Pursuit of the Almight Vril

Thursday, December 30th, 2010

I recently mentioned the once-popular novelist Edward George Bulwer-Lytton, who coined the now-cliché opening line, “It was a dark and stormy night…” and the phrases the great unwashed, pursuit of the almighty dollar, and the pen is mightier than the sword.

I also recently mentioned a series of supervillain origin stories re-done in the style of Little Nemo in Slumberland.

Oddly, those two stories are linked. You see, the origin of Brainiac gives his true, alien name as Vril Dox, which sounds like a typical made-up sci-fi name — and it is, but Vril is also the name of the mysterious energy wielded by the superhuman subterranean master race in Bulwer-Litton’s The Coming Race, the proto-science-fiction novel that gave us the phrase pursuit of the almighty dollar, in its opening paragraph:

I am a native of _____, in the United States of America. My ancestors migrated from England in the reign of Charles II.; and my grandfather was not undistinguished in the War of Independence. My family, therefore, enjoyed a somewhat high social position in right of birth; and being also opulent, they were considered disqualified for the public service. My father once ran for Congress, but was signally defeated by his tailor. After that event he interfered little in politics, and lived much in his library. I was the eldest of three sons, and sent at the age of sixteen to the old country, partly to complete my literary education, partly to commence my commercial training in a mercantile firm at Liverpool. My father died shortly after I was twenty-one; and being left well off, and having a taste for travel and adventure, I resigned, for a time, all pursuit of the almighty dollar, and became a desultory wanderer over the face of the earth.

The book was quite popular, and not only did pursuit of the almighty dollar enter the public lexicon, but so did vril — as a name for health tonics and similar elixirs, such as Bovril (bovine vril).

But it gets much, much weirder:

Some readers believe the book is non-fiction, and “Vril” has become associated with theories about Nazi-piloted Flugscheiben (“Flight Discs”), Vril-powered KSK (Kraftstrahlkanone, “force-ray cannon” — transmission rods that produce potent energy rays), Jesuit “spiritual exercises”, and Atlanteans to name a few.

The concept of Vril was given new impetus by the French author Louis Jacolliot (1837–1890), who at one time was the French Consul in Calcutta. In Les Fils de Dieu (1873) and in Les Traditions indo-européennes (1876), Jacolliot claims that he encountered Vril among the Jains in Mysore and Gujarat.

The writings of these two authors, and Bulwer-Lytton’s occult background, convinced some commentators that the fictionalised Vril was based on a real magical force. Helena Blavatsky, the founder of Theosophy, endorsed this view in her book Isis Unveiled (1877) and again in The Secret Doctrine (1888). In Jacolliot and Blavatsky, the Vril power and its attainment by a superhuman elite are worked into a mystical doctrine of race. However, the character of the subterranean people was transformed. Instead of potential conquerors, they were benevolent (if mysterious) spiritual guides.

When the theosophist William Scott-Elliot describes life in Atlantis in The Story of Atlantis & The Lost Lemuria (first published 1896), the aircraft of the Atlanteans are propelled by Vril-force. Obviously he did not regard that description as fiction, and his books are still published by the Theosophical Society.

George Bernard Shaw read the book and was attracted to the idea of Vril, according to Michael Holroyd’s biography of him.

Theosophy was a kind of proto-New Age movement, looking to unite humanity and unleash latent (psychic) powers.

Rudolph Steiner, a prominent Theosophist, went on to develop an educational philosophy implemented at his Steiner Schools, which are now better known as Waldorf Schools. They tend not to play up their Theosophical roots.

Fans of old-school swords & sorcery fiction can’t help but notice Theosophy’s many mentions of Hyperborea, Lemuria, Atlantis, and reincarnated men evolving through various races from age to age.

If people were taking these ideas seriously in the early 20th century, perhaps that explains why Fascism, National Socialism, and International Communism didn’t seem especially crazy.

Chestnuts and Silver Bells

Saturday, December 25th, 2010

It’s no secret that many of the best Christmas songs were written by Jews:

For example, looking at a fairly recent ASCAP list of the most played Christmas pop tunes, it appears to me that of the top ten songs, Jews wrote five and co-wrote two more. Out of the top 25 songs, Jews were involved with at least 11 and possibly more. Here was the top ten:

  1. White Christmas – Irving Berlin (Jewish)
  2. Santa Claus is Coming to Town – J. Fred Coots (Jewish) and Haven Gillespie
  3. The Christmas Song (Chestnuts Roasting on an Open Fire) – Mel Torme (Jewish) and Robert Wells (Jewish)
  4. Winter Wonderland – Felix Bernard and Richard B. Smith
  5. Rudolph the Red-Nosed Reindeer – Johnny Marks (Jewish)
  6. Sleigh Ride – Leroy Anderson and Mitchell Parish (Jewish)
  7. Have Yourself a Merry Little Christmas – Ralph Blaine and Hugh Martin
  8. Silver Bells – Jay Livingston (Jewish) and Ray Evans (Jewish)
  9. Let it Snow! Let it Snow! Let it Snow! – Sammy Cahn (Jewish) and Jule Styne (Jewish)
  10. Little Drummer Boy – Katherine V. Davis, Henry V. Onorati and Harry Simeone

The Christmas songs that Jews wrote seldom involved religion, and some were simply ditties about cold weather, but nobody thought to label them generic “Holiday” tunes.

Songwriters, and their bank accounts, appreciated having their efforts associated with the most popular day of the year. There’s no market for songs about snow in January!

The Elvis Presley of Christian Publishing

Saturday, December 25th, 2010

C.S. Lewis did not expect to become the Elvis Presley of Christian publishing:

C.S. Lewis was talking to his lawyer one day when the attorney told him he had to decide where his earnings would go after his death.

Lewis, who had already written “The Chronicles of Narnia” book series, told the lawyer he didn’t need to worry.

“After I’ve been dead five years, no one will read anything I’ve written,” Lewis said.

Lewis famously converted from atheism:

Though Lewis looked like the prototype of the mid-20th century English professor, he was actually an Irishman. He was born as Clive Staples Lewis in 1898 in Belfast. Friends and family called him “Jack.”

Scholars cite two events as the source for Lewis’ early atheism. His mother, Florence, died of cancer when Lewis was 9. And his best friend, Paddy, was killed during World War I. Most of the men in Lewis’ platoon didn’t survive the trenches.

“When he saw the carnage of World War I, he concluded that if God exists, He is a cosmic sadist,” says Dorsett, Lewis’ biographer.

Lewis’ conversion to Christianity was gradual. It was prompted by what he later called “good infection” — being drawn to faith unawares through the friends he made and books he read.

One of those friends was J.R.R. Tolkien, a fellow English professor at Oxford best known today as the author of “The Lord of the Rings.”

According to some accounts, Tolkien, a Christian intellectual, helped convert Lewis. He showed Lewis that many of the mythological books he loved to read were Christian allegories.

Lewis, though, would later add that there was something more subtle that led to his conversion.

He called it “joy.”

“Joy” was Lewis’ term for a stab of longing that unexpectedly welled up in him during moments of contemplation, such as listening to opera or reading an ancient Norse tale.

In his book, “The Weight of Glory,” Lewis wrote that the yearning he experienced during those moments convinced him there was another existence beyond this world.

“For they are not the thing itself; they are only the scent of a love we have not found, the echo of a tune we have not heard, news from a country we have never visited.”

Happy Wookiee Life Day

Saturday, December 25th, 2010

Happy Wookiee Life Day! May you find the droids you’e looking for.


(From io9′s collection of the weirdest and most inventive holiday greetings of the season.)

Fritz Leiber’s 100th Birthday

Friday, December 24th, 2010

Apparently today would have been Fritz Leiber’s 100th birthday. If you like your swords & sorcery tales hardboiled, give his Lankhmar stories a try.

The Muppets Sing “12 Days of Christmas”

Friday, December 24th, 2010

Last year, for his Christmas episode, Jimmy Fallon sang “12 Days of Christmas” with the Muppets (and the Roots):

The “original” version featured John Denver and appeared on the album A Christmas Together and on the 1979 TV special A Christmas Together with John Denver and The Muppets — which does not appear to be available on DVD. Sigh.

I miss Jim Henson’s voice, of course, but I must admit that I like Pepe the Prawn and Rizzo the Rat.

The song has a number of variations:

It has been suggested by a number of sources over the years that the pear tree is in fact supposed to be perdrix, French for partridge and pronounced per-dree, and was simply copied down incorrectly when the oral version of the game was transcribed. The original line would have been: “A partridge, une perdrix.”

Some misinterpretations have crept into the English-language version over the years. The fourth day’s gift is often stated as four calling birds but originally was four colly birds, using another word for a blackbird.

The fifth day’s gift of gold rings refers not to jewellery but to ring-necked birds such as the ring-necked pheasant. When these errors are corrected, the pattern of the first seven gifts all being birds is restored. There is a version of “The Twelve Days of Christmas” that is still sung in Sussex in which the four colly birds are replaced by canaries.

A minor variant includes the singing of “golden” rather than “gold” rings, to avoid having to stretch “gold” into two syllables (“go-old”).

How Tony DiTerlizzi Made It

Tuesday, December 21st, 2010

Tony DiTerlizzi (The Spiderwick Chronicles) explains how he made it as a fantasy artist:

After graduating from the Art Institute of Fort Lauderdale in the spring of 1992, I found myself with a diploma, a whole lot of art supplies, and back home living with my parents. I had big dreams of becoming a childrens book illustrator, but none of the big time publishers I was submitting my portfolio to were rushing out to make me an offer. So I had to keep my day job working for an organization that owned a lot of real estate down in south Florida. There, I made maps and pamphlets on land parcels that would soon be developed into shopping malls and beachfront condominiums. Not exactly the dream job for an aspiring illustrator, but at least it paid okay.

One night at a favorite Irish pub with my friends, we came upon the novel idea of playing Dungeons & Dragons on the weekends just like we did when we were kids. We planned on gaming at a friend’s house the following evening.

I dug out my dusty dog-eared copies of the AD&D rulebooks and found my faded Crown Royal bag full of dice and lead miniatures. Somehow I was missing my favorite, my beloved, my essential rulebook: The AD&D Monster Manual. I hopped in my sun-bleached ‘83 Honda and drove off to the bookstore to purchase a new, pristine copy.

As the store clerk located the book and handed it to me, I realized something had changed in the years since I had played my totally radical version of D&D in the 1980’s. The slim easy-to-sneak-to-school AD&D Monster Manual had been replaced by a bulky 3-ring Monstrous Compendium that looked more like inter-office memo on monsters…and bored flabby ink blob monsters at that.

Gone were the thick-lined tattoo-art graphics of David Trampier and the drawn-on-my-notebook scrawlings of David Sutherland. Sure, the one-sheet pages in the AD&D 2nd Edition Monstrous Compendium may have been easy to use, but the images of the monsters all lacked their spark, their vis vitae, that got my imagination spinning like a 20-sider when I saw them as a kid.

His friend Mike the Dungeon Master said, “I bet you could do drawings for these guys,” and he went to work:

By September, I had put together a small portfolio of my best samples. I Xeroxed pages from a module and pasted my artwork inside so the art director at TSR (fine publishers of all things D&D) could see what my work would look like in their gaming books. It was weird.

The samples looked real, but “alternate reality” real where I was an illustrator for this game that I adored since middle school. I was proud of myself that I had stuck to this project over the summer and created The Best Submission Ever. In the back of my mind, however, was the fear of rejection. Of having to face my friends and tell them their hopes in me were for naught. Whatever, I thought. I sealed up the package and sent it off to TSR’s offices in Lake Geneva, Wisconsin.

A month rolled by. No word from the great and powerful TSR. During game night I tried to forget that I sent off the samples altogether and hid my worry behind a cheerful shrug when my friends asked if I’d heard anything yet.

Finally, late in October I received a letter response from Peggy Cooper, Art Director for TSR. She wrote that I had “a unique and interesting drawing style but it wasn’t enough to hire me as a freelance illustrator.” The letter closed with encouragement to submit more samples in the future for their files. It was a rejection.

He friends told him to keep trying:

The following Monday, with trembling hands, I dialed the main number for TSR — then hung up before anyone could answer.

I had several false start phone calls throughout the day. Finally I psyched myself up, called and stayed on the line. A jovial voice, with a heavy Midwest accent, answered, “Art Department, Peggy speaking.”

I started, “Um, Hi, Peggy. This is Tony. Tony DiTerlizzi, and —“

“Oh, Hi Tony! Nice to hear from you, your art samples were really nice. A few of us here in the office took a real liking to them,” she said.

“You…you did? But your letter said it wasn’t enough.” I stammered out.

“Well all you sent us were a bunch of drawings of monsters,” she said with a chuckle. “We need characters. People. And we need to see them adventuring. Derring do, finding treasures, and that sort of stuff. Think you can do that?”

“Um…sure. Yes.” I replied.

“Great. Try to get me samples by the end of the month if you can. I gotta go now, I’m off to a scheduling meeting. Bye,” she said and the conversation was over.

Make the characters as cool as the monsters themselves, his friend advised him:

I sketched out the best player characters I could dream up. I conjured them from the spirit of Arthur Rackham, Rankin & Bass’ animated version of The Hobbit and the old Dragon’s Lair video game.

I sent in my next batch at the end of the month, just as Peggy had asked. And do you know what? Rejected. Again.

Peggy said the characters were designed well, but they were not active enough. Within a week I had new sketches sent up to her. This time, I created scenarios that were both narrative and entertaining. Instead of neat monsters and cool characters, I tried to illustrate elements and rules of the game. Something I thought new gamers (like my brother) would like and at the same time remind the older players of why they enjoyed playing D&D as kids.

That November, Peggy offered me my first freelance job illustrating an entire boxed set adventure for TSR titled Dragon Mountain. The following spring, I illustrated over 100 illustrations of the first ever color edition of the AD&D Monstrous Manual. After that was completed I went up and visited the folks at TSR and was invited to be the sole illustrator on a new game line they were creating called Planescape…but that’s another story.

Star Trek Gingerbread Men

Monday, December 20th, 2010

Today’s FoxTrot made me smile.

Still Gripped by the Ideal of the Princess

Sunday, December 19th, 2010

Virginia Postrel notes that we’re still gripped by the ideal of the princess:

The United States has been a republic for more than two centuries. We aren’t supposed to have princesses. Yet the archetype remains both persistent and profitable.

Princesses are everywhere: under the tree at Christmas and on the sidewalks at Halloween, atop birthday cakes and in videogames, on bedspreads and in perfume ads. They provide themes for baby showers, quinceañeras, even weddings. The phrase “every little girl dreams of being a princess” generates more than 300,000 Google matches, only a few of which concern Kate Middleton’s impending marriage to Britain’s Prince William.

“Princess” is not just a royal title. It’s a powerful, and popular, ideal.

When the Los Angeles Times recently reported that Disney was swearing off new animated princess films, the fan outcry was so great that Pixar Animation chief Ed Catmull quickly issued a retraction on Facebook, vaguely promising great stuff to come. Whether it turns out to be the last or merely the latest Disney princess movie, “Tangled,” which opened Nov. 24, is an indisputable hit. Going into this weekend, the retelling of “Rapunzel” had rung up nearly $194 million in world-wide ticket sales.

Why, in a society without princesses, does this archetype remain so strong?

A princess is pretty, rich, beautifully dressed, loved, happy and, above all, special. She represents escape from the constraints of even the most bountiful childhood. Erstwhile princess Sarah Constantin, now working toward her Ph.D. in mathematics at Yale University (a classic girly pursuit), recalls the joys of imagining a “‘dream dress’ that was every color of the rainbow and had opals in the shape of morning glories” and reigning over Sarahland. There, she says, “I was a benevolent ruler, but here on earth I had to do what I was told, and (worse?) wear overalls.” The princess archetype embodies a feminine version of the appeal Michael Chabon in his novel “The Amazing Adventures of Kavalier and Clay” ascribes to superheroes. They express the “lust for power and the gaudy sartorial taste of a race of powerless people with no leave to dress themselves.” (Wonder Woman is both superhero and princess.)

Outlawry

Sunday, December 19th, 2010

Until the modern era, courts had little power to enforce their authority, so they instead declared criminals outlaws:

When it was originally imposed in the Middle Ages, a sentence of outlawry was essentially a death sentence that the court did not believe it could immediately enforce, largely because the person was nowhere to be found. An outlaw was a person whom it was illegal to give any food or shelter, and whom it was legal to kill on sight as one might a wild animal. The pronouncement caput gerat lupinum, “Let his be a wolf’s head” (gotta be a lycanthropy storyline in there somewhere) set someone outside the bounds of civilized society. The theory was that a person who failed to show up to answer a felony charge was admitting their guilt.

Still, by the modern period, the definition of outlawry had shifted somewhat. Sir William Blackstone, perhaps the most famous English jurist in history, had already observed by the late-eighteenth century that while outlawry was still a potential sentence for criminals, it no longer permitted an outlaw to be killed at will. Rather, it permitted anyone to arrest them for prosecution and retained the penalties for aiding an outlaw.

The spread of civilization and thus of court authority reduced the need for declaring someone an outlaw, but a world full of supervillains might still see the need:

If the Joker is threatening to drop a bus full of school kids off a bridge, yeah, Batman can do whatever, because deadly force is justified in preventing the deaths of others. But if the Joker is between capers, private actors, like most superheros, can’t go after them without exposing themselves to civil and criminal liability for wrongful death, impersonating an officer, false imprisonment, excessive force, etc. But if the supervillain were declared to be an outlaw, hey, all bets are off. Go nuts.

Of course, the whole notion of outlawry is completely incompatible with modern concepts of due process:

For starters, declaring someone guilty because they failed to show up for trial violates just about every procedural standard it is possible to name, chief of which is the presumption of innocence, an important civil right enshrined in Coffin v. United States, 156 U.S. 432 (1895), which held: “The principle that there is a presumption of innocence in favor of the accused is the undoubted law, axiomatic and elementary, and its enforcement lies at the foundation of the administration of our criminal law.”

So that’s probably out. But trial in absentia is probably out too, at least without some changes being made to the law. Federal Rule of Criminal Procedure 43 requires the presence of the criminal defendant, and Crosby v. United States, 506 U.S. 255 (1993) makes it pretty clear that a criminal who is arrested but escapes or absconds before trial cannot be proceeded against until he appears in court. It may be possible that a trial might be permitted to continue if a defendant is there at the beginning and then voluntarily leaves (see United States v. Lawrence, 161 F.3d 250 (4th Cir. 1998)), but simply bringing charges against someone and going to trial without them would probably not be permitted under current law.

Still, if I were the prosecutor, I’d make the argument that a supervillain that law enforcement is unable to apprehend but who damn well knows about the prosecution is a different case than your standard, underprivileged, uneducated, minority offender that the legal system is right to try to protect from being railroaded or lynched inside the courthouse. One might even limit the definition of “supervillain” to “one who possesses powers or abilities so far in excess of ordinary human beings that forcefully apprehending them would either be impossible or almost certainly cause significant loss of innocent life.”* This might constitute a violation of equal protection, but there’s a good case to be made that such an approach would survive strict scrutiny, in that it is 1) directed at a compelling governmental interest, 2) narrowly tailored, and 3) the least restrictive means of accomplishing said interest. Given that a challenge of this sort would probably be first attempted against a notorious villain the cops are unable to apprehend, and that a sentence of outlawry would manifestly assist both superheros and traditional law enforcement in their efforts against said villain, the pressure to find some way of carving out an exception would be pretty significant. Then again, hard cases make bad law, so whether or not this is a good thing remains to be seen.

One cynical commenter notes that slapping the terrorist label of a super-villain should be close enough to declaring them outlaw.

Little Kal-El in Slumberland

Saturday, December 18th, 2010

In Superman Villains: Secret Files and Origins #1 (1998), Stuart Immonen decided to tell the origin stories of Superman’s rogues gallery by way of Lex Luthor telling fairy tales to his infant daughter Lena — all in the style of Winsor McCay’s Little Nemo in Slumberland:










(Hat tip to Boing Boing.)

Supervillain Real Estate

Saturday, December 18th, 2010

The options for supervillain real estate look shockingly similar to the options for a libertarian state:

I. Unclaimed Land

You may be surprised to learn that there are a (very) few places left on Earth that are unclaimed by any sovereign nation. Perhaps the most reasonable is Bir Tawil, a 770 square mile stretch of desert between the borders of Egypt and Sudan. There isn’t a whole lot there, but at least it’s relatively close to more interesting places, and the neighbors are probably too concerned with their own problems to care about a supervillain moving in next door.

The other major possibility is Marie Byrd Land, which is part of Antarctica. At over 620,000 square miles it’s comparable in size to Mongolia or Iran and would be the 19th largest country in the world if it were one. While no countries lay claim to this land, the Antarctic Treaty of 1959 expressly prohibits “any measure of a military nature, such as the establishment of military bases and fortifications.” Although a supervillain, as a private entity, would not be bound by the treaty, that language might provide the basis for joint military action to oust a supervillain operating out of Antarctica. The treaty does state that “Antarctica…shall not become the scene or object of international discord,” but it is doubtful that such language would give the signatory nations much pause before launching the cruise missiles.

A third possibility is purchasing an island from a sovereign nation, but it may be difficult to convince the owner to give up all claim to the island. Ordinarily private islands like Richard Branson’s Necker Island still remain the sovereign territory of a nation (in that case the British Virgin Islands). But there are many impoverished island nations, and an enterprising supervillain may attempt to strike a Faustian bargain for sovereign territory.

Unfortunately, being stuck on land makes a supervillain an easy target, and unless the supervillain can gain international recognition and thus sovereign status, the base is likely to be attacked without legal repercussions. The main benefits here would be isolation and a lack of direct government oversight, not a legal shield against reprisal.
[...]
II. The High Seas

If no land is available or if mobility is a concern, then a supervillain can consider the oceans. The primary governing treaty is the United Nations Convention on the Law of the Sea. This gives some freedoms, including the right to build artificial constructs, but it also prohibits claims of sovereign territory, so a supervillain probably could not create a new floating nation. Still, as long as he avoided making territorial claims, there doesn’t seem to be any legal reason that a sufficiently large floating construct couldn’t just sail around forever.
[...]
But there are other problems for a seafaring supervillain, most particularly the lack of a national flag (presuming that a supervillain would not long be able to fly even a flag of convenience). Article 110 provides that a warship may board a foreign ship on the high seas if “there is reasonable ground for suspecting that…the ship is without nationality.”
[...]
III. Outer Space

Outer space probably represents the best bet for a supervillain. Although the supervillain and his or her base would not have much in the way of direct legal protections in space or on the Moon, he or she would be protected indirectly by the Outer Space Treaty. The OST bans placing “in orbit around the earth any objects carrying nuclear weapons or any other kinds of weapons of mass destruction, install[ing] such weapons on celestial bodies, or station[ing] such weapons in outer space in any other manner.”

Other options include hiding within a population center, becoming the ruler of a sovereign nation or, as a variant of the high-seas option, building a hidden under-water base.

Is Batman a State Actor?

Friday, December 17th, 2010

Is Batman a State Actor?

In Batman’s case, Commissioner Gordon is certainly a person for whom the State is responsible, and Batman often acts together with Gordon and obtains significant aid from Gordon in the form of information and evidence. Batman’s conduct is also otherwise chargeable to the State because the Gotham Police Department has worked with Batman on numerous occasions (and thus knows his methods) and operates the Bat Signal, expressly invoking Batman’s assistance in a traditionally public function. This suggests state action under the public function theory: “when private individuals or groups are endowed by the State with powers or functions governmental in nature, they become agencies or instrumentalities of the State and subject to its constitutional limitations.” Evans v. Newton, 382 U.S. 296, 299 (1966).

In the real world, this would cause significant problems for Batman and Gotham. Batman’s rough and tumble style would lead to a rash of Section 1983 claims for damages and probably also for an injunction against Batman’s future cooperation in police investigations. As discussed earlier, most evidence that Batman collects would be inadmissible, and police use of that evidence might bar the use of additional evidence collected during a subsequent police investigation.

Now, clearly none of this is the case, so there are three possibilities. Either all of the criminals in Gotham have incompetent attorneys, the state action doctrine in the DC universe is weaker than it is in the real world, or Gordon has actually managed to keep his reliance on Batman a secret. I’m going to opt for the second explanation. Superheroes like Batman are simply too effective for a court to shackle them with the Constitutional limitations of the state, especially with supervillains running around. Perhaps the DC universe courts have developed a public emergency or necessity exception to the state action doctrine whereby private individuals pressed into public service in an emergency are not held to the same standards as ordinary state actors.

Batman and Patents

Thursday, December 16th, 2010

Comic-book geeks love over-thinking the smallest details. In the case of attorneys James Daily and Ryan Davidson, the small details they love over-thinking involve the hypothetical legal ramifications of comic book tropes, characters, and powers — for instance, Batman and Patents:

Like many businesses, presumably Wayne Enterprises would seek to patent its inventions. But Batman’s own use of the inventions in public may prevent Wayne Enterprises from obtaining a patent. In the US, you generally cannot obtain a patent on something that was “in public use or on sale in this country, more than one year prior to the date of the application for patent in the United States.” 35 USC 102(b). This is known as the “on sale bar,” and it is a strict statutory bar to patentability. So if Batman starts using a new Wayne Enterprises technology in a gadget more than a year prior to the patent filing, then he may have ruined the company’s chance at a patent.

Of course, Wayne Enterprises could always file for a patent before the one year grace period is up, but that would mean disclosing the technology to the public 18 months later when the patent application is published by the Patent and Trademark Office. 35 USC 122(b)(1)(A). At most Batman would have 30 months in which to use the technology before supervillains could look it up online and start copying it (presumably supervillains are not concerned with patent infringement suits).

Does vigilante justice involve public use?

It was long ago established that it is enough that a single instance of the invention was used by a single person in public, even if the device itself and its method of operation were not visible (e.g., a hidden piece of armor beneath Batman’s costume). Egbert v. Lippman, 104 U.S. 333, 336 (1881). The purpose of the on sale bar is to induce inventors to disclose their inventions early; if the invention works well enough to use it in public, then it works well enough to be patented.

There is a plausible solution to the problem:

Patent applications that include classified information are not published until either a set time period has expired or the secrecy order has been lifted. 35 USC 181; MPEP 120. But neither do such applications mature into patents; effectively they are held in limbo while they remain classified. So if Bruce Wayne could convince, say, the Department of Defense to classify a given technology, then Wayne Enterprises could apply for a patent early on, Batman could use the technology, and once the time was right the classification could be lifted, the patent could issue, and Wayne Enterprises could make a lot of money. Given that Wayne Enterprises does a lot of work for the US military, this is a plausible solution to the problem.

Read any good books lately?

Wednesday, December 15th, 2010

Read any good books lately?

(Hat tip to io9.)