Eruditorum Press

Incremental progress meets Zeno’s Paradox

Saturday Waffling (August 1st, 2015)

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So, you may recall a month or two ago when I ran a big, juicy story on how the website Doctor Who Online was ripping off advertisers. And that got me thinking about my own advertising, and about how I’d much rather be offering advertising to other small businesses within the fan/geek community than selling them via Google and hosting loads of crap ads using phrases like “one weird trick” and “professors hate him” unironically.

So I’m pleased to announce that I’ve switched advertising over to Project Wonderful, an advertising network created by Ryan North of Dinosaur Comics/Squirrel Girl fame, and working mostly among webcomics and other independent websites. Which means that you, yes you, can now easily advertise on my site.

Ads are bid-based, so they cost, basically, as much as people are willing to pay for it. The ads helpfully self-advertise how much outbidding the current ad would cost you, and if you click on the text beneath the ads they’ll give you nice and easy directions on how to advertise. I get more page views per day than Doctor Who Online, and charge a fraction of the price for ads. So please, if you’ve got something you want to advertise, go ahead and do it. My guess is it’ll only cost you a couple bucks a day.

As for things to discuss, I admit that I’m more than slightly bemused and intrigued by Colin Baker’s somewhat indecorous feud with Doctor Who Magazine over the practice of publishing ranked lists of things (his feelings are described in detail towards the top of his site), not least because I’ve settled on the ranked list as the house style for reviews here. And while I admit my view is roughly “I feel like Colin Baker should be more concerned about the fact that his tenure in Doctor Who asked the audience to accept a domestic abuser as a sympathetic protagonist than about the hurt feelings of whoever comes in last in a fan survey,” it seems an interesting enough thing to discuss. So, anyone feel like stepping up and defending Baker’s position that the least popular members of a set should be spared the indignity of coming in last in fan polls? Or, if you want the broader philosophical topic, bad reviews: what’s the point of them?

We’re back on Monday with the start of the next round of The Super Nintendo Project. See you the.…

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Round and Round

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Jeremy Corbyn is a decent man, and he’s closer to my viewpoint that just about anybody else in mainstream politics, but he’s still basically just a moderate Social Democrat.  The media buzz about him being “hard Left” is ludicrous nonsense.   It’s a sign of the media’s extreme Right-wing agenda/viewpoint, a centre-ground shifted to the Right beyond anything known since the early 20th century, and the widespread (and very consciously inculcated) political illiteracy that now pervades the UK like a plague.

I think Corbyn’s usefulness lies almost entirely in the opportunity he presents for us to push the conversation in certain ways.  I will push him over the other candidates, and I will support the good stuff he says and does as Labour leader (if elected) because it’d be insane to do anything else.  The opportunity for propaganda is itself reason to do this.  The subsequent opportunity for anti-reformist, anti-Labour propaganda when Corbyn sells out – because he will, make no mistake… they always do, the structural logic of the situation makes that inevitable – will be worth having too, speaking as a revolutionary.

The Labour Party will be relieved to learn that I have no intention of practicing entryism.  I will not be paying them £3 for the chance to vote for Corbyn.  I have no illusions about Corbyn, or the Labour Party, or what Corbyn can do with the Labour Party, or Labour’s chances of winning in 2020 whoever’s leading it.  The last thing Corbyn needs is people joining, voting for him, getting him elected, and then never getting further involved in activism, or in helping him push the party leftwards (which is what will happen with the new members). 

In many ways, Liz Kendall is a much better leadership prospect for the ‘really-existing Labour Party’.  Corbyn is the candidate for people like Owen Jones, who have an essentially fantasy-based idea of what the Labour Party is.  It’s a machine for controlling and containing the Left and Social Democracy.  There’s an idea out there that the Labour leaders are cowed into abandoning Left-wing principles by the media.  Bollocks.  You don’t climb the Labour Party’s internal greasy pole unless you are, in real terms, very very Right-wing indeed.  Labour is a thoroughly – even fanatically – neoliberal, atlanticist party which provides a kind of kennel for those elements who would otherwise be dangerously homeless.  Its main purpose it to sidetrack people who want Social Democratic policies, and channel them safely into a reformist project that is, essentially, a neverending roundalay.  Moderate the slogans to get elected.  Get elected.  Play it safe.  Get voted out when playing it safe lays you open to the vagaries of an unchallenged capitalist system.  Then play it safe to get elected again.  ‘Twas ever thus, to an extent, but especially since the Blair revolution, when the Labour Party was essentially remodelled into a slick, larger-membership, higher-profile version of the SDP.

I am so sick of the Labour Left’s delusions about what can be achieved with this rigged game. …

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“Being without becoming” – Disjointed Thoughts on Dialectics and the Third Doctor, Part 1

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“Being without becoming [is] an ontological absurdity” says the Doctor in ‘The Time Monster’.

He’s talking about time, about the fact that time is – by definition – a process of change.  Time is what entropy looks like to those of us in the midst of it.  Entropy increases, thus time’s arrow goes forward.  ‘Becoming’ is just a way of saying ‘change’.  Everything is always in the process of becoming something else.  Every apple is in the process of becoming a rotten apple, or an eaten apple, or seeds resown.  ‘Ontology’ is the fancy name used by philosophers to mean the study of what it means for things to exist, to be real.  The Doctor is saying: “the idea of things being frozen in time is inherently absurd because things that don’t change effectively don’t exist”.

Though, of course, in ‘The Time Monster’, things and people do get frozen in time.  The story shows us something happening which has already been established as impossible.  It’s almost as if we are being explicitly invited to read the story metaphorically.

This is something that doesn’t quite happen in ‘The Three Doctors’.  As Phil Sandifer has said, the story should be set in the Land of Fiction.  The moments when Omega materialises an ornate chair from nowhere, and when the Doctors make a normal door appear amidst all the bubbly orangely madness, are moments when we see how Omega’s realm should have been done – as an openly metaphorical realm of familiar imagery surreally employed.  We have a similar problem in ‘The Trial of a Time Lord’.  Clearly the entire trial should have occured in the Matrix, in the realm of metaphor, in the nest of sinister and surreal Victoriana, instead of in a bog-standard courtroom with some spangly bits stuck on because it’s in space.   Omega’s realm should have been such a place.  It should have been like the Land of Fiction, or Goth’s Matrix, or the Valeyard’s Matrix, or Heaven in A Matter of Life and Death.  We are, after all, clearly engaged in a life and death metaphor here, with things disappearing from our world and being stranded in another, and then hauntingly returning to attack our world.  However, as I say, ‘The Three Doctors’ attempts to foreclose on such readings by stubbornly insisting upon sciency-sounding jargon.  Black holes, anti-matter, etc.  The metaphorical possibilities of being transported from one realm of reality to another of unreality are shut-down (the attempt is at least made) by the technobabble about matter being processed so it can exist in a world of anti-matter.

Thing is, it never quite takes.  Anti-matter is rarely used to mean anything scientific in sci-fi.  The name itself is metaphor, expressing a scientific concept that is very hard to grasp in literal terms, especially for the layman.  In sci-fi, ‘anti-matter’ is usually metaphorical.  In ‘Planet of Evil’, anti-matter is straightforwardly hauntological!  It is evil matter.  Ghostly matter.  Gothic matter.  Hammer matter.  It can infect our world, bringing ghosts with it, making jungles into haunted spaces, turning a sci-fi boffin from a Dr Jekyll into a shambling, simian Mr Hyde. …

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Your purity only hurts the reason you’re doing it. (The Last War in Albion Book Two, Part Three: Corporate Comics)

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Previously in The Last War in Albion: The intricate fictional history of Watchmen is based closely on the history of DC Comics, and the characters served as analogues (albeit imprecise ones) for the archetypal heroes of DC.

For all that Moore and Gibbons created an elaborate superhero universe based on the principle of taking a more materially realistic view of the impact superheroes would have on the world, going so far as to think through the comics industry of his fictional world, there is a crucial tangible oversight within Watchmen: it almost completely ignores the way in which superheroes are, historically, generally corporate owned franchises. There are occasional nods towards it – the tragicomic fate of Dollar Bill, Ozymandias’s business empire, and the relationship between the first Silk Spectre and her agent all gesture at the commercial dimensions of costumed heroes. But it is a minor theme within the book, despite ultimately serving as a major one outside of it. Moore might fairly have asked himself, after all, how it was that the Charlton characters, created by Steve Ditko, Joe Gill, Pete Morisi, Charles Nicholas, and Pat Boyette, were initially available for his use at a completely different company from either of the two they had originated at, with none of their creators even remotely involved. Had he done so, the ways in which writing Watchmen would eventually turn sour for him might have come as somewhat less of a surprise than they in practice did. 
The truth, however, is that Moore’s alienation from this aspect of superheroes was always fairly fundamental. For all the money that Watchmen made him (and it was considerable), there were always numerous ways in which Moore left money on the table, and not just from himself. He adamantly refused to write a sequel to the book, and the only prequel he ever seriously considered was a series focusing on the Minutemen which, in any event, he never wrote. And when Barbara Randall (now Kesel), his editor on the series, leaked to him plans that had been cooked up at a DC editorial retreat shortly after the book’s completion for a trio of prequel series (one focusing on the Minutemen, one on the Comedian, and one on Rorschach), he acted swiftly to derail the plans. Indeed, this is a position he has never wavered on in the thirty years since the book’s release, declaring, upon the announcement of the Before Watchmen project in 2012, that “if people do want to go out and buy these Watchmen prequels, they would be doing me an enormous favor if they would just stop buying my other books,” and declaring that he had “complete contempt” for anyone who did buy them. Moore was, simply put, not terribly interested in serving as a productive member of the DC Comics stable of creative personnel.
Figure 842: Even when Moore took jobs on
high-profile titles like Batman, he was more inclined
to write stories focusing on semi-obscure villains
like Clayface than to focus on the iconic characters.
…

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“Policy of Truth”: The First Duty

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Shout-out to Ray Walston, My Favorite Non-Terran Humanoid Solid.

In the mid-1980s there was a cartoon show called The Get-Along Gang. It was about a group of happy preteen anthropomorphic animals living in a storybook world called Green Meadows and, as you could probably tell from the title, was about the various and sundry ways teamwork and friendship will solve all of life’s problems. Each character had some egregious and crippling flaw that would be unflappably counteracted by working together with their friends.

If you were willing to be unkind to The Get-Along Gang, you might say it typified the concept that “The Complainer Is Always Wrong” in children’s media. That did certainly seem to be the worrying underlying implication of a lot of the show’s morals, and you could probably trace an entire counter-revolutionary movement in children’s television after the fact solely dedicated to moving as far away from The Get-Along Gang as was possible to get. It also probably didn’t help matters that the show was the product of a greeting card company. Not that anyone had anything much to worry about anyway, as Disney kicked off the Renaissance Age not two years later. But my point is that The Get-Along Gang was a very specific kind of children’s television: First and foremost it was prescriptive: That is, it existed more or less just to talk down to kids and tell them how to act, how to behave and how to think.

In the past, you might have noticed I have a specific opinion of how I think teaching should work. My conception of how the teacher-student relationship should operate is derived from Paulo Freire’s famous (some would say infamous) Pedagogy of the Oppressed, in which he argues that students and teachers are both equal participants in the creation of knowledge, and that teachers should be willing to learn as much from their students as their students learn from them. The kind of teaching that The Get-Along Gang tried to do is the kind that Freire calls “the banking model”, because it treats students as “empty receptacles into which knowledge is deposited”, much as one might do with a piggybank. This “banking model” is the exact model of education Freire is positing his pedagogy in opposition to, because the banking model’s attitude to students is the exact same one that colonizers take to the colonized.

So the thing about “The First Duty” is that, like The Get-Along Gang before it, it’s adopting a hierarchical banking model approach to moralizing. It’s clearly a story about the importance of always telling the truth and is obviously aimed at the sorts of young people who were expected to project onto and identify with Wesley Crusher (whether or not they actually did is beside the point and a question I think we’ve more than settled by this point).…

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Comics Reviews (July 29th, 2015)

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From worst to best of what I bought.

Sandman Overture: Special Edition #5

The quality of the bonus material in this is really, amazingly, egregiously shit. I think my favorite this time is once again the Neil Gaiman interview, which is five questions long and consists of questions like “What’s on The Sandman’s iPod,” a question that manages to find an impressive variety of ways to be stupid, including “why is the editor of this book referring to the main character as The Sandman,” “why are we still using ‘iPod’ as a cultural signifier in 2015,” and my personal favorite, “why did anyone think this was a good question to ask Neil Gaiman?” The only decent bit is the short Dave McKean essay about his process creating the covers. All in all, especially given the considerable number of months they have to pull these special editions together, this is one of the biggest rip-offs in comics at $4.99.

Daredevil #17

Surprised that this one ranks so low for me, but it completely left me cold. Can’t even particularly articulate a reason, although it doesn’t help that I have no real sense of who half the characters are. The Shroud has been appearing for a while, and I get the broad strokes but… nothing sparks for me about him and his plot. Ikari, I vaguely remember, but he seems to just be Daredevil who can see, which, OK, that’s kinda flat. This storyline was working as a operatic and inevitable Daredevil/Kingpin finale, but this puts the emphasis on the wrong parts of the story.

1602: Witch Hunter Angela #2

I found myself a bit lost in this one. Part of it is marketing; I’d expected something a bit more Neil Gaiman pastiche, and instead it’s very much the Gillen/Bennett Angela book filtered through the 1602 aesthetic, with very little of the underlying Gaiman remaining. Was less amused by the 1602 Guardians than I’d hoped from the cover. All in all, this was a bit of a misfire, though the five-page story-within-a-story was cute.

Fables #150

Actually out last week, but I missed it then and grabbed it this week instead. Turns out releasing your final issue as a trade paperback goes poorly for your regular readers. And is, all in all, a more than slightly ludicrous idea. It’s not fair to call it overdone or undeserved; much as it lost gradual steam over its run, Fables was a landmark series, and earned an unapologetically maximalist conclusion. But equally, after an extended final installment and (not kidding) fifteen epilogues, culminating in a gatefold spread to match the gatefold cover, not a single panel of which was even half as good as Legends in Exile, it’s tough to actually praise either. Like a double album a decade after a musician’s best work: you’re glad it exists, but you wish you hadn’t spent money on it.

Sex Criminals #11

Another solid installment long on hilarity and character bits, although a bit ruthless in terms of picking up after a six month absence; this does not feel like the first issue of a new story arc in the least.…

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“The sensation you are doing something you have done before”: Cause and Effect

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It’s almost the hardest to write about the stories that are my very favourites. Doubly so when they’re so consummately made. How many ways can I say “Cause and Effect” is a work of genius without sounding like I’m just pointlessly gushing? How much can I go into my personal connection with stories like this without regressing to the point of being an utterly, hopelessly, self-indulgent bore? And yet this is a turning point: Whenever Star Trek: The Next Generation is mentioned in passing or I’m casually reminded of it in my day-to-day existence, this is one of the stories I think about. This, and the kinds of stories “Cause and Effect” sets the stage for.

Is it “iconic”, either in the fandom or television history more generally? Not exactly, or at least not the the extent of something like “The Best of Both Worlds”, “Unification” or “Unification II” (although many fans do consider “Cause and Effect” to be a classic too). Is it sweepingly moving, emotional and dramatic? No, not really. It’s not “Transfigurations”, “Darmok” or “The Inner Light”. Indeed, like “Power Play” before it, you might, at first glace, even get the impression “Cause and Effect” is a little too “clever” for its own good: A little too fixated on its science fiction concept to do much of anything else. This is certainly the criticism that’s often laid at the feet of Brannon Braga, a writer known for increasingly clever and complex science fiction inspired stories. But also like “Power Play”, this is not your typical masturbatory Hard SF story that doesn’t care about narrative technique, and there’s way more going on here then this reading would afford.

Although it was certainly a concern in the writers’ room. Even though Braga himself is rightly keen on this episode, he talks about how much of a gamble an episode this experimental and unorthodox was at the time (and would gently like to remind us that “Cause and Effect” was made *before* Groundhog Day, which famously also dealt with a causal time loop). Producer Herb Wright pointed out how a viewer’s first “temptation” upon witnessing something like this might be to “jam the button on the remote”. Rick Berman was even afraid audiences might think there was something wrong with their TV set or the broadcast feed, or worse, think this episode was a clip show. So he instructed the director to make sure every iteration of the loop looked and played out ever-so-slightly differently to assure them it wasn’t and to keep them guessing. That director happened to be Jonathan Frakes, who, upon first getting Braga’s script, initially thought the writers were trying to pull one over on him.

Naturally they weren’t, and Frakes immediately rose to the challenge and then some. I’d actually go so far as to cite “Cause and Effect” as Frakes’ defining moment as a director, because what he pulls off here is nothing short of a technical masterpiece.…

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Time Can Be Rewritten: Night of the Doctor

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“Man, this is the second-worst episode of Doctor Who I’ve been in.”

Because my Patrons are just so gosh-darned nice.

It was, of course, one of the highlights of the Fiftieth Anniversary. A tremendously sentimental and cool moment for fans, a fantastic way of officially revealing what the Hurt Doctor was, and a lovely gift to Paul McGann, who will pretty much never have the TV Movie be someone’s introduction to his Doctor again. And we have a full set of regenerations now, if you care about that sort of thing. Just about the only thing it isn’t, really, is a satisfying ending to the Eighth Doctor Era.
It tries, and that is a real part of its charm. I mean, one is pretty much sure Moffat included the litany of Big Finish companions as an acknowledgment of the Eighth Doctor Era – you know, that messy, historical thing that actually happened. The one with a giant bone thing in the sky, and he’s traveling with a fish, and there’s that girl from Jonathan Creek. Lego. They’re all made out of fucking Lego. Moffat probably even knew what would actually happen, which was that Big Finish fans immediately declared victory over the EDA fans, while the EDA fans sulkily pointed out that technically all this really disproved was the Vampire Science gap theory if those were the companions that first came to mind. 
But the fact that this even happened; that there were still, in 2013, people whose first reaction to this was to make a new move in a fifteen-year-old fandom spat or to somehow make it about Lawrence Miles, speaks volumes. And not even bad volumes. Honestly, the greatest tragedy for anyone who lived through the Eighth Doctor Era would have been if all the blood and pixels spilt had been in the name of a faith so fragile that it could be broke upon a seven minute YouTube video. We listened to Zagreus. We pretended to take Scream of the Shalka seriously. We even read Mad Dogs and Englishmen in public. Heal that, Sisterhood.
Actually, I think my favorite part was when anti-Moffat fans seized on the retcons this made to the Eighth Doctor era as evidence of Moffat’s malfeasance while openly admitting that they hadn’t read the books or listened to the audios. Not out of any sort of “fake geek” sentiment, but simply because I find the idea of blindly entering the Eighth Doctor era factionalizations just to find another front in the Moffat wars to be the most sublimely perfect execution of the Eighth Doctor Era ever. 
All of which is to say that the symbolic fate EIghth Doctor Era is a sublimely ridiculous thing to hang on an eight minute YouTube video. Even one that is, as this one is, intelligently and slyly constructed. The first half works by taking what is by this point a staple scene of the new series – the seduction of the new companion (and both Davies and Moffat always write it as a seduction) – and then twisting it into something altogether different as the usual “bigger on the inside” line becomes a source of utter horror and revulsion for Cass.
…

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A Brief Treatise on the Rules of Thrones 2.10: Valar Morghulis

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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
The Direwolf, Caetlynn Stark 
Dragons of Qarth: Daenerys Targaryen
Mockingbirds of King’s Landing: Petyr Baelish
Bears of Qarth: Jorah Mormont
Direwolves of the Wall: Jon Snow
Direwolves of Winterfell: Brandon Stark
The Direwolf, Robb Stark
Direwolves of King’s Landing: Sansa Stark
Direwolves of Harrenhal: Arya Stark
Kraken of Winterfell: Theon Greyjoy
Archers of the Wall: Samwell Tarly
Stags of King’s Landing: Joffrey Baratheon
Roses of King’s Landing: Margery Tyrell
The Burning Heart, Stannis Baratheon
The Burning Heart, Mellisandre
Spiders of King’s Landing: Varys
Flowers of King’s Landing: Shae
The episode is in parts. The first runs ten minutes and is in sections; it is set in King’s Landing. The first section is two minutes long; the opening image is of Tyrion’s eye. The second section is six minutes long; the transition is by family, from Tyrion to Tywin Lannister. The third section is two minutes long; the transition is by employment, from Littlefinger to Roslyn. 
The second part is five minutes long, and is set in the Riverlands. The transition is by hard cut, from Roslyn to Jaime and Brienne getting out of a boat. It features the death of three unnamed Stark men, two quick, one not. 
The third is two minutes long and is set in the Stark camp in the Riverlands. The transition is by dialogue, from Brienne saying she serves Lady Catelyn to Lady Catelyn. 
The fourth is four minutes long and is set on Dragonstone. The transition is by hard cut, from Robb storming out to the fires in the map room. 
The fifth is seven minutes long and is set in Winterfell. The transition is by image, from the fire that Stannis looks into to Theon’s fire. 
The sixth is four minutes long and is set in King’s Landing. The transition is by hard cut, from the courtyard of Winterfell to Tyrion. 
The seventh is one minute long and is set in the Stark camp in the Riverlands. The transition is by theme, from Shae’s vow to Tyrion to Robb and Talisa’s vows. 
The eighth is two minutes long and is set in Qarth. The transition is by hard cut, from Robb and Talisa to Daenerys, Jorah, and The Dothraki Who Isn’t Dead walking towards the House of the Undying.
The ninth is three minutes long and is set in the Riverlands outside Harrenhal. The transition is by hard cut, from Daenerys within the House of the Undying to an establishing shot of rocks and cliffs. 
The tenth is four minutes long and is set in Winterfell. The transition is by family, from Arya to Bran and Rickon Stark. It features the death of Maester Luwin, euthanized by Osha. 
The eleventh is one minute long and is set in Qarth. The transition is by image, from Winterfell burning to Daenerys’s torch. 
The twelfth is two minutes long and is set in King’s Landing.
…

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“Born This Way”: The Outcast

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Oh dear.

So remember back in the “The Host” essay when we were talking about clumsy, confused, poorly handled episodes that kind of make a big mess of gender and sexuality? I said there were three big ones that, due to their relentless terribleness or just general incompetence, singlehandedly saddle Star Trek: The Next Generation with a reputation for heteronormativity and homophobia, no matter how many admirable strides it manages to make elsewhere. The first was “Blood and Fire” (and by extension “The Naked Now”) and the second was “The Host”. “The Outcast” is the third.

Buckle in tightly, kids.

“The Outcast” is a story about a planet (of hats, natch) where there is no concept of gender. They view “dividing people into two genders” to be a retrograde and “primitive” notion and consider themselves more “enlightened” as a result (and Holy Goddamn Shit that’s a can of worms I’m not even going to go anywhere remotely near the ballpark of). Commander Riker gets involved (in more than one way) with one of their scientists, an individual named Soren. During their time with the Enterprise crew, Soren learns more about the human notion of gender and it influences culture, society and behaviour, especially when it comes to romance. Soren takes to Doctor Crusher in particular, viewing her as a model female because of her more traditionally femme aesthetic, and ultimately confesses to harbouring long-held strong feelings of being female too. Because identifying as either male or female is punishable by death in their society, Soren has explored her feminine side by engaging in romantic relationships with men in secret. Eventually, Riker and Captain Picard violate the Prime Directive again by criticising the gender laws and negotiating for Soren’s clemency.

It would be eminently understandable if, given the rough plot synopsis above, you would be considerably taken aback to learn what the creative team actually meant for this episode to be about. You see, the real doozy is when you find out that Rick Berman and writer Jeri Taylor considered “The Outcast” to be a strong “Issues” story about homosexuality and homophobic prejudice. In the Star Trek: The Next Generation Companion, Rick Berman said

“We thought we had made a very positive statement about sexual prejudice in a distinctively Star Trek way, but we still got letters from those who thought it was just our way of ‘washing our hands’ of the homosexual situation.”

While in Star Trek: The Next Generation 365, Jeri Taylor said

“’The Outcast’ allowed us to explore the issue of sexual intolerance in a unique, offbeat way. I identify with the disenfranchised and the powerless of our world. So I really wanted to make a statement for tolerance, broad-mindedness and acceptance for those who are disenfranchised.”

And it’s at this point the wincing and cringing commences, because I don’t think there’s a single episode where the creative team is more ignorant, ill-informed, off-target and off-the-mark about anything than they are in this one.…

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