Nova #5 (January 1977). Marv Wolfman (W), Sal Buscema (A), Tom Palmer (I), J. Costanza (L), Michelle Wolfman (Colors)
Nova heads to the offices of Marvel Comics in Manhattan (575 Madison Avenue) to see if he has what it takes to star in his own comic book. This sequence is self-deprecating, self-mythologizing, and self-promoting at the same time. Featuring appearances by writer Marv Wolfman, artist Sal Buscema, Stan Lee, Editorial Assistant Beth Bleckley, “Production Chief” John Verpoorten and other Marvel employees. Stan Lee’s chest hair is a nice touch.
I’ve always been a fan of scenes where superheroes interact with, read, or comment on their imagined exploits in comic books, movies, and other media, and this sequence is fun. I particularly love the idea that Wolfman has someone keeping tabs on Dracula in Boston for his Tomb of Dracula work. Also, Dracula lives in Boston in the Marvel Universe in the 1970s!
Say what you have to say
Try not to cry
This is just not what you wanted
At this point in your life
It’s so hard to stay
When all you want to do is ride
I totally get you, I was a birdcage
And you were meant to fly
You are a broken heart tattoo
I’ll have forever on my chest
For a love that I have lost
But never could forget
now i have drawn every single pc mc series in the five years of being in this fandom🎢🎡
i was going for canon outfits at first before i decided themeparks were eccentric and summer -y and i wanted to include warm colours🔥
[image: (left to right) trottimus holding a blueprint for a ‘COOL FUCKIN’ ROLLERCOASTER’, alsmiffy with a bucket of sludge, and djh3 wearing a blue binder and pink tanktop, and carrying a messenger bag filled with blueprints and manga]
The Paradox of Jupiter Ascending: The Sublime & The Absurd
Jupiter Ascending is a supremely odd film in that it creates scenes and characters that are simultaneously laughable and deeply felt. The bee scene is a great example of this - as a concept, it’s completely absurd and silly; yet it’s beautifully executed and played out with such absolute sincerity that I can’t help but love and even admire it. Characters like Caine (angel wolfman boyfriend!) and Balem (whisper shouty Oedipus!) are also absurd, yet they’re played with conviction - even more than that, the characters are given histories and reasons for their respective absurdities. As a film, Jupiter Ascending is the opposite of self-conscious; it is what it is, and it’s entirely unashamed of the fact.
It also switches between base elements (wacky Russian family! Awkward flirting!) and abstract philosophical concepts (genetic recurrence, capitalism, the class system). Again, it does this quite happily, almost absent-mindedly wandering between tones.
This is probably the first time I’ve come across a film where responses to it include outright mockery and disdain and extended analyses of its commentary on class and genetics. Essentially, you can enjoy Jupiter Ascending on many, many levels. I find myself switching between revelling in its silliness and pondering its ideas, and I find that wonderful and exciting.
While I can’t say I feel mocking and ridiculing the film is justified (it’s tantamount to mocking a pink glitter unicorn for being too sparkly), I have absolutely no problem with people revelling in how silly and over the top Jupiter Ascending is - it’s both, and it wants you to enjoy it. However, the film’s silliness doesn’t preclude it from having depth - people find layers in it with good reason, for there are real ideas there alongside all of the silliness. And that’s why I love it so much; Jupiter Ascending is a paradox - a marriage of the sublime and the absurd - that I can get behind.
JOSH/AIDAN IS HAPPENING! AND THAT’S WHY AIDAN STOPPED THAT OTHER WOLF FROM BITING JOSH! BECAUSE HE KNEW WHO HE WAS AND HAS A CRUSH ON HIM! I’M ALREADY ON BOARD WITH THIS INTER-RACIAL WEREWOLF VAMPIRE FORBIDDEN LOVE SHIP! I FUCKING SHIP IT, AND I WILL GO DOWN WITH IT!