Diverse New Avengers

Sunday, June 28th, 2015

The newest incarnation of the Avangers will be diverse:

“I like the fact that we ended up with an Avengers team with one white guy on it,” said Mark Waid, who will be writing the new Avengers series.

That one white guy will be Tony Stark, also known as Iron Man, a core Avengers member. The new team will also include usual cohorts Thor and Captain America, but not the versions of the characters so many have grown up with. Instead, the female Thor (Jane Foster) and the black Captain America (Sam Wilson, otherwise known as Falcon), who debuted to much controversy last year, will join the crew.

Avengers, All-New, All-Different

The team will also feature Spider-Man, but not the classic Peter Parker incarnation of the character. Marvel made waves a few days ago when it announced that Miles Morales, a young man of black and Hispanic descent, would be the main Spider-Man in the Marvel universe. Now Morales will also be an Avenger.

200 Blackfeet Loose in an American City

Saturday, June 27th, 2015

James LaFond writes back to a kindred spirit to explain what Robert E. Howard was really about:

Ishmael, Howard, it seems, was widely misunderstood as an action writer, where he actually wrote about the same stuff that Lovecraft and a modern college professor named Andy Nowicki, wrote and write about in an academic flavored mire of internal conflict. Howard’s genius was that he wrote about alienation in such a belligerent manner from both perspectives: the civilized female and the barbaric man. There is not a simper, or a whine, or a doubt in the mind of the alien barbarian, like there is in the tormented souls of Lovecraft’s and Nowicki’s soft civilized victims of alienation.

Not only are the atmospherics of Howard’s stories horrific rather than fantastic, the action is so brutal that he skips the physicality. He’s not a biomechanical writer that will describe the gelatinous slide of a cleaved part from the rest of the body — but goes right to the emotion of defiance, dominance, conquest and racial hatred.

To me, reading in my youth, and in my prime, and now on the downward side of life, what Howard wrote about in 1933-34 was the ultimate corruption of Civilized Man, of what he saw American society eventually becoming — of course, presented to his editor in a fantastical veiled manner — as seen through the eyes of a hero that strides onto the scene not to set things right, but to punish the weak and greedy and powerful that thrive therein, and then to fade into legend as the whole rotten world goes up in flames. In other words, I see Howard’s fantasy and historical settings as his premonition of our moral predicament, and his heroes such as Kull, Kane and Conan [and Conan most of all] as a type of moral time traveler from a primal age, come to show us what our ancestors would think of Modernity. I get his drift as being along the lines of your suggestion that it would be great fun to bring forward 200 Blackfeet warriors from 1800 and set them loose in an American city.

What Robert E. Howard brings us, as an Aryan mystic obsessed with that which we are driven by our material demons to forget, is the judgment of our ancestors, for our fall, not from grace, but from an honored place.

Gone with the Wind Gone with the Wind

Friday, June 26th, 2015

In our current climate, I feel like Gone with the Wind may soon be gone with the wind — or at least gone from Amazon and other “reputable” retailers.

Ironically, Amazon was promoting Dukes of Hazzard recently. I tried to watch the pilot, for free, since I vaguely recalled the show from my childhood, but I found it unwatchable.

Fiction and the Strategist

Monday, June 22nd, 2015

When the moment of decision arrives the time for study and reflection has ended, T. Greer reminds us:

Decisions made under pressure often rely on heuristics, assumptions, and interpretive frames formed long before crisis arrives. Some of these are created through personal experience; others are gifts of genetic inheritance. But a large part of our inner model of the world and its workings comes from what we have read. This is why the strategist should read. Books allow strategists to learn the painful lessons of defeat without the sort of destruction that usually attends it, provide the conceptual tools needed to make sense of a complex world, and helps strategists spot patterns and trends that they might be able to leverage to their own benefit. But — and this is an important but — this is only true if the lessons, ideas, and narratives incorporated into their model of the world are themselves accurate depictions of reality. The fruits of false assumptions about human motivation, war, or politics incorporated in the worldview of the strategist are disaster.

The implication of all this is that one should choose carefully what one reads. This is especially true with works of fiction, whose events and characters are decided by the demands of narrative art, not the connections between cause and effect operative in the real world.

T. Greer is particularly concerned about Ender’s Game and its high place on a recent strategy reading list:

Ender’s Game is not a realistic depiction of politics and war. It was never designed to be. This is because its subject is not strategy, but ethics. Orson Scott Card believes that morality is not found in consequences of our actions, but in the intentions that lead us to act in the first place.

[...]

That is my case against Ender’s Game in a nut-shell, though I can understand why some of its other themes might make it popular with professional strategists. This is particularly true for the folks who first read the book shortly after it was first published. In a culture enamored with “disruptive innovation” and obsessed with “thinking outside of the box” it is easy to forget that these concepts are relatively new ideas. Ender’s “the enemy gate is down” preceded both by two decades. A strategist should have something of a maverick mentality, and Ender’s Game seems like a perfect case study in the art.

The problem is that it is nothing of the sort.

[...]

It is important to remember here the reason Card needs Ender to be a tactical genius is not because he wants to teach us enduring lessons about zero gravity combat tactics, but because the premise of his novel calls for an innocent but unparalleled genius to be its protagonist. The Battle School does not exist to teach readers universal principles of strategy, politics, or leadership, but to demonstrate the in-universe brilliance of Ender Wiggin. This point can be generalized to all of the ideas, events, and characters of the novel — indeed, to all novels. Storylines are created by the author to manipulate the emotions and perceptions of the audience. This is true for even simple plot points like Ender’s maverick tag-line, “the enemy’s gate is down”.

Read the whole thing.

Thomas Middleditch’s GURPS Campaign

Friday, June 12th, 2015

Thomas Middleditch, star of HBO’s Silicon Valley, describes his roleplaying-game campaign to Seth Meyers:

The Martian

Thursday, June 11th, 2015

I’ve been meaning to read The Martian, but xkcd may have just given me the push I needed:

xkcd The Martian

A Single Moment That Separates Winner from Loser

Thursday, June 11th, 2015

Kazuo Ishiguro brought samurai-story genre conventions to his own writing:

When I first came to Britain at the age of five, one of the things that shocked me about western culture was the fight scenes in things like Zorro. I was already steeped in the samurai tradition – where all their skill and experience comes down to a single moment that separates winner from loser, life from death. The whole samurai tradition is about that: from pulp manga to art movies by Kurosawa. That was part of the magic and tension of a swordfight, as far as I was concerned. Then I saw people like Basil Rathbone as the Sheriff of Nottingham versus Errol Flynn as Robin Hood and they’d be having long, extended conversations while clicking their swords, and the hand that didn’t have the sword in it would be doing this kind of floppy thing in the air, and the idea seemed to be to edge your opponent over a precipice while engaging him in some sort of long, expository conversation about the plot.

Down the Grim and Bloody Eons

Monday, June 8th, 2015

Robert E. Howard’s Kull was more than a Conan prototype, James LaFond argues:

He is that, but represents something deeper: Howard’s concern with the manipulation of human affairs by unseen rulers who worked behind the scenes. Kull is not quite the adventurer that Conan is, and even gets physically ill considering certain diabolical mysteries. Kull’s decadent civilization of Valusia, to whom he is a barbarian outsider, is easily a metaphor for the D.C./New York power axis in America at the time of the Stock Market Crash. Kull’s barbarian perspective is analogous to Howard’s Texan attitude.

Kull’s Valusia is more decadent and sensual than Conan’s Hyboria, possibly because the later was conceived in the depths of the Great Depression, while the former was conceived as the Roaring Twenties went up in flames during the Wall Street Crash. The cast of characters is small and well developed for an adventure yarn. The illustrations in this volume are profuse and highly atmospheric. The action is not as graphic or biomechanical as that of modern writers that have followed Howard in the genre he pioneered. Rather it is more poetic, a lyrical sort of mayhem.

This story itself is a more cerebral prototype of the first Conan story ‘The Phoenix On The Sword’, about betrayal and palace intrigue. Female characters are just for decoration. The characters include a likeable old tribal statesman and a ruthless and reluctant side-kick, Brule, a Pict. In Howard’s mythos the Picts and Kull’s Atlantean people are blood enemies. In this tale Kull and Brule put aside their mutual hereditary hatreds to battle the enemy of all mankind. I have a sense, that when Howard wrote of the serpent-priests who ruled the world of men from behind the throne, he was envisioning some banker whispering in Herbert Hoover’s ear.

[...]

Although Kull was a bloody-handed usurper, he is cast as the good guy against the slithering serpent-priests who have silently usurped the nations of men since the beginning of time. Howard was more than a yarn-spinner.

On A Placid Island of Ignorance

Sunday, June 7th, 2015

Reading The Call of Cthulhu was not entertaining for James LaFond:

I did not laugh or hurry up my pace to get to the end in anticipation. By the time I was done the 27 pages I was ready to set it down and found myself wondering at all the fuss about Lovecraft. Then I found myself unable to forget the story, unable to stop wondering about the slimy undercurrents of his mythos. I find myself now writing twice the words than I projected; beginning to ramble like one of his stodgy academic characters; trying to fathom the uncomfortable notion this long dead eccentric has, just now, placed in my mind.

He’ll be back for more.

Against The Tribe

Saturday, June 6th, 2015

Kull by Robert E. HowardKull: Exile of Atlantis opens with an untitled short story — which was previously published as “Exile of Atlantis” — that James LaFond deems Robert E. Howard’s most shamanic piece:

Kull was the character that seems to have been Howard’s Conan progenitor. There is something different about Kull though. The Conan character is tribal in loyalty. Kull is not, being a conflicted cosmopolitan barbarian, who holds to personal loyalties.

This entire story is about questioning tradition, rejecting myths and clannish assumptions, and going against your own kind for a greater good; not a greater political good, but rather in service to a natural moral imperative. Most of the tale concerns a fireside conversation between two cavemen and Kull, a feral barbarian child that was something of a Tarzan/Moses. There is no action for action’s sake. The only actions are triggered by racism and allegiance to natural law and tribal law and are expressions thereof. A theme Howard explored often in essay and fiction was that less civilized people are naturally less rotten than more civilized people. You might say it is his strongest theme, and it never shows through more clearly than in this simple story that he never sold.

Douglas Cohen makes many of the same points:

Howard would never sell another Kull tale after he started selling his Conan tales. You might think this was because with all the similarities between Conan and Kull, it made little sense to continue writing about Kull when Conan was more successful. I don’t think this is the case. Despite all their similarities, Conan and Kull are very different characters. In my post about Conan, I mentioned that Conan is not a philosopher or a man of deep thoughts. Kull very much is. Kull of Atlantis cared about the nature of life and existence. Despite his barbaric background, Kull didn’t need to conform to civilization nearly as much as Conan had to. His thoughts and beliefs were far ahead of his time?but, like Conan, when necessity demanded it he was more than able to shed the frills of the civilized world. It’s this philosophical bent of Kull’s that makes him a worthy addition to the literature of sword & sorcery.

As an example of their differences, you need look no further than “The Mirrors of Tuzun Thune,” which happens to be my favorite Kull story. Kull, grown restless with the ordinariness of life, learns of the wizard Tuzun Thune and seeks the wizard in search of wonders and a greater understanding about the nature of the world. When he gazes into the Mirrors of Tuzun Thune, he gets far more than he bargained for. Although Howard notes that Conan was prone to bouts of melancholy, Conan would never seek arcane wisdom to brighten his mood. Instead, he would tie one on by drinking prodigious amounts of whatever was available, crack a few heads if anyone decided to start something, and ultimately polish off the evening with a lively wench (or several). Simple cures for a simple man. And if he came anywhere near the Mirrors of Tuzun Thune, his first reaction at beholding such black sorcery would most likely be to shatter the glass with his sword.

But Conan’s cures for the blues are among the things that have made Kull restless. Kull seeks something more, something other. He seeks answers. Conan found his answers long ago. To Kull, Conan’s most basic primal fears represent exotic wonders that demand further investigation. The rise of these two barbarians may have followed similar paths, but the men wearing the crowns are two very different individuals.

Ferris Bueller took his Day Off 30 years ago today

Friday, June 5th, 2015

Ferris Bueller’s day off was June 5, 1985 — exactly 30 years ago:

We know this thanks to a stunningly in-depth investigation by BaseballProspectus.com, which in 2011 managed to track down the exact game Ferris, Sloane and Cameron were watching at Chicago’s Wrigley Field (the Cubs vs the Braves, 5 June, 1985) by analysing who was on the field and how they fared in each inning.

The film made $70 million at the box office, with a budget of just $5 million. John Hughes wrote the script in six days.

Re-Killing Robert E. Howard

Friday, June 5th, 2015

James Lafond has been reading Robert E. Howard since he was 13 years old, and he’s been vastly disappointed by every film adaptation:

Conan, Red Sonja and Kull where all done poorly; converted from the enigmatic protagonists of gripping short stories into comic book superheroes with overwritten back-stories fumbling through a save-the-world-from-banal-evil epic. The characters were not bad, the actors all well-selected for their roles. I have tended to blame the screenwriters. But really, it is the modern American idiot that is the problem.

I suppose I owe my readers an explanation. I see the modern reader’s and moviegoer’s inability to appreciate episodic fiction in the Howard style as symptomatic of a vast cultural emptiness.

The way in which readers and moviegoers usually prefer to interact with fiction is as a fully informed expert on the protagonist. Howard’s protagonists were enigmatic to the core. If you want to appreciate a Howard character in film, watch Arnold’s [I don’t have to spell that last name do I?] performance in Predator. That is a Conan story, the character becoming known through what matters — his actions. But modern Americans want to know if his mommy was nice to him, and why he hates authority figures. Conan was an asshole! Howard made no excuses; just let him be an asshole, and be cool doing it. But America cannot have that.

Modern readers and moviegoers have zero imagination — jerks like me get paid to provide that. Therefore, they cannot get behind a character en masse unless he exemplifies either classic Hollywood good guy characteristics, is mindlessly rebellious [for youth appeal], or is a conflicted pussy, like them. Solomon Kane, the literary character, was a dark vengeful persecutor. He was the Osama bin Laden of his day; a religious fundamentalist who believed in sending people to hell the hard way. Solomon Kane the movie draws only the character iconography [hat, pistol, sword, cloak] from the comic version of Kane, and comics are only concerned with the above mentioned iconography, super powers [which the movie Kane has but Howard’s Kane did not], and back-story [which the movie spends 70% of its time on and Howard intentionally obscured]. The movie was so alien to the literary character I cannot review it objectively, although I found it mildly entertaining. If you would like to enjoy a Solomon Kane-like story on film, view Clint Eastwood’s High Plains Drifter. That is Solomon Kane softened up enough to get an American to swallow it.

Having a Howard character save the world from evil is ridiculous. The entire basis of Howard’s fiction was that he hated the world; saw the world as an evil unfulfilling place. Standard fantasy like Tolkien and C.S. Lewis presents the heroic setting as a child’s escapist fairytale. This fairytale land is threatened by darkness, and is then rescued by heroes who are good, either because their ancestors were rich [Aragorn], or because they possess the innocence of children — Tolkien’s hobbits and Lewis’ entire cast. Howard’s fantasy settings suck just as much as ours as far as misery and injustice goes, and on top of that, have intrinsic supernatural horrific elements. His characters succeed only in keeping these evils at bay enough to carve a temporary path for themselves and perhaps some lucky associate, and they do so because they possess a defiant mindset and what writer Jack Donovan would call the ‘tactical virtues of manliness’. [Red Sonja was a big breasted dyke guys, sorry.] In other words, Conan, Bran Mak Morn, Kull, Cormac, and Wulfere the Skull-cleaver would be running multinational drug cartels if Howard were writing today about today. And Kane would be hunting them down, not because he was a good guy, but because he had a problem that only had one illusory solution…

American Prophet

Thursday, June 4th, 2015

James Lafond calls Jack London an American prophet, based on his socialist sci-fi novel, The Iron Heel:

The gradually illuminated history around Avis Everhard’s memoir is that the events described took place between 1912 and 1940 [remember those dates], that a worldwide corporate police state named The Iron Heel ruled earth for 300 years thereafter, and that the following 400 years saw a world order called The Brotherhood of Man. In all some 700 years had passed before the manuscript was brought to light. The most interesting portions of the book are hence found in the footnotes provided by the unnamed 28th Century editor, who must describe the barbarism and savagery of Avis’s time to actual humane scientific thinkers.

London’s unnamed editor offers speculative notes that help fill in the blanks of this alternative reality for the reader of London’s time. London also, as if he were sinking a note into a time capsule, made many factual references to newspaper and magazine articles published in the period when the book was written [1906-08] as well as citing legal opinions and legislative actions in the U.S. on the subject of slavery and labor politics for the period from 1835 to 1908. Keeping in mind that London was also a journalist, this is a goldmine of references for the modern student of the early 20th Century labor movement.

The haunting aspect of this book, that has sent chill upon chill up my spine for the last two days as I have read it, is the predictive genius of London. From the 1950s until the 1970s science-fiction writers were hailed as our prophets, the men that would predict the future shape of our society. It entertains many of us modern sci-fi writers today when we consider that the classic authors of the recent past have almost totally failed to predict anything, focused as they were on gadgets and technology, and ignorant of the way people actually behave. London was also a big science buff. But, unlike the classic sci-fi authors of the late 20th Century, he was a physical man: adventurer, laborer, etc., and had seen life at eye-level, not from a chair. Below is a list of the predictions that London made in The Iron Heel that came true, given in the rough chronological order that they occurred:

1. There would be a world war in the second decade of the 20th Century

2. There would be a Russian revolution

3. The U.S. government would use army reserve and national guard troops to suppress the labor movement in the U.S. [West Virginia circa 1930]

4. There would be a second world war in the fourth decade of the 20th Century, which would essential be a re-fighting of the first war, instigated by a charismatic leader who began speaking to working class men in the streets and bars.

5. The U.S. and Germany would be on opposite sides of this military struggle.

6. The U.S. Navy would suffer a major military reversal at Hawaii, and would bounce back to prevail in the war.

7. That these struggles would result in a unified world economy managed by an international American-European banking cartel and enforced by an overwhelming U.S. military presence. [When London was writing the U.S. barely had a military by European standards.]

8. The existence of an overwhelming U.S. corporate economy and U.S. military would foster the growth of virulent terrorist cells around the world.

9. That labor unions would never prevail over, or achieve parity with corporate business interests in the U.S. [Organized labor is currently a tiny slice of the non-government U.S. workforce.]

10. That the banking/business/U.S. military world order would bully journalists into compliance and imprison, assassinate and/or execute ‘whistle-blowers’.

11. That massive numbers of U.S. mercenaries would enforce the world order. [There are currently 100,000 U.S. mercenaries in Afghanistan to 68,000 U.S. troops.]

12. That U.S citizens would need documents modeled on the Czarist Russian personal identification documents to be permitted to freely travel within the U.S. [I can attest to the actuality of this prediction, as Baltimore County and Baltimore City cops demand identification from me on a roughly annual basis in order to permit my continued use of the sidewalk to get to my place of employment.]

13. Gun control laws in the U.S., which men of London’s time would have found shocking.

14. The U.S. would have a dedicated ‘homeland security’ force organized along military lines with police powers to counter internal and external terrorist threats.

15. That the U.S. would become home to designated urban ghettos policed by selectively assigned police units [Hello, Baltimore Housing Authority Police].

16. That suspected terrorists would be executed where they are found rather than brought to trial. [We need only replace London’s mercenary firing squads with our own contractor-operated drones.]

17. That ‘collateral damage’ [the death of innocent bystanders] would be regarded by the U.S. Government as an acceptable side effect of killing suspected terrorists. [Yemen, 2013]

Tribalism in a Starkly Capitalist Atomic Age

Wednesday, June 3rd, 2015

James Lafond reviews Heinlein’s classic Destination Moon:

A scientist, a retired admiral, a test pilot turned entrepreneur, and a second string radio technician decide to defy U.S. environmental edicts, and blast off in their atomic space ship from the Mohave Desert instead of waiting to apply for new unaffordable permits in Fiji. These men judged that the privatized space mission would be scrapped if it was delayed any longer, and acted out of a patriotic impulse to beat the Soviets to the moon.

In 1950 the Moon was envisioned as a ballistic platform, and the Cold War was only a few years old. Heinlein was writing before the Korean Conflict took off, and envisioned atomic space travel in a Cold War future that might be placed in the 1980s.

The technology imagined was fascinating — and horrifically dirty. The ethics of the men involved were anchored by patriotism and the desire not to permit the one man among them who had children to perish. The masculine ethos of the story is nearly timeless — excepting our own neutered age. The men declare, one after the other, in various discussions, that their first duty is to the group — the tribe. This is a book on tribalism set in a starkly capitalist atomic age in which nations walk the knife edge of nuclear Armageddon. The most interesting and workable aspect of the story is the quote leading into each chapter from a book on the history of transportation by an Arabic author of a more distant future than that imagined by the author for the first lunar landing.

Destination Moon was simply a great, thought-provoking read that holds up after 65 years for the pointedly simple reason that it is about men testing the boundaries of humanity, which has the purpose envisioned for men across all cultures and ages except, curiously, for our present one.

I haven’t read the original story, but I vaguely recall the movie.

Let it grow

Friday, May 29th, 2015

October is the 10th anniversary of Bob Iger’s appointment as Disney’s chief executive, a period that has been defined by acquisitions:

Mr Iger began putting the pieces in place for a Disney revival as soon he was told by the board that he would replace Mr Eisner, contacting Mr Jobs and expressing an interest in doing a deal. By January 2006, just three months after Mr Iger had started as chief executive, Disney bought Pixar in an all-stock deal worth $7.4bn. “I had this instinct that Pixar was the best way to fix and save Disney animation,” Mr Iger says.

[...]

The Pixar deal had big similarities with the two other landmark transactions of his tenure, Mr Iger says. As with Pixar, when Disney acquired Marvel and Lucasfilm it did not seek external advice from investment banks. Disney’s own corporate strategy unit, led by its top dealmaker Kevin Mayer, crunched the numbers, while Mr Iger made the approach and the pitch himself. “All three deals began with one-on-one discussions,” says Mr Iger. “I began each one pitching my heart out.”

[...]

Disney’s studio acquisitions have also been transformative for the three people who sold their companies to Disney. George Lucas, who sold the rights to the Star Wars franchise to Disney at the end of 2012, has generated a paper profit of $2.2bn on the shares he was given; Isaac “Ike” Perlmutter, the largest shareholder in Marvel Entertainment at the time of the sale, has earned a paper profit of $1.7bn. The biggest paper profit has been made by Laurene Powell Jobs, the widow of Steve Jobs. Mr Jobs was the majority shareholder in Pixar, which Disney acquired in an all-stock deal worth $7.4bn in 2006. Today the Jobs stake is worth about $14.3bn.