January 2013

SF/F Commentary

Video Found: Captain Harlock (English Trailer)

Short, but sweet.  I had no idea they were making a Captain Harlock movie.  If you don’t know who that is, it’s because you don’t watch enough anime.  You should start.  Immediately. Anywho.  Despite the random almost-nude shot (so strange for anime to have a skin fetish, after all — ha), it looks like a compelling film, no?  If by “compelling” we mean “two hours of gun battles, space battles, sword fights, and all the other cool trappings of genre,” that is. Here’s the video (after the fold):

SF/F Commentary

Rethinking Superhero Ethics and Myke Cole’s Shadow Ops Series

On the recent Skiffy and Fanty Show podcast, my friend Jen and I interviewed author Myke Cole about Shadow Ops:  Fortress Frontier, the sequel to his 2012 hit, Shadow Ops:  Control Point (which we interviewed him about here).  During the discussion, we (Jen and I) sidetracked from asking Myke direct questions to actually considering the world he had actually created — specifically, the ethics of that world and how it might actually happen in the real world.  I’d like to continue some of that discussion here (on top of this post by Myke on a similar subject). For those that are unfamiliar with Myke’s work, you’ll need to know that Shadow Ops takes place in an alternate present where “magic powers” (a.k.a. superhero powers) are monitored and “controlled” by the various world governments.  In the case of the U.S., they have sought to control these powers and the people who have them by banning their use in the general populace and forcing people who discover that they are “latent” to join the military (or some related agency, depending on the need).  Much of the “forcing” isn’t publicly acknowledged, which becomes apparent in this brilliant book trailer for Fortress Frontier: One of the questions I’ve always asked myself when looking at any superhero universe (whether it’s Myke’s or the X-Men universe or whatever) is “What would we actually do?”  Myke’s universe is not that different from popular comics like X-Men.  In a way, the narrative of government control, often using violent force, is a staple of superhero narratives.  And rightly so.  It’s possibly the most important issue in any superhero world still populated by “normies.”  Magneto recognized this when he waged a personal war against humanity, assuming that mutants would become the dominant lifeforms on the planet (the evolutionary model is more important to X-Men than Shadow Ops); thus, what seems like a fit of genocidal thinking turns into a vendetta that is both biologically and personally-oriented (Magneto’s heritage is crucial to his motivations, however problematic).  Of course, his actions also fueled the very things he had hoped to prevent. No idea how he has an 8-pack…not likehe actually lifts anything. In Myke’s world, however, the the only rational answer the officials can come up with is “CONTROL” (hence the name Control Point for his first book — one of many meanings).  Not surprisingly, this is a painfully repetitive human response.  For example, the current debate over gun control is largely an emotional response to something we don’t quite understand — mass shootings (this is not intended as a 1-to-1 analogy).  When bad things happen, the human response is often to control that thing, because to control “evil” is to secure the “good” (or something like that).  We jump on “mental health” and “fewer guns or stricter laws” because they are the simple answers to problems which, on the surface, appear simple, but, underneath, are complicated.  The same thing has happened throughout history, with some noticeable spurts of reasoned progress.* The Shadow Ops series is a great example of this knee-jerk response at work, but based on an actionable threat. If random people gain extraordinary powers, wouldn’t it make sense to launch at campaign to control those powers?  Certainly.  In the face of a presumed evil (I use this word lightly — the “other” might be a more appropriate term), we can only conceive the arrival, the moment when we know something new and terrifying has arrived, and we must take whatever action we can to prevent that change from overwhelming civilization itself.  Some superhero universes use mutant registration, incarceration, extermination, indentured servitude (such as military service in Shadow Ops), or some other method of control that inevitably punishes the “mutant” for having abilities they didn’t ask for. George Clooney, Howard E. Rollins, Jr., and Aamir Khan walk into a bar…  Mutant punishments, then, are easy analogues for the real world.  People like to make grand comparisons between gay rights, race, and so on and so forth when talking about superheroes.  They are fair comparisons when you treat the issue simplistically.  I, however, don’t see the validity in such comparisons, in part because there is something tangibly different about a superhero.  Arguments against the inclusion of LGBT people in contemporary society are, in my honest opinion, based not on rational determinations of “social damage,” but rather on unfounded accusations that such damage occurs and that it is exclusively the fault of LGBT people.  I have seen a few studies which suggest that children raised by gay parents may suffer as a result, but these studies are always a reflection of how social conditions influence children and marginalized groups.  In other words, if you raise kids in a homophobic culture, it shouldn’t surprise us that kids of LGBT parents develop social relationships that appear “damaged” in comparison to kids of heterosexual parents; there’s no way to know what effect LGBT parents have on their children without having those results tainted by the culture around us (woe be to sociology!).  Similar arguments were made about people of color and so on and so forth — the wheel keeps turning.  The older I get, the harder it is for these arguments to remain palatable for me… And then they made it into a movie… But some of those same arguments are actually valid when it comes to superheroes.  For example, there are tangible social and physical impacts on the nation when unusual and seemingly supernatural powers are involved.  If you think school shootings are terrible, imagine a world with superheroes.  Someone who can control the earth around us could easily smash thousands of houses beneath a landslide.  A person with fire on his fingertips could burn cities to the ground.  Someone with a variation on teleportation (a la Jumper; porting in Myke’s universe) could steal untold amounts from banks or infiltrate secure areas (and, therefore, threaten national security — see the second X-Men movie).  Whether we like it or not, superheroes are a potential threat to social stability, since their

SF/F Commentary

Academic Spotlight: With Both Feet in the Clouds — Fantasy in Israeli Literature edited by Danielle Gurevitch

A new feature around these parts!  The Academic Spotlight’s purpose will be to draw attention to the wide range of new and old scholarship on genre fiction floating about on the net, from special issues of academic journals, to essay collections, to books, and so on and so forth.  In some cases, I’ll offer some thoughts on the work in question — particularly if I’m familiar with it.  Why am I doing this?  Because I think academia is important, even if it is sometimes inaccessible to the wider public ($75 for an academic book is a lot to ask for; additionally, the writing styles are often not conducive to general reading). The first entry into this feature is Gurevitch’s With Both Feet in the Clouds:  Fantasy in Israeli Literature.  The book came out on the first of January, though I only discovered it today through the World SF blog. Personally, I don’t know much about Israeli genre fiction.  My exposure to writers from that part of the world has been relatively limited:  Lavie Tidhar and Niv Yaniv are the two I can name off the top of my head.    Still, I’m fascinated by this work because it fills in some of the gaps in the genre/academic community.  The question I have is this:  What other works on Israeli genre fiction area already out there, and how much of it has been translated into English?  If you happen to know something about this particular sub-field, feel free to leave a comment. You can read a review of the book by Abigail Nussbaum here. Note:  The title seems to fluctuate between With Both Feet in the Clouds and With Both Feet on the Clouds.  I’m not sure why these differences exist, so you’ll excuse the confusion between the title of this post and the title of the book image below. Description: Why do Israelis dislike fantasy? Put so bluntly, the question appears frivolous. But,in fact, it goes to the deepest sources of Israeli historical identity and literary tradition. Uniquely among developed nations, Israel s origin is in a utopian novel, Theodor Herzl s Altneuland (1902), which predicted the future Jewish state. Jewish writing in the Diaspora has always tended toward the fantastic, the mystical, and the magical. And yet, from its very inception, Israeli literature has been stubbornly realistic. The present volume challenges this stance. Originally published in Hebrew in 2009, it is the first serious, wide-ranging, and theoretically sophisticated exploration of fantasy in Israeli literature and culture. Its contributors jointly attempt to contest the question posed at the beginning: why do Israelis, living in a country whose very existence is predicated on the fulfillment of a utopian dream, distrust fantasy?

SF/F Commentary

Death Star Economics and Ethics? (Or, What Would You Do With a Death Star?)

I find it amusing when smart people take science fiction concepts seriously enough to question their validity in the real world.  From rocket packs to hover cars to laser guns, the smart ones have destroyed our childhoods, one reality-based argument at a time.  The Death Star is no different (and I’m going to add to the hurt). Earlier this year, Paul Shawcross, acting on behalf of the White House, released a statement on We the People in response to a petition requesting the U.S. government to build a real-life Death Star by 2016.*  Because petitions that receive 25,000 signatures require a response from the White House, there wasn’t any way to avoid this humorous situation.  Thankfully, they took the issue with a heavy dose of humor and succinctly reminded us that such a project is pretty much impossible — it would cost $850,000,000,000,000,000 (or, as we poor people like to say, “a friggin ton of money”).  io9 recently explored this number in some depth, using a Centives.net article as support; they concluded that the $850 quintillion figure is more tongue-and-cheek than an accurate measurement (this is one of many conclusions, of course), but it fulfills the purpose of keeping the genocidal geek community at bay. Disney will probably turn this into a musical in a few years… Setting aside arguments about how much the Death Star would cost in exact terms, the real question is two fold:  how would a country or a world economy come up with that kind of money, and how would they justify the expense? First, the size of the loan necessary to build a Death Star would exceed the GDP of the entire world by a factor of approximately 12,100 (based on figures acquired here).  Assuming, then, that the world agreed to sacrifice its entire GDP to pay off said monumental loan, it would still take 12,100 years to pay that loan off, assuming no growth in GDP and no interest.**  And let’s face it, there’s no way we can assume there won’t be inflation, interest, and so on for the next 12,100 years.  I’m no economist, but it seems to me that taking on a project at this point in time, without any easier means for manufacturing the materials and the Death Star itself, would lead to worldwide financial disaster.  Besides, what exactly would a budget debate about the Death Star look like?  Imagine, if you will, the Death Star is 50% behind schedule due to 800 straight years of economic shortfalls, politicians are bickering back and forth, some running around like chickens with their heads cut off in a pathetic attempt to balance the world budget.  Meanwhile, poverty rates increase exponentially, because too many resources have been pegged for the Death Star Fund; healthcare, scientific progress, and so on and so forth have likewise crumbled beneath the pressure.  Perhaps stress-related baldness will become the new “epidemic” of the future… I’m the Death Star on a budget deficit.  Any questions? All of this assumes that we take seriously the financial viability of a 12,100-year construction project.  Considering that we can’t even resolve the relatively simplistic budget problems in the United States without all of Washington D.C. losing its mind, the idea is just three shades shy of batshit.  Even if the money and resources existed to make constructing the Death Star possible in 100 years (a big if), the political environment surrounding such an international effort would make the project practically impossible.  The United Nations, bless its heart, tries to get everyone to work together towards common goals, but after 71 years in operation, it still struggles to address the most obvious of human rights issues (among other problems).  It’s like watching a puppy who tries to jump onto the couch, but its legs are too short, so it keeps falling off — only this puppy may or may not grow up, may or may not develop more efficient motor skills, and may or may not stare at you with its puppy eyes, vainly hoping that you’ll lift it up to your lap. But the even bigger question is this:  Why would we bother doing this, and what would we do with a Death Star?  Let’s imagine the scenarios:*** 1) Some large, planetary body is on a collision course with the Earth.  It must be destroyed. Han:  And that, kids, is what we call a Solo Seduction Device.Chewie:  Ra-a-a-a-a-a-a-a-gh! Fail:  If we need something with the firepower of the Death Star to destroy a planetary body, there’s no valid reason for constructing the whole thing.  After all, this scenario does not require the laser system to form part of a much larger military function.  You can’t exactly threaten the Earth with its own destruction, can you?****  Even so, we could probably put the laser on the Earth without decreasing its firepower significantly (I’m guessing) or use our mountains of nuclear weapons to pound the living hell out of said planetary body.  The latter seems a cheaper option, though certainly less cool than a giant green laser. 2) An alien species attacks us with firepower that far surprises our current military might.  They must be stopped. It’s okay.  There aren’t any real people there. Fail:  Setting aside the fact that such an alien species would have some method of faster space travel than currently available on Earth AND the technological means to subjugate us anyway — not to mention the fact that building the Death Star would take far too long to make it useful to us — there is the disturbing question of whether it is right to commit genocide as a last resort.  Are there no other ways?  If not, should we commit genocide for our own survival?  I realize that The Doctor does it all the time, but we are not Time Lords.  We’re supposed to have a moral framework.  Then again, “right” is sometimes not an important factor in our decisions as species, since we’ve committed acts of genocide against

SF/F Commentary

Video Found: John Simon vs. Siskel & Ebert (The Star Wars War)

There’s something enjoyable about watching critics from the 80s battle over whether Star Wars is actually a good movie.  It’s equally enjoyable to listen to a somewhat bitter man battle his inner child over whether to actually let loose while watching something like Star Wars, a series that, at the time, offered the world some of the best entertainment money could buy. Class 1980s entertainment, this (after the fold):

SF/F Commentary

The Hugos: Testing the Waters — What will win?

In the interest of filling my blog with all your lovely voices, I want to know your answer(s) to the following question: Which novels, novellas, short stories, films, fanzines/writers, fancasts, and so on do you think will win the Hugo Award this year? I have a secret agenda for asking this question, which I will now reveal (thus stealing its secrecy) — I am curious what I might have missed this year, for one reason or another, what others think were Hugo-worthy (which may reflect a particular taste), and so on.  In other words, you’re going to give me a taste of a world I’ve never experienced (though I am attending Worldcon this year). So have at it!

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