Eruditorum Press

No nationalism but Terry Nationalism

“I’ll be back”: Eek! The Boy in the Manor is a Terminator (With Love from the Lovely Angels Part 1)

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Though its broadcast run is now over, Dirty Pair does actually still have two shots left in its barrel for us.

Due to insufficient ratings, the Dirty Pair TV show’s parent network NTV pulled the plug on it in December of 1985, canceling it before the final two episodes could air. There seems to be a lot of conflicting opinions about why the show was ended when it was, the most common one being that Dirty Pair was pretty definitively a cult sci-fi show, and that wasn’t enough justification for NTV to keep it around (which makes Dirty Pair’s status as “The Japanese Star Trek” all the more fun and fitting). But because Sunrise still saw a passionate and loyal fanbase for the show, they did something somewhat unprecedented. No, they didn’t sell Dirty Pair as a syndication package to air in perpetual reruns or create a sequel show called Dirty Pair: The Next Generation directly for a syndicated market, but they did do something that was just as novel from a Japanese perspective as Paramount’s handling of Star Trek was from a US one.

What Sunrise did was take the last two episodes, intended to air in January of 1986, and release them as Original Video Animation, or OVAs. OVAs are roughly comparable to what Western audiences might call “direct to video releases”, or DTVs, as that aptly describes what they are, but the contextual meaning OVAs have in Japan are quite different from what DTVs do in, say, the United States. Where DTVs are usually seen as no-budget schlokfests that weren’t good enough to be released in theatres, OVAs are seen as niche, cult works that might not attract a huge mainstream audience, but have a passionate enough following to justify putting them on home videos people might buy.

In other words, OVAs share a quite similar audience to the kind of shows that would, in the US, go direct to syndication or cable, like, funnily enough, Star Trek. And, just as Star Trek: The Next Generation pioneered the viability of syndication for cult TV (just as it outgrew those selfsame cult TV roots almost immediately), so did Dirty Pair pioneer the viability of the OVA market for similar shows. OVAs also have a slight advantage over other avenues for niche properties, as, because they’re made completely in-house for home video, they’re not subject to any meddling by network executives or ratings figures, so they have the opportunity to be more unflitered artistic statements.

(In fact, OVAs tend to have on the whole higher budgets and production values then regular television shows as a result of this, another thing that sets them decisively apart from DTVs in the United States.)

These two episodes, “Eek! The Boy in the Manor is a Terminator” and “R-Really?! For Beautiful Women, ‘Canon’ is the Keyword to Escape”, tend to be grouped together in a subset of the larger first Dirty Pair series under a shared name that’s usually translated as either From Lovely Angel With Love or With Love from the Lovely Angels.…

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Saturday Waffling (August 9th, 2014)

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So, first of all, I have a bit of nice news – after polling the people who have backed the Patreon to fund reviews of Season Eight, the consensus is that people want the reviews to be open for everyone to read, which means those will be posting right here, replacing the Waffling for Saturdays. I will get reviews together as fast as I reasonably can so that people can have a discussion thread for the episodes as well.

Given that the Patreon backers are being so nice, you might consider joining them, not least because my apartment just ran out of heating oil, which means that half the Patreon is already spoken for, because it’s always bloody something isn’t it.

I want to talk a bit about the reviews at some point, if only to muse about the difference between writing TARDIS Eruditorum and writing episode reviews as the season goes, and on what criticism that’s based in the immediate present ought do differently than criticism that’s historicized, but that may be a next week topic anyway. In fact, I think that’s probably best.

Meanwhile, the Williams book has one and a bit extra essays left, which I’m hoping to take out this weekend.

As for talking, as we’re now exiting the “big summer blockbuster” phase of the year, what was your favorite big film of the summer? What did you actually see? What did you opt to pass up? And is there anything left this year you’re really looking forward to, film-wise?…

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The First Flower Grew (The Last War in Albion Part 56: America a Prophecy, The Demon)

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This is the sixth of twenty-two parts of Chapter Eight of The Last War in Albion, focusing on Alan Moore’s run on Swamp Thing. An omnibus of all twenty-two parts can be purchased at Smashwords. If you purchased serialization via the Kickstarter, check your Kickstarter messages for a free download code.

The stories discussed in this chapter are currently available in six volumes. The first volume is available in the US here, and the UK here. Finding volume 2-6 are, for now, left as an exercise for the reader, although I will update these links as the narrative gets to those issues.

Previously in The Last War in Albion: Alan Moore’s first arc on Swamp Thing was a massive success, and DC immediately began a new promotional campaign for the book. Moore, Bissette, and Totleben, meanwhile, moved on to their second arc, the first issue of which drew its title by a print by Francesco Goya called “The Sleep of Reason Produces Monsters.” This print shares thematic ground with the work of Goya’s British contemporary William Blake, who wrote of Ahania, the female emanation of the mad god Urizen, who represents a higher form of intellect than the monstrous attempt to condemn the world to single vision. In Blake’s The Foar Zoas, Ahania was separated from Urizen and fell into a slumber, until eventually Ahania cast off her death clothes.
“It’s where Darkseid fell through existence to his doom. Leaving hell deserted. And there, in his absence, the first flower grew. So begins the myth of a new creation. Apokolips reborn as New Genesis.” – Grant Morrison
She folded them up in care in silence & her brightening limbs / Bathd in the clear spring of the rock then from her darksom cave / Issud in majesty divine Urizen rose up from his couch / On wings of tenfold joy clapping his hands his feet his radiant wings / In the immense as when the Sun dances upon the mountains / A shout of jubilee in lovely notes responding from daughter to daughter / From son to Son as if the Stars beaming innumerable / Thro night should sing soft warbling filling Earth & heaven / And bright Ahania took her seat by Urizen in songs & joy.” For both Goya and Blake, in other words, some sense of balance is required – it is just that Goya fears the passions of man running unchecked, while Blake fears the prison of law and religion weaved by reason. 
Figure 414: Sullen fires glowing across
the Atlantic to America’s shore. (America
a Prophecy Copy A, Object 5, written 1793,
printed 1795)
And in another sense, Blake is closer still to Goya, on an almost literal level. It is, after all, once Urizen has been bound by Los, the fallen, human form of Urizen’s opposite number, Urthona, that Los’s emanation, Enitharmon, is split from him and gives birth to the monstrous serpent Orc. Orc, within Blake’s mythology, is the spirit of revolution, and makes his most substantial appearance in America a Prophecy, the first of Blake’s three “continental prophecies,” in which Blake reworks the recent political history of the world into another iteration of his mythology.
…

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“Are you making all the right moves? Or are you going through the motions?”: Are You Serious? A Condo is a Dangerous Place to Live

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What a strange episode to go out on.

The flipside of faking its audience out with four separate episodes that could have served perfectly as a season finale but manifestly and decidedly weren’t is that the episode with which the original broadcast run of Sunrise’s first Dirty Pair does actually sign off on comes across as more than a little underwhelming. It’s an off-week and, annoyingly, it’s a week that’s off in pretty much all the ways we’ve already talked ad nauseum about. The closest analogue is “Nostalgic Blues Makes a Killer Soundtrack” (and it’s about a murderer to boot) in that it has a handful of really great ideas mixed in with a few too many sour notes to elevate it above mediocrity. My biggest complaint is, as usual, Kei, whose characterization has by this point shot entirely past “less competent than Yuri” and landed square in “lowbrow comic relief, nothing more”. Literally nothing Kei does in this episode either advances the plot or hints at a potential meta-reading: Yuri does all the legwork, figures out the whole case all by herself and her attitude towards her partner can be summed up as “Aw, look! She thinks she’s a Trouble Consultant! How cute!”. And then there’s Gooley, who’s back to patronizing his top agents. And who I am by now beyond sick to death of.

The case itself, on the other hand, is somewhat interesting and the episode has a decent sense of humour, at least towards everything that isn’t Kei. There’s a serial killer who poses as a salesman going about murdering young woman and carving weird symbols into their forehead. The murders seem to follow a pattern, and the Angels are staked out in a condo that’s the next likely target. As they pass the time, they’re visited by not one, not two, but three salesmen, plus a police officer, all of whom have stupefyingly obvious motives and means. The first guy is a middle aged pervert who sells lightsaber kitchen knives (yes), the second is a “ladykiller”-type who sells novelty electrified bras and moonlights as a petty thief, and the third is a twelve-year old boy who has a blind hatred of all women because his mother was a bad person. Meanwhile, the police officer comes in midway through the episode to round up the suspects and generally disagree with Yuri’s deductions, so he obviously turns out to be the killer. Or rather one of them, as it turns out it’s really two twin brothers playing chess with each other and the murder weapon looks like Freddie Kruegger’s glove, so there’s that. Yeah, whaddya want from me? I have little sympathy for the generic and formulaic whodunnit structure.

Neither does Kei, actually: She name-drops Agatha Christie in the teaser for this episode that ran after “Something’s Amiss…?! Our Elegant Revenge”, even going into a campfire scary story voice to tell us “Now you can be Agatha too!”.…

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Comics Reviews (August 7th, 2014)

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Right. Fun week. Pick of the week’s idiosyncratic, I’ll freely admit.

Bravo, by Greg Rucka

Not a comic, but certainly adjacent, Greg Rucka, writer of numerous very good comics, one of which is reviewed later in this comic, has a novel out as of a few weeks ago. The second in his Jad Bell series, which he seems to be focusing on now in his prose writing, which has, at other times, involved his phenomenal spy series Queen and Country and his quite solid PI/procedural Addicus Kodiak series, which executes a hilarious on the spot conversion from being a good old-fashioned detective series where the detective is a private bodyguard to suddenly being an assassin espionage procedural Tom Clancy sort of thing about human trafficking. Astonishingly weird.

In any case, it’s Rucka on one of his strongest themes, which is gender. The first Jad Bell was a kind of cute little “action movie in a theme park” book that played with conventions in some neat ways, but felt to me like a bit of a slender thing, so it took me a while to get around to this. Was pleasantly surprised – did some neat things with perspective and overlapping narratives, and ends up being a strange sort of romance between two heroes of ever-so-slightly different genre movies, while the political world of the book executes a series of disasters and big events that feels like you could suddenly have an important character with the surname Carlyle turn up and the plot could carry on seamlessly to something else. If you like Greg Rucka’s work in general, do check this out. And to be clear, I am very much interested in Greg Rucka’s work in general. If nothing else, his work is increasingly a series of very smart leftist takes on some genres with traditionally right-wing leanings, and that’s a really interesting aesthetic project.

(I really wish he were British. I’m half tempted to pretend via Queen and Country, but it’s cheating. I get him for 52 and a bit of Final Crisis, and that’s it. Oh, and Morrison’s Batman, a little. J.H. Williams is a background figure in that, and I really can’t ignore Williams.) A

God is Dead Book of Acts: Alpha

I admit, I’m not really reading God is Dead. After the issues Hickman had any hand in, I basically completely lost track of the plot, and wasn’t enjoying it enough to bother. Jill is still enjoying it, so I’ll freely admit the problem is me. But in any case, the bit anyone really cares about here is Alan Moore’s story, in which he finally explains Glycon for everybody, and makes a Honey Boo Boo joke in the process. Gratuitous as all hell, utterly “for fans only,” and in no way worth the $5.99 price point. A+ (Pick of the Week)

Guardians of the Galaxy

I am Groot. A

Lazarus #10

And Rucka again. Lazarus has been shockingly good. I think it may be Rucka’s best-ever work, or at least, it has a chance to be when it all shakes out.…

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Yes, I Shall Come Back (The Girl Who Waited)

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For once I’ve picked the image because it illustrates a point and not to make
a bad joke about it. So I’ll just give you a bad joke with nothing to do with
the image. What’s brown and sticky? A stick.
It’s September 10th, 2011. Example are at number one with “Stay Awake,” with Ed Sheeran, Maroon 5, Olly Murs, and Calvin Harris also charting. There’s not exactly been a ton of news in the last twenty-four hours, with the Supreme Council of the Armed Forces declaring a state of emergency, along with Barack Obama, the former covering Egypt, the latter Texas. While on television, it’s The Girl Who Waited. 
The Girl Who Waited marks one of a handful of times that more or less the entire Doctor Who fandom was properly blown away and surprised. Nothing about Tom McRae’s previous Doctor Who story, the largely unloved Tennant Cybermen two-parter, really suggested that he was capable of this story. And so when McRae was announced as the writer, a large swath of the audience was not particularly enthused. It wasn’t until the title, which magnificently baited the audience by drawing unapologetically on the Moffat era’s established iconography and mythos, that things started to seem a bit more interesting, and not until the revelation of the story’s real premise, the heavily aged Amy Pond, that it started to become clear that, far from being a dud filler episode marking time between the big River episodes on either side of this half-season, The Girl Who Waited was a stunningly interesting episode in its own right.
First and foremost, The Girl Who Waited is a piece of superlative character work. There’s a school of thought, not entirely unjustified, that suggests that Karen Gillan’s interest in Amy declined over the course of the show, and that she phoned in large swaths of Season Six and more or less the entirety of Season Seven. There’s another that says that Gillan was actually fine, but that Moffat ran out of things to write about the character, hence her spending most of Season Six as fridge bait. This school of thought is, as we’ve seen, self-evidently ludicrous, but it’s worth acknowledging as well. Both, ultimately, end up treating Amy as something of a problem companion in this period. But in many ways, both lines of criticism almost necessarily have to avoid this story (and it’s telling, I think, that the “Moffat is an arch-misogynist” crowd mostly steers around this story in their criticisms) in order to work.
Certainly, whatever one might say about her in Season Seven, Gillan is absolutely on fire here, managing to distinguish Young Amy and Old Amy as real and distinct characters through a host of subtle but deliberate ways. Old Amy carries her body differently, speaks with a slightly different timbre, and genuinely, properly feels like a different character to Young Amy. The entire episode is set up to live or die by the strength of Gillan’s performance, and she rises to the occasion magnificently in a way that anchors everything around her.
…

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“Today I settled all family business”: Something’s Amiss…?! Our Elegant Revenge

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“Something’s Amiss…?! Our Elegant Revenge” suffers from nothing so much as it does from following the 463 two-parter. Anything coming in the wake of that story is somewhat doomed to pale in the inevitable comparison, which is a shame because this one is actually really good. Dirty Pair breaks its frustrating ping-ponging quality curse…just in time to see it through its final two episodes. Which is unfortunate (though an argument could be made the pattern was broken, for the worse, with “Come Out, Come Out, Assassin”). But while this episode may not quite stand up to its immediate predecessors and it might have been nice to see it seven or eight weeks earlier in place of a couple of those others, the fact remains this is still an excellent outing and one to enthusiastically recommend.

Judging from the title alone, you’d be forgiven for figuring this might be a sequel to “The Chase Smells Like Cheesecake and Death”, with the Lovely Angels perhaps returning to exact justice on Lan and Jerry for betraying their trust. But no, as is typically the case on this show, this story has nothing to do with the older one. Barring that, the obvious comparisons seem to be to The Godfather: Mahogany is immediately reminiscent of Don Vito Corleone, not only in appearance but in characterization as he runs a sprawling criminal syndicate based on the drug trade that seems to have much of United Galactica in its grasp. Mahogany is even an actual “father”, as in a religious leader, which certainly adds to the series’ tally of anti-authoritarian points. Mahogany’s empire is so vast and threatening it actually raises the stakes of the entire Dirty Pair franchise: Shockingly, Mahogany is powerful enough to sway influence over the 3WA, and gets Gooley himself to call off Kei and Yuri’s siege on his stronghold right when they were perfectly poised to take him down once and for all.

This is a game changer. I’ve been of the mind Gooley and the 3WA have been irredeemable since “Gotta Do It! Love is What Makes a Woman Explode”, and this does nothing but reinforce my opinion. Like all organisations based around capitalistic authority, the so-called World Welfare Works Association is nothing but a corrupt sham designed around no other purpose then lining its own pockets and protecting its cronies (though I wonder what Haruka Takachiho made of this reconceptualization). Which is maybe telling, because while this episode didn’t turn out to be a sequel to “The Chase Smells Like Cheesecake and Death”, it is very easy to read it as a spiritual successor to “Gotta Do It! Love is What Makes a Woman Explode”. It’s once again about Kei and Yuri’s relationship and, following last week, it’s about how nothing can truly come between them. Furthermore, it’s about what happens when you underestimate their capabilities, their dedication to material social progress through revolutionary change…or to each other.…

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Miracle Day and Death

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Jill Buratto is a nurse specializing in end of life issues. She’s also my wife, and would be as happy as I would be if you backed my Patreon campaign for weekly episode reviews of Season Eight of Doctor Who. Then come back here and read her being righteously and beautifully angry. 
It’s November 28th, 2013. Martin Garrix’s “Animals” tops the charts only to be ousted by Lily Allen’s “Somewhere Only We Know” two days later. Elsewhere in the world, mass protests are occurring in Thailand as tensions between the opposition party and the prime minister’s family (read: his exiled brother) mount and, apparently, The New York Times has shown it’s first front-page nipple. So there’s that. 
On TV: in a world in which no one can die, a young woman who has suffered what would formerly have been a fatal blood clot in her lungs. She is pregnant when this happens and is currently connected to all manner of drains and tubes and medical equipment in order to allow this fetus to gestate in her essentially dead body. She and the fetus she is carrying were deprived of oxygen thanks to that blood clot and her husband and parents look on in horror at the entire ordeal. Both the young woman and her husband were paramedics and understood the limits of what modern medicine could do, neither of them wanted her preserved this way. The Miracle destroyed any autonomy in death this young woman would have and should have had. 
Except it wasn’t the Miracle that caused this. It was us. Her name was Marlise Munoz and she was 33 years old when she died. Her husband did everything right, but there was nothing to be done. She was brain dead. But, the definition of death for John Peter Smith Hospital in Fort Worth, Texas was somewhat more… flexible. They kept her heart beating for weeks because of a loophole in the law stating that life support could not be revoked from a pregnant woman despite her wishes. It was only when the hospital was sued for the “cruel and obscene mutilation of a corpse” and they admitted that the fetus was developing “abnormally” that Marlise was allowed to rest.
Miracle Day goes out of its way to make a parallel of our world, a world in which this could happen. It builds a platform for an argument about the treatment of illness, dying and death in our culture. It meticulously constructs a modest proposal indicating the natural extreme of our death-denying culture. So, after all that effort, what does Miracle Day end up saying about death? Well, it says nothing at all.
No, that is perhaps a bit harsh and untrue. Miracle Day clearly says that the way we treat the sick and the dying is bad and we should feel bad. Which is worth examining.
There is an inherent classism in healthcare on a global scale. Despite the long list of countries who have decided that healthcare is a basic human right, globally, healthcare is available only to those who have the means.
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“Like water to a blood red rose”: We Did It! 463 People Found!

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So let me set the stage. We’re sitting alone in our room trying to figure out what that vision meant. You remember the vision I told you about, right? It was like a ship that was there and then not, and then there again. A ship, unless its a shipwreck (which this wasn’t), has to have people onboard. On something as big as this one seemed to be, there were surely lots and lots of people. We took it as an allegory: Try to imagine all those people living and working together and going about their lives and what you could learn from that, and that’s the basic premise we start from. The ship is its people and the people are their ship. The story, like most stories do, comes to us as we try to parse out some semblance of meaning and resonance from the images we saw. The story is written because it needed to be written, because it is important and necessary, almost like destiny. It really is as simple as that. But, can we really make a story out of all their stories?

Now I’m sitting on a beach tending a campfire because we were getting ready to go on a surfing trip before you stopped us and asked me to talk about storytelling structure. So I gave you the best I could come up with.

Anyway.

One thing I think the philosophers might be on the right track about, as I told you before, is the idea that there might be some truth in the wheel. No, wait, that’s wrong. What I mean to say is, if you look at a wheel, that can maybe tell you something about the universe because it’s a symbol. It’s something that stands in for something else. You don’t need words, at least not the things we typically think of of as words, because the thing reflects the truth-bits you write onto it back at you all by itself. But this is all stuff you already know (you did watch the episode, right?), so there’s little point in me rambling on about it. Where I might disagree with the philosophers I think is the idea that everything goes around and around, constantly repeating itself (I’m not repeating myself, am I?). That’s a consequence of them fixating on the wheel so much.

I don’t write stories. I channel them. What that means to me is I don’t see wheels going around and around, but tides ebbing and flowing, coming and going. The tide goes out and comes back in again because it always does. We can predict when and where its going to happen (damn it, what did I do with that tide chart?), and though the tide is a little different every day and every night, it’s still there and still a tide. Remember, we can’t say precisely what’s going to happen in the future (I don’t think I’d even use that particular term, to be perfectly honest with you), but because we see things happening we know, by definition that they’ll happen.…

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Saturday Waffling (August 2nd, 2014)

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After a couple of people suggested it, I decided to try crowdfunding Season Eight reviews. So, if you are interested in a weekly column about Season Eight of Doctor Who as it airs, in which I will engage in almost certainly wrong speculation like any other punter and attempt to analyze television on the fly, I’m doing it as a Patreon campaign. It’ll run exactly twelve weeks, charging you a dollar every week if you back it. And if enough people back it, I’m throwing free ebooks at all backers, so it’s hopefully a pretty good deal.

I haven’t worked out the exact logistics yet, but expect that reviews will be posted in a manner that will allow for discussion, and that the Saturday Wafflings for the twelve weeks that Doctor Who is on will also be open threads about the episode, so people can discuss here or wherever. And I’m probably going to participate in both threads, so if you can’t or don’t want to pay $12, you’ll still probably hear my thoughts. Might get around to linking my Tumblr as well, where I’m sure I’ll end up discussing them.

I feel a little odd doing this one, to be honest. but equally, to be honest, I’m going to have one book out this year compared to four last year, and the Last War in Albion Kickstarter was half the Eruditorum one (not a surprise in the least, or a problem), and it’s always something with money, so while we’re by no means in any seriously bad situation, we could also use a kind of profitable thing, so, here it is. A thing people will hopefully enjoy in exchange for a small amount of money. You can back it here. Thanks very much if you do. I appreciate it. 

Working on Williams-era essays. Being kind of obstinately lazy about it, mostly because it’s been an incredibly hectic few months and I’m enjoying a week or two of not having much to do. But it’s starting to itch at me, so I expect mad productivity will arrive again soon. So far I’ve got four done – Festival of Death, one on the nature of the Guardians, the “Now My Doctor,” and the commissioned essay – still got the Big Finish (probably Auntie Matter?) to do, as well as the Pop Between Realities on Target. Might end up throwing in some other 70s cop shows as well, although really, that essay exists to be a “the story thus far.” Might end up doing Target/Never Mind the Bollocks, Here Come the Sex Pistols. That would be a fun essay. And there’s one more thing that’s not quite a Time Can Be Rewritten, but will be very fun. Then it’ll be on to the extra material for the Logopolis book.

Since we’re on the subject of Season Eight, what are your thoughts on what’s been released so far? If you want to go so far as to discuss the Deep Breath leak or the script leaks, go ahead, but please no spoilers.…

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