumvention has been a thing since day-one and relatively easy. Sometimes you just need two pieces of wire, sometimes you need an extra in-between cart, and sometimes all you need is a boot disc that does the job. However, with the further digitalisation of machines, importing became somewhat an issue with the Xbox 360 and 3DS. The 360 was a semi-region free machine and it was up to the developer/publisher if their game was to work on different region machine. 360’s online store was also region bound to the console’s region, meaning you couldn’t access out-of-region stores and their exclusive titles and content. Sometimes a release of a game would work in two regions, sometimes in all three, but it’s really a toss of a coin without some resources on the ‘net, and not all of them are complete listings.

Importing machines is an adventure and a half unto themselves. With older hardware you’ll come across with stuff like having to get a separate power converter if the power leads are physically connected, or buying a new power cable at easiest. The hardest thing I’ve seen people doing is modding the power components or modding the cables to feed the proper volts and ampere. It would of course solve all the problems with the game compatibility, considering mixing NTSC and PAL software and hardware always produces mixed results, especially if your television doesn’t support both standards (though I know a Russian method to introduce colour to NTSC signal via extra lead on a PAL telly that can’t understand it) , importing consoles really solves a lot of problems in regards of the games and their online stores. The question just is if you’re willing to dish out several hundreds of your local squirrel skins to get one. Chances are that you’re not, and will resort to modding your machine and just use other ways to obtain the games for play.

Why am I talking about importing like this? Importing has been in a breaking point for some time, at least from a personal perspective. Yes, this post is a bit out of character, as you guessed. With the constant and further digitalisation of titles, you’d think unifying the regional availability would not be much of an issue. That’s ultimately hubris, considering everything from regional currency and legislation will step in to block this. You can’t appease everybody, and if you are adamant to attempt to do so, you’ll find yourself offering the same titles in different forms in different regions, which is already what they’ve been doing, or you’ll have to use the tightest and most draconian rules as a whole. I’ve discussed China’s policies to some extent and the whole thing with Sony now practicing global censorship is one of the end results you can get in the end. I would still consider censorship a service failure like this. Hell, it’s a brand failure, as it directly fights against PlayStation’s image as the console of choice for more adult and refined console. Censoring your games just shows how easily the brand is swayed by politics and ideologues outside the market’s wishes and demands, especially when kicking the developers nuts.  What’s the point in importing, if all the titles are the same across regions? One of the many reasons to import titles in the first place was to get uncensored version of the games, or games with extra content that were cut out or added in for whatever reason. The proverbial drive to find the purest version of the game out there usually takes some research, but with older titles you can bet religious and sexual themes, and gore, usually got cut on Nintendo consoles. Things change with time, for better or worse.

With the further digitalisation, using a VPN will end up being a modern way to import things. That is, to gain an access to region specific variety of goods that would not be available to you otherwise. This doesn’t work on consoles that have the region hardcoded into them, but increasing amount of machines allow cross-region stores to be accessed based on the account information. It’s not too uncommon to find a Switch or a PS4 with multiple accounts simply because they serve as a way to access multiple regions. Nevertheless, things like Amazon Prime, Netflix and even Steam can be access out-of-region with a VPN, and get that access protection while you’re at it. VPN, as much as I’d dislike to say it, is more or less a modern way to import in the digital environment that is the Internet. Not as much in ways of how it works, but in the principle of what’s the goal; access to materials that are not available in your region. Is there an echo in here?

This will become more and more relevant as companies want to downsize their physical output. Preaching the inevitable death of physical media has been around for good decade now, but the death has been extremely slow if it is going to happen, and the chances are it will never truly go away. There are too many collectors out there, and Japan still loves their physical media. This will also go in cycles, I bet your ass, where a new generation will begin to appreciate then obsolete way of having a physical copy you yourself own rather than have an access of bits and bytes on a server somewhere via your subscription to a service.

To be completely honest with you, I’m tired of importing, or considering to use a VPN in order to access sites and goods that I can’t otherwise. Some of these breaking legal boundaries without a doubt, especially when it comes to console modifications, and even after importing physical machines to access games sometimes isn’t enough. There are so many hoops and loops to get across, that straight up piracy is simply the best option. The provider won’t lose a sale anyway, because there is no way I could even make a purchase to begin with. You’d think that someone who’s game collection is 41% of imports and 60% with DVD/BD media, all this would be easy and nothing to worry about. I don’t have time for that anymore. Life has become so hectic that I’m late on every project I set up two years ago, not to mention the time I spend socialising with friends has dropped. Readers probably have noticed how my posts have gotten later and later due to this, and I might have to cut blogging to once per week, something I don’t want to do.

If physical goods has one edge over digital, it’s they’re available in online stores to purchase across the globe. As long as the seller is willing to ship outside their own nation, and there are always options, you can procure yourself an item without any hassles. Sometimes you might need a proxy service, but that’s a whole other post I probably will never type out.

Stan Lee, 1922-2018

When a person like Stan Lee passes away, there’s very little someone like yours truly can add to what’s already been said and written many times over. To some he has been an inspiration, to some a crook who has taken credit from someone else’s work. Nevertheless, he was one of the main instruments to create Marvel as a comic publishing powerhouse to rival any competition, and did have his hands in creating characters and stories that have turned into modern myths.

While Lee’s cameos in Marvel movies have been his probably the most visible appearances in terms of world wide exposure, the most exposure I got of him was in the comics’ pages themselves. Stan Lee Presents… almost served as a badge of quality. Lee’s voice in the NeverSoft’s Spider-Man game was made the game more legit, something that Lee’s voice lend itself for very well. Hell, he even appeared in-person in the 90’s Spider-man cartoon. Then again, his first appearance was in the 1989’s The Trial of the Incredible Hulk, so he has a history with these, both in and out of Marvel related productions.

Even if all this was a facade, just a front to serve Stan Lee better as the company face, I can’t doubt his enthusiasm to be in almost everything he was part of. To take his own words at face value, Stan Lee ended up loving the fact he entertained people through the comics. They served as a basis to delight, scare and bring new worlds and experiences to the reader, sometimes just brightening up someone’s day, sometimes perhaps even pulling them away from the edge. Bringing joy to people just by being there seemed to be a lot for him, and probably the paycheck that it brought with it, but let that one slide for now.

He was a character that seemed to be full of life and joy, though at the later years of his life there had been some rumours that age had got to him, and how there were people in his close circles trying to swindle his property away from him. Of course, only few are privy how he really was for all those years, but as a legendary icon, it doesn’t really matter much. This is one of those cases, where the person has been eclipsed by his cultural status and has embraced it. I’d say we should too, at least for the time being before historians and nerds begin write biographies and True Stories of Stan Lee.

That’s where Stan Lee will stay for long time. The image people have in their heads about him vary somewhat, but often I see people drawing him with the heroes he created, next to a drawing table or otherwise entwined with then goings of comics and related phenomena. Always smiling in his trademark glasses and moustache, and that go-get ’em attitude. Dare I say, as an icon, Lee’s legacy could be called inspirational. Perhaps that’s why I returned making an entry about a celebrity’s death, despite stopped doing so after few early on in my blogging. In my head, I always reserved two more spots after Ralph McQuarrie; for Stan Lee and Go Nagai. While I can’t say I am sad at his departure, I can’t deny a part of me thinks that something that has been with me on the pages of comics has now left.

There will be someone to take his place, at some point. There won’t be another Stan Lee, but there is no need for that. If Lee was there to entertain us, there are and will be people who would take up on that mantle, and entertain us like there was no other, in their own fantastic and amazing ways.

Excelsior to eternity, Stan Lee.