Eruditorum Press

Haunt the Future

“And the stars are old”: Descent, Part II

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Last time on Star Trek: The Next Generation…

“’Descent’ marks an important turning point in a number of respects. Up front, it’s the first time Star Trek: The Next Generation has done a cliffhanger season finale more or less only because this is the sort of thing it does to close off filming block seasons; in other words, the first time the cliffhanger finale structure is implemented as a matter of course and functional habit instead of being the result of unexpected necessity.” 
“This is not the same as critiquing, say Captain Picard’s specific actions in that episode: In fact, the whole reason Alynna Nechayev is here is to further reinforce that he acted wisely and correctly-Let’s not forget that Nechayev is the first Starfleet Admiral *overtly* coded as actively evil. Her very condemnation of Picard’s choice lets us know that he made the right one. Rather, what “Descent” is attacking is the notion that moral choice was ever necessary: There is no moral dilemma in regards to the sanctity of life; it should be preserved and respected above all else no matter what, end of, and ‘I, Borg’ was stupid to insinuate that wasn’t the case and to put Captain Picard and Guinan in the position of neglecting that.” 
“Because what the Borg have done here in ‘Descent’ is, terrifyingly, assimilate the very concepts of individual positionality and human empathy themselves. They’ve taken two of the most sacred tenets by which Star Trek operates, ground them into the engines of capitalism and turned them back against us in an attempt to quell any resistance we could offer before we reached a point where we were prepared to effect change. 
The Borg’s endgame is, and always has been, to kill off Star Trek as Star Trek: The Next Generation before it transitions to the form that will do battle with them on their own terms. And even if they were to fail here, they’d still be ready for us in the future. Either way, they win.”
“And who better to mastermind it all than a psychopathic fascist android?”

And now, the conclusion…

It’s hard not to go into “Descent, Part II” without acknowledging that this is the beginning of the end for Star Trek: The Next Generation‘s televisual voyage. The news had broken over the summer, so there’s no point in pretending the shadow of cancellation wasn’t looming long over the seventh season. Let’s clarify a few facts first and foremost then: Yes, Star Trek: The Next Generation was prematurely canceled. Yes, it was canceled because Paramount wanted to launch a film series with the Next Generation cast. Production costs had gone up and, with the show as popular as it had ever been, they thought it would be more profitable to start a new film series than to continue the TV one. They were wrong.…

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Eruditorum Press Hugo Eligibility List

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Edit to add: I forgot the category in which fans of this blog could plausibly put someone on the ballot – James Taylor, cover artist for all Eruditorum Press books, is eligible for Best Fan Artist, a category that required just 23 nominations to get on the ballot last year.

Hugo nominations have officially opened. If you were registered for Sasquan, you are automatically eligible to nominate (though you’ll have to join MidAmericon II to vote); otherwise you’ll have to register for MidAmericon II. If you’re eligible, you should have an e-mail coming in the next few days with details on how to nominate. 

I’m working on my nomination ballot, and will post it when it’s ready in the course of a “everybody post your ballot in comments” post. It remains my view that everyone should make their ballots public this year, just because that’s a sound anti-Puppy tactic.

Anyway, if you want to nominate anything we do over here for some bizarre reason, here’s a rough guide to it.

  • Jack Graham and Jane Campbell are both eligible for Best Fan Writer. The case could be made that I am as well; I personally disagree with this case.
  • Pex Lives is eligible for Best Fancast. They’re the name on the libsyn account all our other podcast content posts to, so as far as I’m concerned they get the credit for Shabcast, the Eruditorum Press Doctor Who Series 9 Podcast, City of the Dead, et cetera.
  • Guided By The Beauty of Their Weapons is eligible for Best Related Work. So is Recursive Occlusion, but as it’s included in its entirety in Guided by the Beauty, why vote-split?
  • TARDIS Eruditorum is eligible for Best Related Work. Yes. The entirety of it.

Eruditorum Press as a whole is not eligible; it does not meet the criteria for Best Semiprozine or Best Fanzine. TARDIS Eruditorum Volume 6 is also probably not eligible; it would depend on whether it’s considered to be “substantially revised” from its original electronic publication, and the precedent set by booting “Yes Virginia, There Is a Santa Claus” last year makes me suspect it’s not. 

Now go nominate something with an actual shot at getting on the ballot.…

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While The Past and Future Exist Simultaneously (The Last War in Albion Book Two Part Twenty-Four: Miracleman at Eclipse)

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{Impressively, Alan Moore’s second publisher for Marvelman/Miracleman was an even bigger trainwreck than his first. It is perhaps unsurprising, given this, to find out that Dez Skinn negotiated the bulk of the deal. The financial plan for Warrior had always involved selling the strips to foreign markets, and Skinn was determined to sell them as a package, reasoning that “strips like Spiral Path – which I put into an anthology alongside Shandor and Bojeffries Saga – were not the stars of the show,” but that Warrior would never have happened without them and that they deserved the same shot at foreign publication as the heavy-hitters like V for Vendetta and Laser Eraser and Pressbutton. But ironically, it wasn’t the lesser Warrior material that made selling the strips abroad a challenge, but the nominal crown jewel, Marvelman, as neither of the two biggest comics publishers would touch it. DC was the obvious first choice, since they were already having considerable success publishing Alan Moore in the US market, and were indeed interested, but Dick Giordano pointed out that there was simply no way that they could publish a comic called Marvelman, citing the number of problems they were already having with Captain Marvel, which they’d bought from the smoldering ruins of Fawcett and started publishing under the name Shazam! But the obvious second choice proved no better; Marvel wouldn’t touch it either, pointing out that if they were to publish a strip called Marvelman it would be read as representing the entire company, which was perhaps not quite what they wanted Moore’s psychologically damaged take on superheroes to do.

Figure 920: An advertisement for the never-published Challenger #1 from Pacific Comics.

That left smaller companies. Initially the plan was a company called Pacific Comics, but after contracts were signed and the first issue of Challenger, headlined by V for Vendetta, advertised Pacific abruptly went belly up in August of 1984, leaving all of the Warrior properties homeless once again. Ultimately they were acquired, alongside some other remnants of Pacific, by Eclipse Comics, created by siblings Jan and Dean Mullaney, but edited by cat yronwode (lack of capitalization per her wishes), a small publisher originally out of New York, but by this point run out of Guerneville California. But there were still other problems. Not only was Marvel uninterested in publishing Marvelman, they were uninterested in the idea of anyone else publishing him. This started with Marvel UK’s dispute with Skinn over the latter’s decision to break the informal truce they had by actually publishing a comic called Marvelman on the cover instead of featuring him inside Warrior, but rapidly spread to the US branch of the company.

In Moore’s telling, the figure at the heart of the dispute was Jim Shooter, who he characterizes as “one of these comic book industry führers,” which doesn’t actually rate very highly in the list of awful things Jim Shooter has been called by his fellow professionals.…

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Totemic Artefacts: Playmates Star Trek: Deep Space Nine Wave 1

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I first learned Playmates were going to be doing a line based on Star Trek: Deep Space Nine on the cardback for one of my Star Trek: The Next Generation figures. In fact, on the back of my new Sela figure you can still see in bold red lettering the excited announcement that “toys and accessories” from the new show are “coming soon!”. Some of the figures from Star Trek: The Next Generation Wave 2 and the Original Series line (here called “Classic Star Trek”, which is how I knew that show for ages) even came with a mini checklist of all the Playmates toys released so far, with headshots of the figures and close-ups of the vehicles, playsets and prop replicas.

On the back of that checklist was one of the first-ever promotional shots of the Star Trek: Deep Space Nine cast-It’s the one where everyone’s standing around in costume in front of a brown shag curtain haphazardly draped over the walls and floor of a photo studio somewhere. This was the first static image I ever saw of the Star Trek: Deep Space Nine cast together in one place, and it was the first chance I had to get a good look at them. What’s also interesting about this promo is what it promised was coming in the Deep Space Nine line: All of the characters you’d expect, as well as vehicle toys of Deep Space 9, the Runabout and a Caradassian Galor Warship. That will be interesting to go back and examine in a few months, methinks.

Even though I followed this launch fairly closely (well, as closely as I could at the time at least), it took me a *very* long time to actually bring anyone from this line home. At first it was due to simple wariness: While the characters looked cool and all and I dug the general design aesthetics, in 1993 I still wasn’t completely 100% sold on Star Trek: Deep Space Nine as an overall thing yet. So while I definitely saw these on store shelves at the time, I took care to admire them from afar-I was afraid to outright ask for them, and given a choice between spending my action figure money on one of these as opposed to a Wave 2 Star Trek: The Next Generation figure, the choice seemed clear. This turned out to be a cripplingly poor decision on my part, however: Within just a few months I was utterly hooked on Star Trek: Deep Space Nine and I would have killed for these figures and, of course, that was just when the Playmates Star Trek line in general was starting to retreat from department stores, and the first casualties were the lowest selling toys. Namely, the comparatively more niche Deep Space Nine figures, which seemed to disappear as quickly as they had appeared.

For practically an entire *decade*, I languished in regret knowing I had very likely missed my one chance to bring home my second space family, as well as the last remnants from the Star Trek: The Next Generation crew (namely Tasha Yar and Ro Laren).…

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Minnesota Normal

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Matt Fraction posted this on Tumblr yesterday on the subject of Fargo, the 1996 Coen Brothers movie about a kidnapping in Minnesota, and the subsequent investigation by a heavily-pregnant police sheriff Marge Gunderson (Frances McDormand). He (quite rightly, in my opinion) defends the film and the filmmakers from the charges of being ‘arch’ and ‘mocking’. In reaction, here are some thoughts of my own.

(If you haven’t seen Fargo, go see it, because the following piece – like Matt Fraction’s – contains spoilers. And also because it’s a really good film that everyone should see.)

Formally, the film works in the same way as an episode of Columbo, i.e. it is one of those police procedurals in which we, the audience, see every detail of the crime, and know ‘whodunnit’ before the detective, and get to watch the detective figure it out. But whereas Columbo is a classical detective in other respects – he’s near-supernaturally insightful, always one jump ahead – Marge Gunderson is hardly a detective at all. Or rather, she’s a detective in a way that is far more like real life. She’s never one jump ahead. She amasses evidence and she follows it. She doesn’t display any leaps of insight. She doesn’t really deduce anything. There is a famous bit where she corrects another officer’s mistake (the “I’m not sure I agree with you 100% on your police work there Lou” bit) but it isn’t played to emphasize her special abilities. On the contrary, it emphasizes her basic competence over the routine incompetence of one of her colleagues. In other respects, she doesn’t distinguish herself. At first, she makes nothing of Jerry Lundergaard’s attempts to fabricate licence plates, despite being left alone with – and noticing – the pad on which he’s doing it. And why should she? She has no context that would make any reasonable person see it was significant. The usual leap of imagination of the detective is a contrivance. It’s actually the writer feeding insights to the detective at strategic moments in order to make the plot work. She sees the framed photo of Mrs Lundergaard in Jerry’s office and there is no standard cop-eureka moment when, as she stares at the photo, she suddenly puts things together. Why should there be? She doesn’t know Mrs Lundergaard is missing yet. She catches Grimsrud not because she tracks him down but because she happens to drive past his hideout and recognise the ‘tan Ciera’ parked outside.

The film resolutely resists depicting Marge as special in any way. She isn’t particularly clever, insightful, glamorous or charismatic. Indeed, by conventional standards (by which I mean standard conventional depictions, which the movie flouts and undermines) she looks the opposite of all these things. Extraordinarily unextraordinary, she is simply competent at her job, fond of her husband, polite to her colleagues, etc. Moreover, she is vulnerable to the frailties of the flesh in ways that we real people know full well (even if we don’t all know what it’s like to be pregnant) but to which movie people routinely display superhuman indifference.…

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Comics Reviews (January 27th, 2016)

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You know the drill, I’m sure. Digital codes redeemable at this url for the first person to try them.

Chew #54

A twenty-page fridging as this book continues its long march towards an ending that should have come at least fourteen issues ago.

Saga #33

Another “oh, right, those guys” issue for me, although it reintroduced its characters well enough to actually be followable, which is nice. I’m firmly out of love with this book, though, and honestly considering dropping it and waiting for it to all be over and go on some eventual big Comixology sale. It occurs to me that it’s basically become A Song of Ice and Fire with all the attendant problems – too many characters who are spread out over too many settings, and switching among them in single point-of-view chapters that feel like they take too long. Ah well. Loved the “writer gets first byline” gag though.

All-New All-Different Avengers #4

There’s a cute “political correctness” gag here, but for the most part the “all-different” part of this title is an increasingly bleak joke. This is ruthless traditionalism with a diverse cast. Fair enough, and probably something that should exist, but hard to get excited about. Al Ewing’s been doing the same vibe with a much bolder and fresher tone for years now. I do like Thor’s characterization, but ironically the final cliffhanger, in which Iron Man wonders if she’s “really who she claims to be,” is really one that only would have worked during the interminable “who is the new Thor” plot. Instead the answer to “why is she acting like she’s not immortal” is straightforward, even if it’s the first time she’s actually seemed like an interesting character.

Digital code: THM8ZFRF8513

Black Magick #4

This picks up, with the cop book/occult thriller balance feeling well-struck. It still feels more style than substance, and I’m hoping things settle in the arc-ender (presumably before it takes a break so Nicola Scott can catch up, as she’s not a monthly artist). On the whole this remains a bit of a disappointment to me – not least because I remember years ago when Rucka said he was waiting for Nicola Scott to be free to do another book of Queen and Country, so it’s especially frustrating to see them not quite clicking into high gear on a great premise instead of that. But I’m holding out hope.

Moon Girl and Devil Dinosaur #3

This continues to fall slightly short of outright sparkling, and there’s something a little depressing about seeing Ms. Marvel reverse engineered into a formula, even if it is well-executed. But this is probably the best issue yet, and it’s starting to become clear how this is going to work as an ongoing book. The first half is a bit weak – the fight scene is muddy and hard to follow, depending on a “everyone’s chasing the ball that gets tossed around” sequence in a space that isn’t visually clear enough to support that.…

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Totemic Artefacts: Playmates Star Trek: The Next Generation Wave 2 Errata

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You can’t have action figures without some place to put them. Even if you’re too embarrassed to move them around in a playset, you’ve got to admit having a lavish plastic display to pose them all in looks awesome on your shelf. It was Wave 2 that started giving us those playsets for our Star Trek: The Next Generation friends-I’ve already talked about the bridge playset in this book. Although it technically came out as part of this wave, I felt compelled to talk about it back in the first wave because I really just wanted to go all-out gonzo with the first Playmates essay. This leaves me with one extra essay to write about and not a whole lot to fill it with here, however. So, let’s see how long I can talk about what’s left of Playmates Star Trek: The Next Generation Wave 2.

The other playset released this year was a transporter room. Now this was really cool because it actually worked by way of an old theatrical trick called Pepper’s Ghost. In a Pepper’s Ghost illusion, a one-way reflective surface is placed between the audience and a hidden room on the other side. There’s also an overhead light source that, when raised or lowered, makes any objects in the room appear to appear and disappear out of thin air. This is how the Haunted Mansion in the Walt Disney resorts create the illusion of the dancing ghosts in the ballroom at the beginning of the ride, and it’s also how Tupac Shakur appeared onstage at Coachella in 2012 and Michael Jackson did the same at the 2014 Billboard Music Awards (not, as is often reported, through the use of holography. We don’t have holodecks yet).

A lot of times in a Pepper’s Ghost trick the hidden room is painted black so that the “ghost” seems to materialize right in front of the audience, when really they’re in another closed off area. The Playmates transporter conveys the illusion a little differently, with the mirror dividing the transporter pad in two. You put your prospective away team member in the area behind the mirror, close the door and manually raise the sliders (which wonderfully take the form of the LCARS finger panels from the TV show and make a satisfyingly accurate shimmering sound when activated either way) as the overhead light gradually shifts. Obviously to give the illusion your character is standing on the pad both sections have to look identical, and this also necessitates the transporter becoming more of a chamber than a pad. As a matter of fact, during the seven years I didn’t watch Star Trek: The Next Generation, but did have these toys, I completely forgot the transporter room was even a pad on the show at all-I completely mentally retconned it as being a chamber and always remembered it as such until I saw “Encounter at Farpoint” again for the first time.…

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Stray Kitties

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Weird Kitties fizzled out, but I had a few spare reviews lying around and Jane’s holiday is going to run one more week, so here they are.

Material, by Ales Kot, Will Tempest, Clayton Cowles, and Tom Muller

Reviewed by Sean Dillon, eligible in Best Graphic Story, available on Comixology.

What does 2015 look like? That is a question at the core of Material, an Image comic written by Ales Kot, drawn by Will Tempest, lettered by Clayton Cowles, and designed by Tom Muller. The comic follows four people, living in these turbulent and fragmented times1.

The first is a Philosophy professor at the Massachusetts Institute of Technology by the name of Julius Shore. Every issue, save the fourth one, opens with a lecture he is giving, ranging from the incompatibility of Art and Business to a nervous breakdown in the form of wearing Su-Real dynamite on his head while ranting about how he is a failure. His ongoing conversations with an emergent sentient AI, which he dubs as Alien Intelligence, make this comic eligible for a Hugo Award2.

The second is an actress in Los Angeles by the name of Nylon Dahlias. She is escaping from the failure of her film career and the death of her mother via Alzheimer’s by doing a lot of drugs. She has just been cast by an up and coming auteur in his new film that’s missing its first 10 pages. Nylon’s story culminates with her running into her producer in the middle of the street having a nervous breakdown, unable to deal with the fragments of the reality around him3.

The third is Franklin, a young man from Chicago who went to a “Black Live Matter” protest. As with many of those protests, the cops showed up and beat everyone to the ground. Franklin woke up hours later in Homan Square where an officer of the police confronted him. Said officer is now blackmailing him to act as a mole in his uncle’s New Black Panther Movement. It is implied, though never directly stated, that other things have been going on between the two of them4.

The fourth is Adib, a man who was wrongly put into Guantanamo Bay (for being the wrong person, the wrong skin color, and worshiping the wrong god instead of the humane reasons it is wrong to be locked up in Guantanamo5). Now that he’s out, he can’t talk about what had happened to him in his time, not even to his wife. The only person he can relate to about his experiences is his female BDSM partner6.

The narrative is an unflinching look at the modern day, covering subjects from the Black Lives Matter movement and how it relates to the progressive movements of the past to the complexity of wanting your life not to be dominated by the cruelties that have happened to the man you are married to. The four issues are told masterfully as Will Tempest conveys a sense of control with the 9 Panel Grid as well as a sense of chaos with sketchy art style used for the characters within it7.…

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A Brief Treatise on the Rules of Thrones 3.03: Walk of Punishment

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Daniel Portman perfectly duplicates the reaction of George R.R. Martin’s editors to the Mereneese Knot

Please enjoy our new and improved captchas while commenting on this article.

State of Play

The choir goes off. The board is laid out thusly:

Lions of King’s Landing: Tyrion Lannister, Cersei Lannister, Tywin Lannister

The Lion, Jaime Lannister

Dragons of Astapor: Khaleesi Daenerys Targaryen

Direwolves of the Wall: Jon Snow

Direwolves of Riverrun: Robb Stark, Catelyn Stark,

Bears of Astapor: Jorah Mormont

Mockingbirds of King’s Landing: Petyr Baelish

Burning Hearts of Dragonstone: Stannis Baratheon, Mellisandre

The Kraken, Theon Greyjoy

Archers of the Wall: Samwell Tarly

The Direwolf, Arya Stark

Tigers of Riverrun: Talia Stark

The Stag, Gendry

Bows of the Wall: Ygritte

Bears of the Wall: Jeor Mormont

Spiders of King’s Landing: Varys

Chains of King’s Landing: Bronn

The Dogs, Sandor Clegane

Winterfell is abandoned and in ruins.

The episode is in ten parts. The first is five minutes long and is set in Riverrun. The opening image is of Hoster Tully’s funeral boat.

The second runs four minutes and is set in King’s Landing. The transition is by dialogue, from Robb talking about Tywin Lannister to Tywin.

The third runs eight minutes and is in sections; it is set in the Riverlands. The first section is two minutes long; the transition is by family, from Cersei, Tyrion, and Tywin to Jaime Lannister. The second section is three minutes long; the transition is by hard cut, from Brienne realizing what she faces to Gendry working on armor. The third section is two minutes long and is set in Riverrun proper; the transition is by family, from Arya to Catelyn Stark. The fourth section is one minute long; the transition is by dialogue, from Catelyn and Brynden talking about Robb to Martin Lannister and Talia talking about him.

The fourth part runs seven minutes and is in sections; it is set north of the Wall. The first section is two minutes long; the transition is by dialogue, from Talia talking about Robb’s supposed powers to the precise butchery of the White Walkers. The second section is four minutes long; the transition is by dialogue, from Mance Rayder talking about the Night’s Watch to the survivors stumbling into Craster’s Keep.

The fifth part runs two minutes and is set in the Dreadfort, though this is not revealed. The transition is by theme, from the monstrosity of Craster to that of Ramsey Snow.

The sixth part runs two minutes and is set in Dragonstone. The transition is by hard cut, from Theon riding off to the shore.

The seventh runs seven minutes and is set in Astapor. The transition is by hard cut, from Melisandre walking away to the Walk of Punishment in Astapor.

The eighth runs seven minutes and is set in King’s Landing. The transition is by image, from Daenerys noting that she and Missandei are not men to a lascivious shot of Rosalyn.

The ninth runs four minutes and is set in the North. The transition is by hard cut, from Poderick to an establishing shot of hills.…

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Totemic Artefacts: Playmates Star Trek: The Next Generation Wave 2 Vehicles and Role Play

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The first wave of Playmates’ Star Trek: The Next Generation toys focused primarily on the Enterprise and its crew: For action figures we got (most of) the bridge crew, and for electronic light-up ships we got the Enterprise itself as well as a Shuttlecraft. Following along with the accompanying Wave 2 action figure releases, which both expanded upon the Starfleet crew and gave us a greater assortment of aliens, the Wave 2 vehicles included a Klingon Attack Cruiser and a Romulan Warbird.

Both of these ships are very nicely detailed. Actually, in hindsight, I have to say they’re a bit more impressive than the Playmates Enterprise itself: The colours and proportions of both are screen accurate, which is really important when dealing with starships this distinctive and memorable. The Attack Cruiser does fare a little better in this regard: All of the little details and elevations Rick Sterbach sculpted onto it to emphasize shadowplay with the studio lights have translated perfectly to consumer-grade plastic, and as such I’ve always considered it one of the most bang-on replicas of the Playmates line. The Romulan Warbird only suffers a bit due to limited lighting: Just like all the vehicles, only the Warbird’s nacelles light up, and while that’s nice, one of the best things about the Warbird studio model is all the beautiful windows on the…prow I suppose, or beak section. That gives the ship an incredible sense of scale and grandeur the toy just isn’t capable of recreating, and this hurts the Warbird more than probably any other ship in the fleet, save perhaps the Enterprise itself.

(One of my biggest disappointments is that Playmates never made a Ferengi Marauder. You’d think given Letek’s headlining role in the first wave this would be one of the light-up starships they’d release first, but it never happened. Maybe it was because the Ferengi didn’t play as prominent a role in the sixth season, although given all the callbacks to first that seems strange. Or maybe they were holding it back for a possible inclusion in the Star Trek: Deep Space Nine line. Although perhaps its for the best, as a Ferengi Marauder without windows would have left me heartbroken.)

What the Warbird does have are some awesome sound effects. Both the Attack Cruiser and the Warbird have four sounds: Cloak, Disruptor blast, “shield hit” and impulse. Neither one has what I’d call especially accurate samples, but the Warbird’s at least were terribly cool sounding. I think I pounded that disruptor cannon button enough times to wear both it and the sound chip out. At least, that’s the excuse I’ll give for the electronics in mine no longer working. Also, my Attack Cruiser is missing its battery case cover for some reason, as well as one of the “prongs” at the front of the ship, which is really annoying. I seem to recall getting my Attack Cruiser (and maybe my Warbird too) one Christmas at my great-grandparents’ house on my maternal grandfather’s side.…

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