Firstly, I thank you both for another EXCELLENT episode into your nightmarish universe of horror and madness. Sissitrix--flattered by the reference to my Dali dream sequence info in your note, the the artwork makes great adaptive use of it. Also very flattered by (as you, Sissitrix, stated in a reply to one of my comments on 6 or 7 from last weekend) any "influence" my remarks may be having--I certainly saw some of my thoughts manifest in this installment! Now to my analysis.
This was an innovative episode, relative to the others--far more psychological, and spiritual (I'll get to that in a bit). From a macro perspective, it's the darkest episode thus far--I'll go far, far out on a remote limb here beyond the material and surreal, into the mystic, metaphysical, and, yes--spiritual. Episode 1 saw Erin broken and destroyed as a person, driven by revenge, but, crucially, NOT the righteous, avenging-angel style revenge of the vigliante, whose archetype is the righter of wrongs--a "Batman," or to bring it into the far gritter, real-world of '70s crime-drama, Charles Bronson as gun-toting NYC architect Paul Kersey, angered by the indifference of the justice system toward law-abiding citizens held hostage to a decaying urban civilization. These figures seek to right wrongs, to assume the roles once provided by the law--to do a job "legitimate government," emasculated by society, can no longer do. The difference with Erin is that besides taking revenge on her torturers, she does not want to restore order, bring law, cleanse, or reform--but to enhance evil, profit from it, and take it over for herself--she has no interest in Good (though she has a spark of decency left--which she can never snuff out--her conscience always troubles her, no matter how drowned out it is), but wants to dive into Evil, and actually--immerse herself in it--BATHE in it. As the story has played out, we've seen her slide more and more into the dark. If you recall, in a prior comment I speculated on the pods, their uncanniness, their origin (Sissitrix--you provided some background in a separate piece, about that Peter guy who designed the first fuck factory stuff, AI dildos and other Cronenberg-esque creations one is unlikely to order from the Adam & Eve catalog!), and eerily hypnotic effect on Erin. I submit the unorthodox view that in this Episode, Erin has finally attained her desire of bathing in Evil.
Here in Episode 8, I got a heavy diabolical possession vibe. I know you're not doing a horror show here (in the supernatural sense) but it meets all criteria that subsist within traditional Catholic and Eastern Orthodox theology for how the Devil and demons in general operate to destroy human beings--and you've got them all here, present in Allen, Joseph and the "pod people." Yeah--corny rip-off term, but Erin calls Allen "pod man," so she opened the door! She was love-bombed with the caring and nurturing of Allen's helping with her convalescence, in which she felt more loved physically than when she was actually with Max (the artificial and illusory preferable to the actual and emotionally satisfying). This time, she indulges and surrenders to sadism at Allen's "hands"--and is shocked at the pain, but also loves the pleasure--it's an otherworldly, ecstatic rapture--Allen tells her that Chloe is prepping Max so that he can make love to her later on--but Allen is the real one who loves her--he won't stretch her out too much so that Max won't know. The machine basically rapes her--but again, she derives an ecstatic, whirlwind pleasure from the pain and confusion from being wrapped in its tentacles--it's something she wasn't expecting--the intensity. Plus, it accuses her of her "crimes" while she's being raped and beaten. Afterwards, she's so turned on by the dark power that she wants to be even more sadistic to Chester--and she inflicts pain and torture on him, willfully and eagerly subjecting him to a hellish vengeance. Sissitrix--I like the image of the open eye with the reflection of Erin--great! And Kate--again--brilliant writing capturing the horror and depravity here.
I'll submit that here' in Allen's claws--Erin's sold her soul--"Erin, do you consent?" Bye-bye Erin the human being, hello Erin, lost among the perfectly possessed. The post-pod sex scene between she and Max--and the blowjob in the bedroom--is unremarkable and businesslike--pedestrian, quotidian, cold, and dead--like her soul has become--machinelike. She even tells Bliss that she's become a monster. Further support for the "possession" analogy comes from the fact that Allen and she are now one being--it's in her head, knows what she knows--guides her thoughts and actions.
I'll admit that I'm most likely way off base this time--but I'm calling this one as I see it. I've done lots of study about the medieval and theological over the years--also the occult realms and the obscure and arcane, and this whole situation here in this episode gives me a creepy, preternatural, diabolical vibe. I now yield the floor to your rebuttal or laughter!
Hi John, as ever you provide an excellent assessment of the story to date.
I think Erin has definitely erred. In a previous episode she dealt with Chester in the most callous and brutal fashion while giving away his possessions and fortune to his family and the girls who were exploited. These small acts of kindness, that become crushed by contradictory evil build a character most definitely at odds with herself.
Can the good in Erin overcome her vile behaviour? You hit on this point and I think for Sissitrix and I telling this story leans heavily on the uncertainty in that matter. Classic noir is a perfect canvass for imperfect heroes or perhaps those with such excessive moral ambiguity as to be capable of great kindness and evil simultaneously juxtaposed.
To your points about the pods. Spot on as usual. In our private notes Sissitrix talked about AI, the control (or lack thereof) over that and how this might play out as we progress further into the Fuck Factory and Erin's use of or uses to the pod people.
Allen, Chloe, and Joseph are becoming characters brought to life as macabre yet beautiful machinations. Sissitrix artworks excel in presenting the pods and their abilities, making it easier for both of us to use them as major plot devices.
I love the way these comments give a soul to the body of this chapter. To add to your thoughts, I see my artwork as a Golem created from inanimate matter and brought to life by the magic of Kate's words.
John again, bring here the Paul Kersey reference is brilliant and may be inspiring for the Max’ background. The Devil’s Advocate may also work in this case. In both movies, the city has a role, a demonic one.
I didn’t expected to draw, and write, so much about the biotechnology of the sex pod, but like Alien, it start to be omniscient with the dark power. From this point, I want to see what will be Erin’s choices!
OK Sissi--with the chaos of my day job and getting my writing act together and figuring out the Mysterious Lore of Substack, I want to reply to you before I encounter the next chapter!
Nice metaphorical use of the Golem in re your work, infused with life by Kate's writing--ideally fits the Kabbalistic motif of the correct knowledge and ritual application of the Sefer Yetzirah--the permutation of letters and numbers according to esoteric knowledge concealed by adepts, only revealed to worthy disciples--to infuse lifeless matter with life. Yes--Kabbalah and Esoteric mysticism are among my interests as well as the theological and more "mainstream" versions of the mystical. I'm a big Aleister Crowley fan/admirer, and just started reading Cornelius Agrippa's "Three Books of Occulr Philosophy." I'm also a 32nd Degree --aka a "Sublime Prince of the Royal Secret" and a Masonic Knight Templar--been a Freemason since 2001, though haven't paid dues for centuries--meetings were boring and lengthy, and the occult philosophy (and Enlightenment thought--lots of French Revolution stuff in the Scottish Rite--the 32nd Degree) I researched and devoured on my own. I also like the Golden Dawn, Dion Fortune, and Blavatsky, though I must confess I haven't devoted the time necessary to an in-depth examination of her key works. Also trying to make time to learn about the Rider Tarot deck, as well as Crowley's Thoth version. Then there's my whole fascination with Buddhism, especially the Tantric schools, and the Hindu origins of Tantra of course. I have yet to tackle the basics of how astrology works. Creatively, all of this is grist for the mill--born Jungian/Nietszchean/Crowleyan Thelemite eclectic eccentric--always have been, and always will be!
Anyway....."The Devil's Advocate" is one of my favorite flicks! Pacino as the Devil is unforgettable of course. But as you correctly point out--it's excellent for showing the cityscape (NYC in the film's case)--as itself a living, breathing, almost conscious manifestation of Evil--when Pacino's Satan isn't on screen, his diabolical influence is always there--within the shadows, the time-lapse sequences (one of the best is the church right between the Twin Towers of the WTC which still existed at the time), and actual suggestions--the violent rape of Charlize Theron while she's home alone--she reports to her husband that Pacino had stopped by to chat with her, but he'd been present in Court all day. Also the Satanic confederates who populate the film--Delroy Lindo's voodoo priest, Craig T. Nelson's (somewhat Trumpian) murderous real estate/construction tycoon who has the hots for his daughter (again, somewhat Trumpian), and numerous other symbols of darkness. "Death Wish" also has this dark, demonic patina to it, as you also stated, though with that, it's the subtle, workaday evil of urban decay, crime, and impotence of the law-abiding citizen who's at the mercy of an indifferent, monolithic government and justice system, which simply goes through the pantomime of delivering justice, but never really does so, and has deteriorated into such apathy that whether it works or not is a matter of total indifference--enter Paul Kersey and his .22 caliber six-shooter (and ever more exotic and powerful weapons in the later films of the "Death WIsh" franchise--including a rocket launcher in "Death Wish 3!").
Sin Street operates within a similar paradigm on a macro level. Thus far, the closest thing to a Kerseyan vigilante is the not-yet-revealed "Red October." Erin is an "anti-vigilante," acting out of a revenge motive for herself--to get satisfaction for her torture and rape--but with the ultimate end being the seizure of the criminal apparatus for herself, regardless of how ruthless she needs to get. In this way, it's far more like "The Devil's Advocate." A grindhouse realm beyond redemption--plus, with last week's emergence of the self-aware, highly intelligent, and themselves very ruthless--pod people--as characters with agency of their own, indeed having a sort of mental and physical ownership of the protagonist herself--Erin, who originally came off as someone hard as nails, made of tempered titanium--the game has shifted to another level. I definitely see the "Alien" parallels here, and to keep with my possession theme--"The Exorcist" as well.
I don't know if a temporary comment to express the pleasure of reading you is a valid status, but with the intense pleasure you give me here, I need time to digest. Oh, how I love this comment!
Sissitrix.... The eyes follow me everywhere. The sexual exploitation of Erin by Allen is exquisitely drawn. I love the raw descriptive style of all your artwork. Working with you is immense fun and truly rewarding.
Firstly, I thank you both for another EXCELLENT episode into your nightmarish universe of horror and madness. Sissitrix--flattered by the reference to my Dali dream sequence info in your note, the the artwork makes great adaptive use of it. Also very flattered by (as you, Sissitrix, stated in a reply to one of my comments on 6 or 7 from last weekend) any "influence" my remarks may be having--I certainly saw some of my thoughts manifest in this installment! Now to my analysis.
This was an innovative episode, relative to the others--far more psychological, and spiritual (I'll get to that in a bit). From a macro perspective, it's the darkest episode thus far--I'll go far, far out on a remote limb here beyond the material and surreal, into the mystic, metaphysical, and, yes--spiritual. Episode 1 saw Erin broken and destroyed as a person, driven by revenge, but, crucially, NOT the righteous, avenging-angel style revenge of the vigliante, whose archetype is the righter of wrongs--a "Batman," or to bring it into the far gritter, real-world of '70s crime-drama, Charles Bronson as gun-toting NYC architect Paul Kersey, angered by the indifference of the justice system toward law-abiding citizens held hostage to a decaying urban civilization. These figures seek to right wrongs, to assume the roles once provided by the law--to do a job "legitimate government," emasculated by society, can no longer do. The difference with Erin is that besides taking revenge on her torturers, she does not want to restore order, bring law, cleanse, or reform--but to enhance evil, profit from it, and take it over for herself--she has no interest in Good (though she has a spark of decency left--which she can never snuff out--her conscience always troubles her, no matter how drowned out it is), but wants to dive into Evil, and actually--immerse herself in it--BATHE in it. As the story has played out, we've seen her slide more and more into the dark. If you recall, in a prior comment I speculated on the pods, their uncanniness, their origin (Sissitrix--you provided some background in a separate piece, about that Peter guy who designed the first fuck factory stuff, AI dildos and other Cronenberg-esque creations one is unlikely to order from the Adam & Eve catalog!), and eerily hypnotic effect on Erin. I submit the unorthodox view that in this Episode, Erin has finally attained her desire of bathing in Evil.
Here in Episode 8, I got a heavy diabolical possession vibe. I know you're not doing a horror show here (in the supernatural sense) but it meets all criteria that subsist within traditional Catholic and Eastern Orthodox theology for how the Devil and demons in general operate to destroy human beings--and you've got them all here, present in Allen, Joseph and the "pod people." Yeah--corny rip-off term, but Erin calls Allen "pod man," so she opened the door! She was love-bombed with the caring and nurturing of Allen's helping with her convalescence, in which she felt more loved physically than when she was actually with Max (the artificial and illusory preferable to the actual and emotionally satisfying). This time, she indulges and surrenders to sadism at Allen's "hands"--and is shocked at the pain, but also loves the pleasure--it's an otherworldly, ecstatic rapture--Allen tells her that Chloe is prepping Max so that he can make love to her later on--but Allen is the real one who loves her--he won't stretch her out too much so that Max won't know. The machine basically rapes her--but again, she derives an ecstatic, whirlwind pleasure from the pain and confusion from being wrapped in its tentacles--it's something she wasn't expecting--the intensity. Plus, it accuses her of her "crimes" while she's being raped and beaten. Afterwards, she's so turned on by the dark power that she wants to be even more sadistic to Chester--and she inflicts pain and torture on him, willfully and eagerly subjecting him to a hellish vengeance. Sissitrix--I like the image of the open eye with the reflection of Erin--great! And Kate--again--brilliant writing capturing the horror and depravity here.
I'll submit that here' in Allen's claws--Erin's sold her soul--"Erin, do you consent?" Bye-bye Erin the human being, hello Erin, lost among the perfectly possessed. The post-pod sex scene between she and Max--and the blowjob in the bedroom--is unremarkable and businesslike--pedestrian, quotidian, cold, and dead--like her soul has become--machinelike. She even tells Bliss that she's become a monster. Further support for the "possession" analogy comes from the fact that Allen and she are now one being--it's in her head, knows what she knows--guides her thoughts and actions.
I'll admit that I'm most likely way off base this time--but I'm calling this one as I see it. I've done lots of study about the medieval and theological over the years--also the occult realms and the obscure and arcane, and this whole situation here in this episode gives me a creepy, preternatural, diabolical vibe. I now yield the floor to your rebuttal or laughter!
Hi John, as ever you provide an excellent assessment of the story to date.
I think Erin has definitely erred. In a previous episode she dealt with Chester in the most callous and brutal fashion while giving away his possessions and fortune to his family and the girls who were exploited. These small acts of kindness, that become crushed by contradictory evil build a character most definitely at odds with herself.
Can the good in Erin overcome her vile behaviour? You hit on this point and I think for Sissitrix and I telling this story leans heavily on the uncertainty in that matter. Classic noir is a perfect canvass for imperfect heroes or perhaps those with such excessive moral ambiguity as to be capable of great kindness and evil simultaneously juxtaposed.
To your points about the pods. Spot on as usual. In our private notes Sissitrix talked about AI, the control (or lack thereof) over that and how this might play out as we progress further into the Fuck Factory and Erin's use of or uses to the pod people.
Allen, Chloe, and Joseph are becoming characters brought to life as macabre yet beautiful machinations. Sissitrix artworks excel in presenting the pods and their abilities, making it easier for both of us to use them as major plot devices.
Where will it go?
Who knows, right?
Thank you again John and have a lovely weekend
I love the way these comments give a soul to the body of this chapter. To add to your thoughts, I see my artwork as a Golem created from inanimate matter and brought to life by the magic of Kate's words.
John again, bring here the Paul Kersey reference is brilliant and may be inspiring for the Max’ background. The Devil’s Advocate may also work in this case. In both movies, the city has a role, a demonic one.
I didn’t expected to draw, and write, so much about the biotechnology of the sex pod, but like Alien, it start to be omniscient with the dark power. From this point, I want to see what will be Erin’s choices!
OK Sissi--with the chaos of my day job and getting my writing act together and figuring out the Mysterious Lore of Substack, I want to reply to you before I encounter the next chapter!
Nice metaphorical use of the Golem in re your work, infused with life by Kate's writing--ideally fits the Kabbalistic motif of the correct knowledge and ritual application of the Sefer Yetzirah--the permutation of letters and numbers according to esoteric knowledge concealed by adepts, only revealed to worthy disciples--to infuse lifeless matter with life. Yes--Kabbalah and Esoteric mysticism are among my interests as well as the theological and more "mainstream" versions of the mystical. I'm a big Aleister Crowley fan/admirer, and just started reading Cornelius Agrippa's "Three Books of Occulr Philosophy." I'm also a 32nd Degree --aka a "Sublime Prince of the Royal Secret" and a Masonic Knight Templar--been a Freemason since 2001, though haven't paid dues for centuries--meetings were boring and lengthy, and the occult philosophy (and Enlightenment thought--lots of French Revolution stuff in the Scottish Rite--the 32nd Degree) I researched and devoured on my own. I also like the Golden Dawn, Dion Fortune, and Blavatsky, though I must confess I haven't devoted the time necessary to an in-depth examination of her key works. Also trying to make time to learn about the Rider Tarot deck, as well as Crowley's Thoth version. Then there's my whole fascination with Buddhism, especially the Tantric schools, and the Hindu origins of Tantra of course. I have yet to tackle the basics of how astrology works. Creatively, all of this is grist for the mill--born Jungian/Nietszchean/Crowleyan Thelemite eclectic eccentric--always have been, and always will be!
Anyway....."The Devil's Advocate" is one of my favorite flicks! Pacino as the Devil is unforgettable of course. But as you correctly point out--it's excellent for showing the cityscape (NYC in the film's case)--as itself a living, breathing, almost conscious manifestation of Evil--when Pacino's Satan isn't on screen, his diabolical influence is always there--within the shadows, the time-lapse sequences (one of the best is the church right between the Twin Towers of the WTC which still existed at the time), and actual suggestions--the violent rape of Charlize Theron while she's home alone--she reports to her husband that Pacino had stopped by to chat with her, but he'd been present in Court all day. Also the Satanic confederates who populate the film--Delroy Lindo's voodoo priest, Craig T. Nelson's (somewhat Trumpian) murderous real estate/construction tycoon who has the hots for his daughter (again, somewhat Trumpian), and numerous other symbols of darkness. "Death Wish" also has this dark, demonic patina to it, as you also stated, though with that, it's the subtle, workaday evil of urban decay, crime, and impotence of the law-abiding citizen who's at the mercy of an indifferent, monolithic government and justice system, which simply goes through the pantomime of delivering justice, but never really does so, and has deteriorated into such apathy that whether it works or not is a matter of total indifference--enter Paul Kersey and his .22 caliber six-shooter (and ever more exotic and powerful weapons in the later films of the "Death WIsh" franchise--including a rocket launcher in "Death Wish 3!").
Sin Street operates within a similar paradigm on a macro level. Thus far, the closest thing to a Kerseyan vigilante is the not-yet-revealed "Red October." Erin is an "anti-vigilante," acting out of a revenge motive for herself--to get satisfaction for her torture and rape--but with the ultimate end being the seizure of the criminal apparatus for herself, regardless of how ruthless she needs to get. In this way, it's far more like "The Devil's Advocate." A grindhouse realm beyond redemption--plus, with last week's emergence of the self-aware, highly intelligent, and themselves very ruthless--pod people--as characters with agency of their own, indeed having a sort of mental and physical ownership of the protagonist herself--Erin, who originally came off as someone hard as nails, made of tempered titanium--the game has shifted to another level. I definitely see the "Alien" parallels here, and to keep with my possession theme--"The Exorcist" as well.
Excelsior!
I don't know if a temporary comment to express the pleasure of reading you is a valid status, but with the intense pleasure you give me here, I need time to digest. Oh, how I love this comment!
Sissitrix.... The eyes follow me everywhere. The sexual exploitation of Erin by Allen is exquisitely drawn. I love the raw descriptive style of all your artwork. Working with you is immense fun and truly rewarding.
I love the experience. I love having a second life in Sin Street by the power of your writing.