Another Way To Breathe

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.