Eruditorum Press

We’re all for praxis, just not for going outside

Face the Raven Review

102

Art by cardinalcapaldi

Dollard for showrunner.

What is perhaps most striking about Face the Raven is its studious lack of flashiness. Especially given the extent to which the denouement involves the story nearly being swallowed whole by the season arc. By the end the episode is nearly as awash in references and metaplots as the start of The Magician’s Apprentice, and yet at no point does it lose sight of its underlying goal of being a fairly straightforward Doctor Who story in the “here is a cool premise, let’s explore it” tradition.

That’s not to say that there aren’t some obvious moments where Dollard’s story gets sacrificed to the needs of the season arc. In particular, the fact that Me’s benefactors have to go unnamed (though they’re obviously the Time Lords, right?) and the entire “what the hell is going on here” is offloaded to, at the very least, Heaven Sent and one suspects at least partially Hell Bent means that this all feels a bit messy. It’s a mystery, and yet it never quite feels like it comes to a solution. Particularly awkward is the fact that the Doctor seems to more or less arbitrarily remember the whole “burn their dead” thing when it’s convenient to move the plot along.

But crucially, Dollard handles each of her two briefs here well enough that the slight awkwardness of the transition between them is largely beside the point. The first chunk of the story, prior to the Doctor turning the key, is raw cleverness. Of particular note is the deftness with which Dollard ditches one premise for another. The trap street is clever, and very Doctor Who. Similar ideas exist in other media – Danny the Street in Doom Patrol and the Wandering Shop in Discworld spring to mind off the top of my head, and I’m sure your head will provide as well. But it’s also necessarily a setup to another kind of story, and the handoff to “alien refugee camp” is well-timed and well-executed.

Moreover, though, “alien refugee camp” is a flat-out astonishing premise. And “murdery mystery in an alien refugee camp” is an even better one. Indeed, its compression into a third of a single episode has to go down as one of the most ridiculously swift disposals of a promising premise in the history of the season, and one really wonders what on Earth was ever going to happen in the parallel world where we spent two weeks on Sleep No More. But even in its ultra-compressed form it works well, with the elements fitting together in a satisfying fashion that builds ominously while also giving the audience sufficient opportunities to feel clever.

As for the second chunk, what is there to say? Not for the first, but nearly for the last time Capaldi and Coleman are given astonishingly good material, and they do astonishing things with it. Notice the structural cleverness of it: the cliffhanger is identical to The Magician’s Apprentice: Clara’s dead and the Doctor’s trapped.…

Continue Reading

Saturday Waffling (November 21st, 2015)

24

We haven’t done one of these in a while, now have we?

Hope you’re doing well. I’m slightly under the weather, with a generic November drear as western Connecticut gears up for another round of “let’s try not to fucking freeze to death,” but in good spirits. I’m literally putting the finishing touches on Guided by the Beauty of Their Weapons, my definitive statement on 2015, which has been a real problematic fave of a year. That’s out the day after Christmas. I’m excited for it. I was just rereading the rewritten version of the title essay, and man, I am genuinely proud of that thing. It’s now a 19,000 word epic, and I look forward to sharing it with you.

I’ve also unexpectedly started writing a book that wasn’t really on the schedule or in any plans, but just sort of happened to me. It’s currently 18,000 words long, and nowhere near done. It’s a work of theory, because clearly everyone was waiting for one of those from me. Its starting points are the neoreactionaries, particularly Mencius Moldbug and Nick Land, as well as the work of Elizier Yudkowsky. It does many other things. I have some neat ideas on how to sell it, so look for that in 2016.

Anyway, how have you been? And better yet, who are you? Say hello, dear readers. If the Captchas will let you. …

Continue Reading

5. Criminals shall not be presented so as to be rendered glamorous or to occupy a position which creates the desire for emulation. (The Last War in Albion Book Two Part Nineteen: Before Watchmen: Dr. Manhattan)

3

Previously in The Last War in Albion: Following the tempest in a teapot that was the DC ratings system controversy, Moore and DC parted ways with acrimony on both sides, and more to the point with a near complete failure to understand each other, with Moore taking what he viewed as a principled stand and DC making a business decision.

Figure 908: Mike Grell’s Green Arrow: The Longbow Hunters was DC’s attempted follow-up to Batman: The Dark Knight Returns.

So from DC’s perspective, the loss of Moore was largely not a big deal. He had played his role in the process, identifying both the serious-minded take on superheroes and a fresh style of horror comics that proved to sell well. These, combined with ideas like the prestige format used for The Dark Knight Returns and the permanently-in-print trade paperback collection used for Watchmen, were more than enough for them to do what they wanted without any need to deal with the eccentrically principled. And for the most part they did. Moore’s run on Swamp Thing was followed smoothly by Rich Veitch taking over the writing while continuing on art, creating an easy transition and remaining in the same basic style. Jamie Delano, a close friend of Moore’s who had previously followed him on both Captain Britain and D.R. & Quinch, started up Hellblazer, featuring John Constantine, giving DC a second book in the Swamp Thing mould. Plus there were plenty of writers who came up through the same publications that Moore had who could be hired to do similar work. And DC continued with the grim realism introduced by Moore and Miller, putting out Mike Grell’s enormously successful prestige format Green Arrow: The Longbow Hunters, which reworked the title character to no longer use silly trick arrows, and with a plot that included the brutal torture of Black Canary followed by Green Arrow killing her torturer. And all of this was on top of things like John Byrne’s massively successful take on Superman, Marv Wolfman’s perennially popular Teen Titans comics, Dennis O’Neil’s acclaimed run on The Question, and former Dick Tracy scribe Max Allan Collins’s doing a brief stint on Batman. It was, in other words, still an extraordinarily good period for DC.

But there is a visible absence in all of this. The Veitch Swamp Thing and Delano Hellblazer runs were excellent books, and will come into focus within the War in good time, but their success in reprints has been a fraction of what Moore’s run has done. The Longbow Hunters sold well and remains in print, but is nothing compared to The Dark Knight Returns, and back issues go for roughly cover price, as opposed to the massive valuation of its predecessor. And as for Watchmen, well, there’s not even an obvious choice to compare it to. In the thirty years since its debut, DC has simply never come close to replicating its success. That they never matched the success of what is arguably the single most successful superhero graphic novel in the history of the genre is, of course, baked into the premise of Watchmen being the most successful, but to have the only other book to challenge it for the title, The Dark Knight Returns, be from the same year is, by any standard, a shocking failure at DC’s primary goal of replicating its own successful formula.…

Continue Reading

“The city’s ripped backside”: The Passenger

, 6

So I quite like “The Passenger”. It’s one of those sixth/first season episodes that tends to get criticized for “not being Deep Space Nine enough”, meaning its a tech mystery, doesn’t involve gratuitous action scenes and people are reasonably personable to each other. But to me, this is perfectly recognisable as Star Trek: Deep Space Nine and features much of what I love about this show in abundance.

One interesting thing to note about this episode, or at least where this episode falls in my coverage of the series, is that it’s a Morgan Grendel pitch with help from Michael Piller coming immediately after another episode with the exact same credit (though the teleplay for “The Passenger” also had help from Robert Hewitt Wolfe, who’s not on staff for Star Trek: The Next Generation). If Grendel is brought up in the discussion here though, it’s typically to compare “The Passenger” with his most famous work, “The Inner Light”. Both stories do, after all, deal with a person living on in some form after death within the mind of another person, and some people like to read “The Passenger” as a dark reflection of “The Inner Light”. Grendel didn’t mean for it to be though, and anyway the two episodes are only similar in a very superficial way: “The Inner Light” uses its premise to examine different kinds of utopianism and a life unexplored, while “The Passenger” uses its mainly as a plot device to set another mystery in motion.

Said mystery is a good fit for this story though, in a procedural sort of way: There’s a dangerous fugitive running amok on Deep Space 9, and the team have to work together using their various skillsets to find him. And in spite of any protestations that this setup is too “Next Generation-like”, this is a premise that actually works way better here: We’ve seen plenty of examples in the past where trying to do a story like this on Deep Space Nine‘s sister show requires a significant amount of hoop-jumping, often involving the Enterprise having to escort some shifty dudes for some strangled reason, typically interrupting the galactic exploration they really ought to be doing. But it makes far more narrative sense for your undesirables to crop up in the stationary setting of this show, especially given the fact said stationary setting is an interstellar port city.

So in “The Passenger” we get another good look at the Deep Space 9 team in the role of first responders, investigators, and local city officials. It’s a role we’ve not really seen them in since “Babel”, and not used quite to this extent since “A Man Alone” (though there’s a little bit of it in “Dax”, I suppose). I’ve said before I really like seeing this crew used this way (it’s probably my favourite alongside being intermediaries to Bajoran post-colonial politics) so no surprises I like it used here, but what I *really* like is how it develops the framework laid down earlier in the season and shows the main cast more comfortable in their roles and with each other.…

Continue Reading

Sleep No More Podcast

3

This week I’m joined by my former partner in crime over at Slate, playwright Mac Rogers, to talk about Sleep No More, Mark Gatiss, and whatever the fuck else we got off topic about. Which, being an Eruditorum Press podcast, was many, many things.

Grab it here.…

Continue Reading

Solid Dick 1½, or ‘Did Mary Whitehouse Have a Point?’

6

or ‘Young Men Are Dying For It’

or ‘Don’t Mention the Chasms’

 

When I complain about the ideological message of this or that text, am I not tacitly admitting that Mary Whitehouse had a point?  After all, isn’t the worry ultimately about the effect it will have?

We know that cultural artifacts influence people enormously. Moreover, most of us (and I definitely include myself in this) get most of our most deeply embedded ideas and assumptions about the world from fictional media rather than non-fiction. The News has a great influence on our ideas about the world… but, as Aristotle said, Tragedy is a great deal more philosophical than History because History treats of what happened whereas Tragedy treats of the kinds of things that happen, or that we think happen. Fiction is largely about representing our ideas about how people work and act in our society, about how they function in the world, and make the world, and interact with it. It is inherently social because to partake of fiction is to interact with all sorts of other people and social processes, and to take away from fiction an understanding of the world which then changes our interactions with it. This is one reason why unjust representations are such a big deal.

Fiction, I would argue, thus has a moral aspect baked into it. News, of course, partakes of all sorts of moral assumptions, and transmits all sorts of moral notions – often unconsciously to both journalist and consumer – but its essential claim is to represent fact, even if this is often spurious. Part of the appeal of fiction is that it bypasses fact and addresses itself to the socially ontological, to our notions of how the world is rather than the specific things which happen in it. Moreover, it directly addresses itself to morality, to our notions of justice and injustice. All fiction does this, whatever its content, because the act of reading or watching fiction is the act of imaginative empathy, of questioning oneself about how one would act if placed in the same position as the characters. (It’s important to note, in passing, that this is a great deal more complex than any platitude about ‘identification’.) This is partly why fiction is a great deal more popular than non-fiction.

Fiction is also crafted to appeal directly at a pre-rational, emotional level which by-passes intellectual judgements, at least as a first move (which is why you can be moved by utter trash). This is why its so immensely pleasurable, and also therefore so incredibly formative and influential. We’re also socialised to learn the art of reading (book or visual narrative) much earlier than we are taught to learn critical thinking or engagement with non-fiction. Stories are, after all, a form of play, and the role of play and games – experimentation ideally without fear of failure – in child socialisation is huge. So yeah, fiction has a terrific influence on how we think, how we view the world, society, other people, etc, on our normative assumptions about it, and on our moral judgements about it.…

Continue Reading

Comics Reviews (November 18th, 2015)

5

Vader Down #1

It’s a good week when this is the sort of thing occupying the bottom slot of my list, because there’s almost nothing wrong with it. You can, perhaps, tell that Aaron is better suited to his characters than Gillen’s – his dialogue for Aphra and company feels like a hollow imitation of the characters. But that’s a minor detail in a comic that giddily makes Vader seem tremendously powerful and tremendously fucked all at once. Good fun, and hard to imagine a Star Wars fan that isn’t going to be loving this.

The New Avengers #3

I love the pentacled Cthulhu villain that is Moridun. And the three-scenes-in-one banter at the start. And Power Man deciding to call out Wiccan on his name. And really most of this. And I’m fascinated by POD, a character I’m not actually sure I’ve registered as a thing before, but who is without a doubt the most interesting part of this issue. Good stuff; I think this is the current best of the Avengers books.

Ms. Marvel #1

Ms. Marvel punches gentrification. It’s as awesome as you’d hope from that description. The “artisinal sushi” line is probably my favorite of the week, and the backup story by Alphona is genuinely charming. Mike looks like a great character, and I can’t wait to see what Wilson ends up doing with her. While I definitely prefer Alphona’s art to Miyazawa’s, this series is clearly in wonderful hands as ever.

Phonogram: The Immaterial Girl #4

Gloriously out of left field, Phonogram swerves away from all of its apparent plots, connecting back to them only fleetingly and midway through, in an issue that’s mostly black and white for good measure. It’s the sort of thing that makes you genuinely surprised that we’re officially Done With Phonogram in two issues time, as it gestures to just how much there is to do with this world and these characters. How will this tie back in? Will it tie back in? What the fuck is Gillen doing? I have no idea, but I’m wholly confident it’s brilliant, so whatever. “I liked Claire Danes’s earlier, more difficult material” is definitely the second funniest line of the week though.…

Continue Reading

“42 Decks Of Sheer Adventure!”: Starship Mine

, 4

Superficially, “Starship Mine” resembles a basic, unpretentious action plot done pretty much just because Patrick Stewart wanted to take his shirt off, quip and shoot things. Which it is. But just like “Power Play”, this is an example of Star Trek: The Next Generation doing something counterintuitive with an action brief that we might not necessarily expect from an action sci-fi show that proves how aware of itself and its responsibility it’s finally become.

This is also something *only* Star Trek: The Next Generation could do, at least in 1993. That’s not to say the cast of Star Trek: Deep Space Nine couldn’t have handled a brief like this or that the setting would have precluded it, but the writing staff on that show has something of a problem handling action without it coming across as unreconstructed, bloodthirsty and grimdark and that’s ultimately what’s going to end up killing the series. That didn’t have to happen, of course, but circumstances will eventually dictate that’s what the final obituary will read. But that’s thankfully not for a good while yet. By contrast, Star Trek: The Next Generation has long since become keenly aware of its status and place in history, and a lot of careful thought went into ensuring that, while undeniably fun, “Starship Mine” never crossed the line into becoming a mindless run-and-gun military fantasy. And in fact, this story ends up being one of the most intriguingly provocative out of a year that’s been so stellar already.

Much of this is due to writer Morgan Grendel and Michael Piller. Grendel hates the moniker “Die Hard on the Enterprise” fans tend to appellate “Starship Mine” with (even though come on, it self-evidently is. Grendel even pitched it to Piller as exactly that) and prefers to read it as a story about how Captain Picard loves the Enterprise more than anything else and is willing to go to any lengths to protect it, citing the old naval “the captain goes down with the ship” trope. This is a problematic (and ahistorical) narrative device, but that Grendel invokes it here reveals some interesting things. Even (well, especially) divorced from the naval symbolism I like this idea because it shows how Captain Picard is someone who lives and breathes the spirit of voyaging so much he can’t conceive of ever doing anything else.

I particularly like the scene at the end of the teaser where he’s alone on the bridge, the last person on the ship before the “cleaning crew” comes aboard. He dawdles and takes his time, and Patrick Stewart’s expressions and body language sell the emotions of the moment. He’s in no rush to beam down to the starbase and takes no particular joy in being away from the Enterprise-None of the crew do. The Enterprise is their home and where they belong and they’re never going to be truly happy if they’re apart from it: They’re always going to act a bit restless and awkward, always going to be a fish out of water without someplace to go and discoveries to be made, just as the crew are at Commander Hutchinson’s reception.…

Continue Reading

Lost Exegesis (Walkabout)

, , , , , 14

So I guess we were right, back in the Tabula Rasa entry, about Locke’s first name being John, an invocation of the historical John Locke. We must be, like, psychic or something.

A brief history, then. John Locke was a very privileged white man, born in 1632, England. He went to Oxford, studied with such famous scientists as Newton and Boyle, and determined to become a doctor. By 1666, Locke had teamed up with Dr. David Thomas to run a laboratory, probably a pharmacy. Through Thomas, Locke met Lord Anthony Cooper (one of the richest men in England and later the Earl of Shaftesbury) and became his personal physician. Lord Ashley also helped secure a government job for Locke, and for the next ten years or so Locke lived at Lord Ashley’s estate. Locke eventually went back to Oxford and received a Bachelor of Medicine and a license to practice.

But Locke isn’t primarily known as a physician so much as a philosopher, indeed a founder of liberalism. Mind you, we’re talking about the 17th Century. Locke isn’t a “leftist” in the modern sense of the term. Rather, his philosophy forms part of the bedrock of capitalism, from his early theories on prices, money, unlimited accumulation, and a theory of government oriented around the protection of private property versus one that is motivated by, say, compassion. Much of this philosophy is rooted in his conception of our “state of nature”:

“To understand political power right, and derive it from the original, we must consider, what state all men are naturally in, and that is, a state of perfect freedom to order their actions, and dispose of their possessions and persons, as they think fit, within the bounds of the law of nature, without asking leave, or depending upon the will of any other man.”
— John Locke, Second Treatise

So it’s amazingly prescient, given the state of pigfuckery today that LOST’s Locke ends up bringing home a boar. But on the Island, John Locke is not presented as a literal embodiment of the historical figure, despite his constant admonishment, “Don’t tell me what I can’t do!” On the contrast, he’s a frustrated man who has experienced a kind of rebirth, a literal “ascension” given the miraculous restoration of his legs.

Hence the Opening Eye motif at the beginning of the episode.

As mentioned in the exegesis of Pilot Part 1, the Opening Eye is fraught with symbolism. An awakening, becoming aware of an inner truth, a spiritual revelation. Even a resurrection. But Locke’s eye isn’t meant to be “read” in the same way as Jack’s. Locke’s right eye (or, rather, “eye”) is bifurcated by a scar running vertically down “across” is center. His insight, then is “crossed” with Jack’s.

In one sense, we could say Locke’s resurrection is exteriorized as opposed to interiorized. His body has been reborn. He can walk. But is just as angry and self-oriented as before the crash, as evidenced by his casual dismissal of Michael’s injury in favor of his own self-aggrandizement in pursuing the boar.…

Continue Reading

Seveneves, Vox Day, and Blowing Up the Moon

11

This is an essay from my forthcoming collection Guided by the Beauty of Their Weapons: Notes on Science Fiction and Culture in the Year of Angry Dogs, out on December 27th, and available for preorder on Amazon. (Print will be available when the book comes out on December 26th.) 

There are two obvious angles to take on Seveneves given the discussions that make up the rest of this book. The first is to attempt to decipher Vox Day’s hatred of the book, an effort that involves getting deep into the weeds of scientific racism. The second is to try to figure out what it is with blowing up the moon these days. In the spirit of Seveneves itself, then, we’ll try to do both without any regard for whether they actually fit together.

First the moon. As with the other obvious touchstone here, Kill the Moon, its destruction is part of a larger story that wrestles with the changing status of space travel as a signifier in science fiction. In this regard, on a basic level, it serves as a symbolic breaking of a barrier. In 2015, it appears entirely likely that the moon will prove to be the furthest point humanity reaches prior to its extinction. And in both Kill the Moon and Seveneves its destruction is the impetus for rejecting that in favor of a different sort of future.

In Kill the Moon at least this is a reasonably complex event rooted in the long history of Doctor Who, which stretches back through the new frontier liberalism view of space travel, and serves to reconcile that utopian vision with the present day. And ultimately, Doctor Who taking place in a universe where the only thing that decisively isn’t canon is the Fermi Paradox, which means that this reconciliation ultimately has to be a restoration of a very classic mode of science fiction, which it is, with the shattered moon ultimately restored so that the future we long dreamed of can arrive.

Seveneves, on the other hand, is a Neal Stephenson novel, and thus focused first and foremost on the technical and material realities of the world. Where Kill the Moon is firmly about space as a symbolic concept, Seveneves is about the ways in which space travel is a massively difficult science and engineering problem. Or, to put it another way, it’s about why the classic sci-fi fantasy of space travel is not plausible in the first place. It’s a novel of radiation sickness, tiny and fatal punctures, and fuel conservation. Being Neal Stephenson, all of these technical bits are brilliant and gripping, of course, but they are very much the focus of the exercise.

And so in Seveneves the moon’s destruction exists to create a much harder problem that will require humanity to solve the hard problems of space. But this puts the book in something of an odd position. Stephenson has to advance the current state of space technology just a little bit past the present day in order to come up with a plausible way for humanity to survive (most obviously in the form of plausible asteroid mining), and has to create an entirely artificial and ostentatiously unexplained planetary crisis in the form of the moon exploding in order to justify it.…

Continue Reading

«‹ 141 142 143 144 ›»