#but it’s kind of a surface level exploration of religious guilt

[elysiuminfra]

catholic guilt is one thing but southern baptism shame is a whole different monster i don’t see many people talking about

[xoruffitup]

Sexuality In Neon Genesis Evangelion: Adolescence & Violence

(I’m literally 20 years late to the party here, but if anyone still cares for NGE metas, this hasn’t left me alone...!)

It takes only a few episodes into NGE to sense there’s some form of unrest beneath its surface. A palpable sense of unease and malcontent shadows the characters, seeping into the bleak cityscapes and following Shinji’s listless drift from one battle to the next - creating the unrelenting sense that this show has no intention to coddle or comfort you. Much will not be explained, or even directly addressed. Most of that unease you’re feeling as a viewer will be left for you yourself to decipher – probably in a manner uncomfortably and bracingly personal. I would call this a mark of artistry, in that the viewing experience becomes something deeply intimate and unique from person to person.

The obvious narrative explanation for all this dark ambiguity is the evocation of Shinji’s troubled psychological state. He mopes in his dark bedroom, rides the train alone with his headphones in and no destination, and accepts the role of Eva pilot only when his refusal would make him feel yet more despised. He is utterly directionless and thus helpless – caught in a paralysis between his pathological need for external affirmation and his crippling fear of being hurt. He craves kindness and care from others, but is both unwilling and unable to forge such positive connections with others because he presupposes doing so will cause pain. Therefore, he makes few self-motivated choices and rebukes all notion of the driven, intentional protagonist. 

Shinji’s rejection of the traditional mantle of the hero’s journey, and his repeated regression into unassertive self-hatred also signals an unorthodox approach to storytelling - where the narrative flows around the inhibited, apathetic characters rather than through them. We as the viewers do not become invested in the narrative progression as an extension of Shinji’s own investment. Rather, a central part of the narrative becomes the self-aware exploration of its own impact upon Shinji and the wider cast of characters. Shinji, Rei, Asuka, and to a certain degree Misato and Ritsuko, do not determine the narrative direction through their own choices and thereby set events in motion; they are instead passive, reactionary presences drawn along by the provocations of seemingly inevitable series of events. (Angels attack – characters respond; Gendo or Seele give some unexplained order – characters react; Instrumentality begins – Shinji reacts)

As the curtain is finally drawn back from the human instrumentality project in the show’s final act, we realize Shinji was not simply whiny or poorly-written: His constant struggle between the fear of pain and need for intimacy is in fact the defining tension of the show as a whole. The “Hedgehog’s Dilemma.” This dilemma saturates each character’s personal trauma, fears, and desires, and finally elevates the characters’ internal reckoning in the face of instrumentality to create the show’s climax.

The show’s indirect yet masterful depiction of Shinji’s depression and undefined malaise is, in fact, keenly intentional and central to the story’s purpose. In a show defined by endlessly rich even if agonizing ambiguities and a narrative style that reveals itself only in subtlety, no minor detail is inconsequential. And so, I repeatedly found myself trying to discern the purpose of a recurring element that could be neither accidental nor innocuous. I am referring now to the show’s consistent and blatant preoccupation with the sexualization of its (female) characters and the infusion of sexuality into inter-character relationships. 

The sexualizing and/or objectifying gaze is applied far too often to be anything but an intentional layer generating narrative meaning. In a show that elegantly weaves together psychological, religious, ethical, and technological allusions to construct a cutting inspection of the human psyche, this preoccupation is not a mere trope or “fanservice.” The recurrent reference to characters’ sexuality and their depiction as sexual objects cannot be a neutral or peripheral element of narrative meaning. Beyond the impossibility of this element being unintentional or divorced from the show’s narrative purpose, we are also obliged to make ourselves aware of the gendered lens through which this depiction of sexuality is filtered, and the power balance or imbalance this depiction enforces upon the characters involved. Consistent nudity to the point of fetishism and sexual inferences to the point of defining character cease to be superficial and become something pernicious.

Below, I will explore two different frameworks through which to interpret the show’s sexual overtones. The first framework – adolescence and the fear of adulthood – aligns with my initial response to the anime, while the second framework – sexual violence –reflects my more troubled response to the End of Evangelion film. 

Framework 1: Shinji’s Adolescent Fears of Adulthood and Intimacy

Lest we forget, Shinji is only the tender age of 14. His internal struggle with self-worth and identity is exacerbated by its intersection with puberty and Shinji’s fraught understanding of his own budding sexuality. Shinji’s characterization of being highly dependent on the guidance and praise of his elders highlights both his adolescence and his own inability to confront his growth to adulthood. His unwillingness to navigate the perils of adulthood (as well as its corresponding sexual relationships) is probably evoked most clearly in his Episode 18 conversation with Kaji. After Kaji opines on men and women’s inability to understand each other – let alone themselves – Shinji merely replies dismissively, “I don’t understand adults at all.”

Given his 14-year-old perception of adulthood as something impenetrably mystical, it follows that his own budding sexuality acts as both a source of anxiety and a central aspect of his journey through adolescence. The often discussed parallels between Shinji’s relationship with Asuka and Misato’s relationship with Kaji further cements sex as something firmly belonging to adulthood; just as Asuka’s eagerness to present herself as sexually mature reflects her desire to appear independent and “grown.”

Coming to terms with one’s sexuality is of course a commonplace metaphor for the development from adolescence to adulthood. However, the characters’ understanding and comfort with their own sexualities also plays a key role in their internal reckonings and decisions which occur within instrumentality. 

During his moments of metaphysical introspection, Shinji���s confrontation with his deepest fears repeatedly presents itself in the form of sexual temptation. We see him translate this need for external validation into unconscious sexualization and desire for the women around him.  While fused with Unit 1 in Episode 20, Shinji is questioned by imagined specters of Misato, Rei, and Asuka. He reaches his breaking point when, after admitting he only pilots the Eva in hope of earning others’ praise, he cries out for someone to take care of him. After pleading, “someone be kind to me,” all three women appear to him naked, asking repeatedly, “Don’t you want to become one with me? In body and in soul?” In this imagined ordeal of self-examination, Shinji’s deepest, most fundamental need for approval and warmth from others is coded into the prospect of understanding and intimacy associated with sex. At a subconscious level, he perceives the offering of sexual union as the highest form of acceptance. Shinji therefore feels varying degrees of conflicted, guilt-ridden desire for the women around him, in the most primal form of his craving for acceptance. 

In this scene, the offering of sexual intercourse is also a direct foreshadowing to the prospect of union with all during instrumentality, and either the acceptance or rejection of that union. In End of Evangelion, Shinji’s crucial choice during instrumentality is again presented in the same terms: Asuka, Rei, and Misato’s voices all asking “Do you want to become one with me, body and soul?” Shinji’s mix of attraction and repellence (for he fears intimacy as intensely as he craves it) when confronting this question indirectly depicts his struggle to decide between a solitary but self-defined existence, and the sacrifice of his autonomous self to total union. Thus, Shinji’s repressed desire for sexual intimacy becomes in and of itself a key facet of both his decision to ultimately reject instrumentality, and his conclusive creation of an independent and capable identity.

In line with my earlier reference to Asuka’s desire to appear sexually mature, the anime consistently uses sexuality as a means of revealing character - often probing at characters’ deepest vulnerabilities. Misato is likely the most direct example. It is through her sexual relationship with Kaji that she confronts her conflicted feelings towards her father and their profound impact on her. During instrumentality, she also admits she enjoys sex as an escape mechanism from pain and a way to prove she’s alive. She seems to perceive sex in the opposite perspective from Shinji – who on some level finds it threatening. This could be attributed firstly to Misato’s maturity in age and correlating comfort with her own sexuality. Secondly, this speaks to the show’s use of sexuality to build character in ways beyond Shinji’s troubled adolescent shame. The show’s focus on its characters’ sexuality can therefore be viewed as a means of prying into the inner conflicts they each seek to hide from the world. Note it is also through the reveal of Ritsuko’s sexual involvement with Gendo that we understand the reasons for her troubled relationship with her mother, her dedication to NERV, and her knowledge of its secrets.

Though sexuality is used as a sometimes literal, sometimes symbolic, but often effective vehicle to portray abstract concepts and internal, non-physical conflicts, this does not fully explain or justify the show’s gratuitous use of the male gaze. Though the depiction of sexuality often serves the purpose of character development, this depiction is exceedingly gendered. Though Shinji is shown naked, his nudity serves comedic effect (when he runs out from the bathroom in Misato’s apartment in Episode 2) or appears highly stylized (embracing Rei’s equally naked form in End of Evangelion). By contrast, Rei and Asuka’s bodies practically serve as set pieces. The pilot suits and contrived “camera” angles incessantly present their bodies as aesthetic objects for consumption. 

Furthermore, early appearances by both female characters immediately define them as objects of sexual focus. The first time she appears, Asuka tells off Toji for looking up her skirt; Shinji ends up sprawled on top of Rei when she’s naked while first trying to get to know her in Episode 5. If we apply the interpretive framework of sexuality as a means of navigating adolescence, then it is exclusively Shinji’s journey towards adulthood with which the show shares its perspective and identification. It would therefore follow that Rei and Asuka serve merely as signposts or attractive obstacles along the path of Shinji’s development. Their bodies are exploited as tools through which to challenge and probe at Shinji’s psyche. While Shinji’s sexuality bestows him personhood and agency, Asuka and Rei’s often seem to do the opposite – instead reducing them to only the means towards Shinji’s end. Yet, even the justification that Rei and Asuka’s objectification may serve Shinji’s character development falls short, given that the girls are still depicted in a lewd and hyper-sexualized lens even when there’s nobody but us, the viewers, around to witness. 

Using sexuality as a key vehicle to convey the male protagonist’s psychology creates an inherently gendered narrative – one in which a male protagonist acts out his conflict upon female bodies. This uneven and highly exploitative depiction warps what might have been an adolescent journey of self-discovery and growth into something far less constructive and much more unsettling.

Framework 2: Pervasive References to Sexual Violence

As I argued previously, Shinji’s repressed and conflicted sexuality can be viewed as a mirror of his character-defining struggle between the desire for love and the fear of pain. In this case, Shinji’s exploration and acceptance of his own sexuality becomes in and of itself a central element of his character development and, by extension, the show’s narrative resolution as a whole, given that the outcome of instrumentality rests on Shinji’s shoulders alone. It then becomes crucial that Shinji actualize his latent desire for sexual intimacy and ultimately master his own sexuality – as the chief expression of his internal development towards accepting his relationships with others and the co-dependent process of creating his own identity, self-worth, and reality.

In the abstract, this idea seems relatively healthy. However, the “Don’t you want to become one with me?” scenes and essentially all of End of Evangelion left me with a distinctly uncomfortable impression that couldn’t have been more different from that of a guileless adolescent navigating puberty. Seeing the “Don’t you want to become one with me?” question repeated to Shinji in the End of Evangelion context made me circle around one key question: Why is this imagined physical offering by the women in Shinji’s life presented as temptation? Why does the timing of this sequence reappear while Shinji is experiencing instrumentality? Or rather, why is the experience of instrumentality itself presented with the air of sexual temptation or seduction? This all culminates into the depiction of sexual desire for the female body as something needing to be tamed or conquered – given that it is only through Shinji’s repudiation of these offerings that he ultimately also rejects instrumentality. This supposition implies an adversarial relationship between Shinji and the object(s) of his sexual desire. This implicit hostility paints sexuality now as a struggle for control and/or dominance, rather than a source of self-discovery and growth. 

I’ll note now that most of the observations and criticisms explored in this section speak almost exclusively to End of Evangelion. In my view, this implied hostility embedded into the exploration of sexuality is much more present in the film, whereas the show largely maintains sexuality as a means of fumbling adolescent growth and complex characterization. To frame what might be seen as an extreme interpretation, I’ll begin my closer reading of End of Evangelion with this Catharine MacKinnon quote:

“Once the veil is lifted, once relations between the sexes are seen as power relations, it becomes impossible to see as simply unintented, well-intentioned, or innocent the actions through which women are told every day what is expected and when they have crossed some line.”

The crucial dynamic supporting this darker interpretive framework – a dynamic much more palpable in End of Evangelion – is power relations. Referring back to my previous point wherein the persistent objectification of Asuka and Rei undermines their personhood to the same degree that it enhances Shinji’s – End of Evangelion takes this imbalance still further. Rei and Asuka’s sexualization not only serves Shinji’s development, but becomes the main stage upon which Shinji’s fight for self-determination plays out. This is to say that Shinji’s actions and key elements of the film’s narrative as a whole are acted out upon women’s bodies as both battleground and symbol. End of Evangelion resorts to a mode of storytelling that is explicitly gendered, portraying its conflict through a starkly male lens. Through the film’s imagery, brutality, and indulgence in the explicit, Shinji’s narrative is acted out through the depiction of women’s bodies as objects either with destructive power or being destroyed themselves; and as threats which much be conquered.

The Shinji we see in End of Evangelion experiences highs and lows far more extreme than his anime counterpart. EoE Shinji is shockingly depraved, powerless, and violent – in that order. His experiences in relation to the navigation of his sexuality take on a tone of violence and aggression. If he cannot act out his sexual impulses – if he cannot subdue the tormenting yet desired female body to the point that satisfies his desires (even if not always sexual in nature) – he resorts to violence to assert his will. During the kitchen scene within instrumentality, it is at the point when Asuka coldly rebuffs his pleading for her help that he first strangles her. Thinking back to the above quote re power relations – is this the “line” beyond accepted behavior where Asuka becomes deserving of male violence?

Violence takes many forms – all of them an embodiment of power relations. Yes, Shinji masturbating over Asuka’s stripped, unconscious form in the first scene is unequivocally an act of violence. No matter how “fucked up” and past sense Shinji may have been in that moment, he is still a man demeaning a woman and taking pleasure from the act – her inability to consent and even her comatose state all fueling male sexual gratification. Aside from the considerable shock value, this scene sets the tone of Shinji’s actions towards women throughout the film as relations of power and dominance. This scene further establishes repressed sexual desire and thwarted sexual frustration as the latent foundation of Shinji’s interactions with Asuka throughout the film; thus creating motivation and tension with the potential to drive him to further forms of violence. 

In EoE, Shinji shares some type of sexual experience with all three women to whom he’s closest. First, his repulsive descent into depravity at the film’s very start. In this moment when he’s at his lowest, it is his most base and yet powerful instinct that takes over. He exacts pleasure, comfort, and distraction from Asuka’s body despite its fleetingness and her lack of consent. Second, Misato realizes that physical intimacy is the only thing that will get through to Shinji in his shell-shocked state. With a heated kiss, she delivers on the show’s hints of sexual interest between the two. Demonstrating just how well she understands Shinji, she promises him “We’ll do the rest when you get back,” knowing the promise of this ultimate physical act of approval and care is likely the only thing he will fight for. To put this in blunt terms: Shinji is promised sexual access to a woman whose praise he values, and this prospect of sexual fulfillment is what motivates him to finally enter Unit 1. While he isn’t imposing dominance over Misato here the same way he did to Asuka, this keeps with the film’s overall gendered perspective wherein Shinji’s triumphs or rare moments of purpose are marked by his access to women’s bodies. 

Third, Shinji’s interactions with Rei/Rei-Lilith within instrumentality. It first must be noted that Rei is depicted naked for practically the whole movie. Sure, this might be necessary for the initiation of instrumentality, but it also serves to complete her objectification. I can by no means see it as mere coincidence that the advent of instrumentality and potential unleashing of the cataclysmic Third Impact is all represented by a giant, naked female form. What would be the greatest threat from the perspective of the male-gendered narrative? Precisely this – a female body that is overpowering, unconquerable, and unfathomable. By extension, I also don’t believe it’s coincidental that Shinji’s attainment of self-determination in his decision to reject instrumentality happens concurrently to his sexual union with Rei. She explains to him that no, he hasn’t died, “everything has just been joined into one.” This “joining” is depicted utterly literally, without any of the subtlety by which the anime presented sexuality as representative of total union within instrumentality. Thus, the resolution of Shinji’s character arc and the film’s climax as a whole occurs when Shinji finally attains fulfillment of the sexual desire he has harbored since the film’s beginning. The following shot of him and Rei naked with his head in her lap resolves the crisis of instrumentality with an unmistakable post-coital essence. 

After these three encounters, we have the much-debated final scene of Shinji reuniting with Asuka after emerging from instrumentality. By this point, Shinji has taken advantage of her comatose body and strangled her, but she still has not shown herself amenable to his sexual desires as Misato and Rei have. She remains beyond his ability to either control or dominate. And so, while Rei’s giant, naked, and broken (read: conquered) body rests in pieces behind them, Shinji asserts his newfound will to attack the woman who has resisted his desire and refused the gratification he sought – both physically and emotionally. 

This scene left me possibly even more disturbed than the film’s opening. To me, this ending implies that along with Shinji’s discovery of self-determination comes the male’s unfettered triumph following a struggle defined by sexual violence. In this final scene, we see the resistant woman subject to yet more violence at the hands of the protagonist – until at last, she no longer resists. In my view, this final scene was the occasion of Asuka’s capitulation. She is finally subdued to the point of acceptance and affectionate response even when being subjected to violence. She responds to Shinji’s aggression not with retaliation, but with a loving gesture. Her final words of “how disgusting” reminded me immediately of the hospital scene, and what Shinji had asked of her there: “Wake up, help me, call me an idiot like always.” Now, the man’s desire is at last satiated.

Beyond the narrative reliance on sexuality as a form of power relations, EoE also engages in gratuitous degradation of female bodies. They are either imbued with threatening, destructive power (Rei-Lilith), or experience destruction themselves (Asuka in Unit 2 and Rei-Lilith at the film’s end). Both Rei and Asuka’s bodies are subjected to extreme violence throughout the film, even while still being depicted as sexual objects. While suffering horrific, graphic injuries during her fight in Unit 2, Asuka is depicted writhing in agony in the entry plug with a disturbing sense of the erotic. After her body becomes the apocalyptic vehicle of instrumentality, Rei’s giant naked form is depicted crumbling to earth, stripped not only of her clothes but any sense of the human. Her split-open head rests beside the sea of LCL – a symbol of the male protagonist’s moral and psychological “victory.”

Framework 2: Counter-Arguments

Though I was disturbed by the rampant and dehumanizing sexualization in EoE, there were also plenty elements of the film I admired and remain deeply fascinated by. I don’t wish to seem overly disparaging, so I’ll briefly mention two counter-examples to this more critical framework.

1. Rei denying and rebuking Gendo and asserting her own will, while depicted as naked. It’s hard to overstate the enormity of Rei’s decision here. After existing as a seemingly unfeeling clone created for the purpose of realizing Gendo’s desires, Rei brings his plans to a crashing halt right at the pinnacle moment. The scene metaphorically traveled from 0-100 very quickly. It began with the insinuation of Gendo joining with Rei in a vaguely sexual sense, and his hand sinking into her breast in an unconventional bodily invasion while she showed discomfort. But then she asserts, “I am not your doll.” Her nakedness seems transformed from vulnerability to power. She is no longer the passive instrument of a man’s realization of his desires. Instead, she asserts her personhood and makes the individual decision how to employ the power within her. In so doing, she decides not only her own fate, but practically that of the whole world. 

2. Shinji and Kaworu’s dynamic could be seen as refuting a binary reading of gendered power relations. Taking Shinji for bisexual has the potential to revise my interpretation from ‘Shinji subconsciously desires sexual access and control over women’ to ‘Shinji subconsciously desires sex and control’ period, without the emphasis on women as the subjects of his struggle. If this gendered binary is removed, then his growth and self-actualization need not come at the expense of the female characters around him. Extending Shinji’s repressed sexuality to encompass desire for Kaworu also alleviates the connotations of dominance and confrontation embedded within heterosexual sexuality. 

Writing all this out was largely my personal means of resolving the million jumbled thoughts in my head after finally diving into this stunning masterpiece of a show. I’ll say again - what makes this show such a timeless work of brilliance is its highly personal resonance in the minds of its viewers. In the end, it isn’t a story about robots, aliens, or even sex at all – it’s a self-reflective act forcing you to wake up and confront your own role in creating the very reality in which you live. What kind of world have you made for yourself? Have you trapped yourself in confinement of your own making, or have you imagined every possible version of your world and liberated all the possibilities hidden in your creation of self? Evangelion can mean something different to every one, and no single interpretation is more correct than any others. So that said – a hearty thank you to anyone who actually read all the way here, and I’m always eager for discussion! :)

[kierongillen]

Writer Notes: The Wicked + the Divine 1373

Writer Notes: The Wicked + the Divine 1373

Spoilers, obv.

(I say I do these before the next issue came out. I was posting this yesterday and my tumblr account died. As in, my tumblr account was terminated.There’s a couple of things which make me think it’s a glitch (not least there’s no reason for it I could think of, unless Tumblr really loathes writer notes about a lucifer nun. I contact them going “Huh?” and come the morning, it’s back. Hmm. Anyway - here you go, and the next special - Wicdiv: the funnies is out today) 

The final historical special, which seems to require my notes to pull them together and talk about the larger intent. Sitting here and writing, I’m not sure I want to. The backbone of the specials have been the relationship between various Lucifers and Ananke across the centuries. You get a chance at least get acquainted with four Lucifer’s, and get to compare and contrast, and you get to see more developed portraits of what Ananke has been up to across the centuries. As the last one in the printed chronology, that means this one ties all that together, plus (as the other one) introducing some key ideas for the next arc.

It differs in another way – while that’s how the reading order will work for anyone working in single issues, in trades, it’s another story. These are going to be gathered together as Volume 8 (OLD IS THE NEW NEW) and printed chronologically (as in, 455, 1373, 1833, 1922). That’s how people in trades are going to first experience them, which creates a different spin and will bring different elements to the surface.

To state the obvious, the big thing in this one is “oh – here’s how bad Ananke can be.” By implication, it raises the stakes for the final arc in terms of what she could do if her back is against the wall.

I admit, I’ve always been a bit worried when I see a handful of people assume the specials aren’t essential to the story. I don’t believe we’ve ever said that, and it’s simply not true. You can skip them, sure, but it breaks the story as much as skipping any individual issue of WicDiv. What we’ve said is that trade readers don’t need to buy the specials to follow the story. I’m trying to think of anything I could have said that could have been misconstrued? Possibly the “anything we use will be reintroduced”? I dunno.

Anyway – this is simultaneously the biggest and smallest of the special. The idea came to me early – a Lucifer having escaped to a nunnery, repented and lived past the end of her two years. Then Ananke and Minerva catch up with her. Apart from that, I knew that it would give the clearest statement of what Ananke has been doing, and that it would end in fire. The rest of this issue was a process of discovery.

(I’ve talked influences here. Ken Russell’s the Devils. Carrie. The Seventh Seal. Black Narcissus. The Sound Of Music. One of these is a lie.)

To get it up front: I was raised Catholic. This issue caused Katie and Chrissy to basically glance side-eye at me, as if encountering an alien. I’ve done something similar to this before, with Generation Hope’s Idie, but this is a far deeper, darker dive into that.

Fun time, for everyone. The response has been interesting. The people who loved it adored it. Catholic Guilt fist-bump.

Jamie/Matt’s Cover: This is just a stunning one. Jamie’s ability to switch modes is something we rarely push in WicDiv (mainly in icons) but doing stained glass is a hell of a thing. But Matt comes out with something else, and actually making this thing glow. Numinous. Totally Numinous.

Ryan’s Cover: Ryan and I first worked together in Three, and I’d first really fell for his work in his Northlanders arcs, so there’s historical fiction previous. This is a particularly grimy issue of WicDiv, and he’s leaned into it. Lucifer, penitent, looking up – at us, but as we go further, we realise her Father. This is the only place we see with her horns. Clearly, having this on the cover and seeing what she looks like inside has an implied story.

IFC

The icons were oddly tricky here, and Jamie had to work for a period drawing of Satan to riff on. However, the Minerva is a delight. If anyone has seen my attempted drawing of a Minerva symbol when signing Volume 7 will know, this is about my level of physical accuracy.

One thing about the specials I find interesting is what’s the minimum of historical data we have to give to make a story make sense. Obviously “It is thought to be the greatest natural of all time” is loaded. Especially the word “natural.” I wish I tweaked it to make it clear I was talking about the Black Death’s effect on the world rather than just Europe though. The Black Death devastating Europe isn’t the biggest natural disaster – it’s the Black Death full stop.

Page 1

I wrote this issue sparsely. It’s designed to be mediative. As such, a slow long pan opening, setting up the themes visually.

The host… well, do I have to explain Catholicism here? The Host is transformed in the ceremony into the body of Jesus Christ. In this period, however, the actual eating of the host was relatively rare. As such, most ceremonies were more about the simple act of observing the host – the holding up in the modern ceremony is a hold-over for that, as well as the larger size of the host itself so folks can see it better.

Of course, that the observation was the key things make this scene possible – it’s possible for someone to observe the host without actually entering the church, as this long slow pan back from the divinity of the church to the rats on the streets show.

Avignon was home of the Papacy in this period. Generally speaking, there was less research in this special than any other one. I read enough to get the Black Death details I needed, to trace its path and various other things, as well as hitting up period Catholicism. However, it’s also the special that’s most based on my own actual pre-existing knowledge.

Page 2

Size is meaning, as always, and an intro to Lucifer’s cheery catchphrase for the issue.

Oddly, getting period Nun garb for lucifer was hard. I wanted originally for her to be a noviate (as in, Novice)but I couldn’t get reference I trusted, so I went full Nun. FULL NUN. Or NUN MORE GOTH as several excellent people put it.

Page 3

By this point we should realise that Lucifer wants her Father To Forgive Her. I am subtle and elegant in my writing, so you may have missed this.

Good stern mother superior here. The choice of the reds in the eyes is strong. And the reveal of the sawn off horns, which says everything about her.

Page 4

From Ring a ring o’Roses, which folks say is about the plague, but apparently dates from far too late.

Page 5-6

And hello, Minerva. You’re having a bad century too. Trying to signal that she’s falling apart but it’s not the plague was a tricky thing, and we obviously do a lot of pointing in the dialogue.

It’s only here that you start getting the weird and uncanny cleanness of the mud-rolling Lucifer. That she’s addressed as the Girl Who Walks Through Plague makes it even odder. This is an unusual notes for me – I haven’t looked at the issue in a while, so some odd stuff is striking.

“None of us are irredeemable” – god, this issue is king of the loaded lines.

The dispensation thing is a reach, but not an impossible one – during the plague there was a dispensation given in various areas where layfolk could hear each other’s confessions when there was no access to a Priest. This seemed a logical enough extrapolation.

Lucifer’s last lines… oh, I’ll save that. She’s got more WTF ARE YOU SAYING ones in a minute.

Page 7-8-9-10

The Two Days Later loc cap reminds me of what I was doing in terms of setting the date of the story – it’s the Sunday before lent kicks off. That google lets us easily find the calendar for the period and work out when Lent would start is A+.

So much mud! Matt is known for the hyper-bright effects, so to go into something as low-key as this is great. See how it works with Ryan as well.

Flagellants are one of the bits of the research which tweaked the story a little. Self-mortification was on my mind – it’s a key thing in The Devils – and the Flagellants are the avatar of religious injuries, so I was thinking of them anyway. After all – they’re a great image, this mass of people whipping themselves and lamenting loudly. Anyway, I do the research, and discover that as well as travelling the country lamenting, they also were basically a wandering lynch mob killing Jews. Which takes the fun out them, y’know?

“A ditch of god’s good earth is closer to paradise than I deserve” – that’s the kind of line that had me looking at my fingers as if they were alien beings. This issue was structured loosely – Lucifer is called, experiences things on the way, and hears Ananke’s confession” with me writing to explore the setting and characters. As such, it was a surprise half the things Lucifer said about the world around her. This shouldn’t surprise me though – I had a similar experience with Idie, in terms of just being afraid for her.

That Lucifer is THE GIRL WHO WOULDN’T BURN is another connection to Idie, of course. And also foreshadowing.

The nudity is the hardest thing to do, especially when you add whipping to it. I wanted it objective, nature of fact. I have no idea if we pulled it off or not. I do like the space that Ryan puts between the head flagellant, Lucifer and the rest – as if they’re a little intimidated, not wanting to be involved.

And then Lucifer’s judgement. Lucifer’s pride and self-hate are fascinatingly intertwined. I’m not sure if I could have dealt with writing much more of her, but part of me would love to have.

(God – just had the image of Lucifer as my crucifix, which is so OTP I laugh)

The silence at the end of the page makes it linger. The expression Ryan gives Lucifer at the end of the scene – utterly ambivalent to the violence behind her – is one of the more quietly chilling things in the book.

Page 11

I could have just had Lucifer find Ananke here, but I wanted something to show her heading through the town – as well as a chance to look at the plague symptoms. The idea of Ananke having arranged all these corpses to guide the way seemed both chilling and very Ananke.

Worth noting – these are the wrong symptoms for Plague circa 1373. This is the original Black Death symptoms, because Ananke is still carrying the O.G. Plague. It’s not the sort of thing I suspect anyone would ever notice, but it’s there.

Lucifer entering the hut on the last page is a great one – Ryan modulating tone towards Lucifer. This is a straight horror shot.

12-13

And hello, Ananke. You look well, how are you, what have you been up to?

YOU DID WHAT? ANnnnnakkkke!!!!

I like the central framing of this. Purely Objective.

The core question of the issue right at the end of the issue – I do like how Ryan has Ananke pushing up the villain here. Ananke knows how this is going to go. Anankes always don’t really want to die, but I suspect this one may be an exception. This has been no fun at all for her.

The Harrowing Of Hell is basically when Christ went down to Hell to free all the souls from Satan. In short. I’m really not sure how much of this stuff I have to say – a lot of you are Americans, and a far less secular culture than us Brits. Most of my readers didn’t know any of this, which did lead to dialling back the allusions a little.

From now on the issue is basically two women talking in a room, one of whom spends the whole time weak in bed. This is not exactly dramatic comics, so we have to work to keep it visually interesting. To be honest, I always like the challenge. One of the most fun issues I wrote at marvel was just Cyclops and Wolverine in a cell, arguing, with just a six pack for company.

Anyway – some great expressions here from Ananke. Look at panel 5 on page 13. Such contempt!

Page 14-15

For those working out what’s up with Minerva, 14 would be the page to go into. We already know from issue 36 what happens if she can’t complete the ritual.

The flashback to Lucifer’s transformation is an interesting one – the pink colouring really makes me think of 90s Vertigo, and the non-pop-comics they put out then seem to be the closest to this issue.

I like the steel in Lucifer’s glance in panel 2 of page 15, and how uncomfortable that makes Ananke.

Page 16-17

The main thing to try and keep this scene less static is Ananke’s Knife. For these two pages it’s a “Oh – Lucifer’s picked it up. That implies something.” The second is “is she going to use it”. Keep things interacting.

These pages are the simplest explaining of Ananke’s methodology. A lot could be extrapolated, but this ties it together. The other side of this pushes forward what I originally conceived for the historical specials  - as in, seeing how Ananke’s desires twist a little across the centuries. Frankly? She hits the beat again later, but this is a snapshot of how she’s feeling circa 1373.

Page 18-19 “Adieu” is the one bit of actual french in it. I’m not normally a big one on this. It just sometimes feels right.

The tension of the previous page turns is born of the knife, but here’s it’s all about Ananke’s questions. The pauses panel on page 18 is the thing which lends the question weight. I’m fond of “Frozen” panels where you don’t really get to see someone’s face.

The Father on Earth/Father in Heaven enters the story, of course. This is at the heart of the book.

Yet more dead parents on issue 19. WicDiv, eh?

Wherein, Lucifer has the world’s worst superhero origin story. It’s… like, Guilt? I’ve always had a sort of twinge of “Hmmm” towards Spider-man. Guilt is a motivation that has to be unpacked.

Anyway – Lucifer’s fundamental tragedy.

Page 20-21

Here’s a thought experiment for writers – try re-arranging the statements in the first panel here, and realise why we did the order we did and the implication it would carry if we did it in another way. “The Flagellants” is yet more precision to make sure you demarcate stuff.

The plague traveling comes from the research, and as far as I can work out, is accurate. Of course, there’s far better theories to explain this weirdness than “An invulnerable Old Lady was driving the ship”. People will come to respect my genius in years to come, I’m sure.

Ananke is laying it on a little thick, of course. Like… this is a very strange confession. Confessions are strange. There’s a question of what power is.

This is one of those pages which I suspect will become more important when collected with the other specials and read as the eighth volume before the conclusion.

Page 22-23

Great building rage here from Ryan, and what Matt does with the mood is also A+. The arrival of the wet, gore reds after an issue of the mud and old blood is something else. Compare and contrast to the reds and oranges in Lucifer’s eyes.

I look at this and think about page turns. In an ideal world, the 22-23 would be a page turn – you can see she doesn’t stab Ananke, and the self-inflicted injury by glancing to the right. But space is always a premium, and frankly every page could do with being the reveal-turn in this sequence. It’s that or pad it, right?

Ryan added a panel to draw out the pulling away the flesh, which I love.

“this is my body” is about the point where we realise THIS IS REACHING PEAK CATHOLICISM.

Page 24-25-26

I’m feeling if I explain the sacrament here, I’m patronising folks, and if I don’t, these notes kind of are missing the point. I say a bit earlier here, but Google Transubstantiation if you don’t know it. Suffice to say, this is a particularly blasphemous flip of the core regular miracle of the Catholic mass. Bread and wine into the body and blood of Jesus Christ. Lucifer’s body into fire.

I can’t remember where I had this idea from. I knew it ended in fire initially, but didn’t realise it would be this. It was just there when I needed it. It made sense, and that it makes sense worries me. Comics!

Anyway – everything goes Carrie, as the fire consumes them both. The full horror stretching out and out as much as we can, and we return to the “father forgive me” which haunts this book. Which, by this point, everyone knows is loaded.

I like this Lucifer. She’s one of my favourites. I’m glad I got to write her.

Page 27

And Minerva heads off, with her bag of you know what, into the future.

Page 28

Yes “Transubstantiation” pushes the WicDiv design to breaking point.

That’s enough. Thanks for Ryan to join us on this one – he’s an incredible talent and we were lucky to have him. As I write, WicDIv: The Funnies drops tomorrow, with WicDiv returning for its final arc in November.

Thanks for reading.