Spider-Man As An Alien Archetype

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Is there no more iconic pop-culture symbol than the head of Spider-Man? This theoretically arachnid visage, coupled with the Superman “S” logo, has practically defined the superhero genre.

But: what archetype is the Spider-Man head design supposed to evoke? Because surely, it looks nothing like that of an actual spider:

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Saving Pepe

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Two months ago, cartoonist Matt Furie killed his creation Pepe the Frog, citing the imaginary amphibian’s corruption by a nefarious cabal of alt-right Internet users.

But now, thanks to the crowdfunding site Kickstarter, Pepe might return—as, in Furie’s words, “a universal symbol for peace, love, and acceptance.”

And so the “symbol wars” continue, my friends, and let us not pretend that the fate of the universe (or, at least, that of the Republic) depends on merely a handful of comic book and cartoon characters.

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Sometimes, The Batman Chooses You

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So it wasn’t all for nothing…
—The Gray Ghost, “Batman: The Animated Series”

There is a trope in some modern Batman comics (such as Darwyn Cooke’s Batman: Ego and the Legends Of The Dark Knight “Shaman” storyline) in which a type of eternal/universal “Batman” archetype/thoughtform exists outside of Batman himself. A “primal” Batman. An “idea” of a Batman. An “ur-Batman.”

It is my belief that these archetypal entities such as “ur-Batman” sort of…”choose” who will represent them. I don’t think they always get “rights of first refusal,” certainly (I mean…just the entire Batman and Robin movie fiasco)…but they do seem to have a “say” where it matters the most; where it is most crucial.

And I believe that this is what happened to actor Adam West, who passed away recently at the ripe old age of 88.

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The RFK/Nixon Eternal Narrative

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My father left three physical possessions behind him when he departed this Earth: a battered leather jacket, his meticulous notes taken during his induction to the U.S. Navy, and a small stack of yellow newspapers that came out when Robert Kennedy was shot.

I remember finding these newspapers, shoved away at the top shelf of a linen closet & wrapped in a black garbage bag. One front page in particular really struck me, showing a close-up of the face of a dying RFK. A candidate for president, he was supposed to be the “new hope” of a country that seemed to be getting increasingly divided and strange.

Instead, the United States got Nixon. How does that equation go? It’s as old as time. It’s positively archetypal. It’s The Empire Strikes Back.

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Has “The Year Of The Mask” Ever Really Ended?

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And so this heavily-armed guy claiming to be the comic book character The Punisher strolled into Phoenix Comicon last Thursday to assassinate the Green Power Ranger.

This is the world we live in, folks, a world where our popular culture and our reality is getting increasingly “confused”; where a person can wake up one morning and decide they are the “avatar” for the Punisher and get into a situation where he is doing cosmic battle with a Power Ranger. Personal mythology, pop-culture mythology, and an unsuspecting world fuse together to create a new, strange landscape.

When I wrote The Year Of The Mask, which was an exploration of how pop-culture—especially comic book culture—started creating this “new landscape” right around the time of the Aurora “Dark Knight” shootings, I conceived this period of time as being “finite.” Hence: giving it the duration of a year. But now I’m not so sure about that.

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Getting Clear On What The New Aeon Is And Is Not

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Sometimes, I get intuitions on things. Sometimes, I don’t wholly agree with the intuitions that I get. But I listen to them anyway. I give them a fighting chance to get through my discernment.

And so one of the powerful sort of intuitions I had last week involved what the “New Age”—the new Aeon—is, and what it isn’t. And I really didn’t “like” it. But it sort of made sense anyway, even from a non-esoteric point of view.

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