May 2013

SF/F Commentary

Comic Review: Marvel Point One, “Behold the Watcher” (2011)

As you all know, I have recently become immersed in the comic world.  In particular, I’ve rediscovered my love for some of the same characters I recall reading as a child.  Of course, having been away from the comics world for so long, I’ve missed a hell of a lot, including the issue I’m about to review now.  Since I have started reading the Marvel NOW “reboot” of the Uncanny X-Men, it has become apparent that I really need to know what the hell is going on. And so, here I am discussing “Behold the Watcher” (Marvel Point One) two years after its release.  For those that don’t know, this particular issues opens an entirely new sequence of events within the Marvel Universe.  The purpose of the issue, as far as I can tell, is to offer a gateway for new (or lost) readers to get into the various interconnected story lines to come.  I came to this particular issue because I have started reading things from the Marvel NOW “reboot,” including Uncanny X-Men and Uncanny Avengers, both of which spring off of events that occur in the Avengers vs. X-Men crossover from 2012 (there’s a “duh” moment lost in here somewhere).  Basically, when I tried to read the Marvel NOW versions, I found myself jolted out of my comfort zone.  Things had changed so much that I not only needed to go back for my own sanity, but also to fulfill my curiosity.  And so here we are, two years late and very much engrossed in this new series of events. “Behold the Watcher” (the title I will use from now on in order to avoid confusion with the Marvel NOW Point One issue) opens with an obvious, but clever frame story.  The title character, the Watcher, can see all time and space at once, and so must descend into a fugue state every three years in order to “upload” the memories to a collective of sorts.  The specifics of how the Watcher works isn’t all that relevant; rather, the character becomes a fixed point from which we can see the major events of this universe unfolding, which is relayed to us through two “data robbers” who have infiltrated the Watcher’s “lair” during one of those fugue states in order to retrieve information.  We’re not sure what these robbers are going to do with that information, but the act of infiltration allows us to see what is going on in the various “realities” of the Marvel Universe as the robbers dig through the memories in search of…something.  What we learn is this: Nova tries to warn friends and foes alike that a familiar force is returning, hell bent on destroying everything (even planets) in its path. In the Earth-295 universe (one of many Marvel alternates), the Red Prophet (part of the X-Terminated) exacts revenge on a mutant foe, setting the stage for a new conflict between a decimated human population and a newly-risen mutant one. A cured Kaine (clone of Peter Parker) mulls over his past and what it means to no longer suffer from genetic degradation, eventually revealing himself as the Scarlet Spider. Two twins, Coldmoon and Dragonfire, discover not only that they have been lied to their whole lives, but that when together, their powers are amplified.  In an effort to destroy the people who kept them apart, they join the Avengers. Dr. Strange ponders the bizarre mental state of a local Greenwich Village man, only to discover that trapped the man’s mind is Strange’s future with the Defenders. Lastly, in a future where Ultron has returned and threatened to destroy all humanoid lifeforms, Hawkeye and an injured Spider-Man barely escape death (presumably this is a precursor to the 2013 Age of Ultron arc). That’s a lot of material, I know, but as I said, the purpose for “Behold the Watcher” is to introduce new and old audiences alike to the major threads that have since dominated the Marvel Universe.  And as a gateway, it succeeds.  As someone who has been “out of the game” for at least fifteen years, one of the necessities for any gateway comic is the absence of confusion.  While I didn’t recognize all of the characters here, the various sections were appropriately framed as snippets into their lives, rather than as full-fledged narratives.  There is a lot I still don’t know about these various universes and characters, but having read this issue, I have gained a clear sense of the direction for the narratives to come. If there is one flaw in “Behold the Watcher” (aside from its suspicious absence of female main characters), it is its seemingly inconsistent artistic style.  While I suspect the variation is meant to keep in line with the series to come, most of which will be written and drawn by different people, I found the shift back and forth between the frame narrative and the introductory sections jolting.  There is a stark contrast between the more minimal style of the Watcher sections and the more flamboyant style of the Nova or Ultron sections.  Personally, I preferred the artistic formats for the introductory sections more than the Watcher ones, in part because I am rather partial to the glossy and detailed American format.  Minimally-detailed frames serve to target the reader’s focus, but the Watcher sections aren’t just minimal, but unnecessarily simple for such a grand narrative. In any case, while I can’t comment on any character arcs, given the nature of this issue, I can say that I quite enjoyed “Behold the Watcher” and expect to dive right into the Avengers vs. X-Men crossover soon (if not at some point tonight).  If anything, this issue gave me a nice little starting point for keeping up with all the stuff that has gone on since the 90s, even if I missed out on some of the important main events that precede the Avengers vs X-Men crossover.  Hopefully the AvX series will provide a deeper look into the characters than the New

SF/F Commentary

Teaching Rambles: A Very Non-Traditional “American” Lit Syllabus (Nuevo Mundo!)

This fall, I am teaching a survey course in American Literature.  While I think my previous syllabi for this course have been non-traditional, this time I am opening up the flood gates.  Instead of teaching what we might call “American Literature,” I am deliberately challenging the very idea of a single, identifiable “American” anything.  And if I get this syllabus approved, I will have one of the most intense, awesome fall teaching experiences ever… Now without further delay, here is the list of texts I intend to teach (some publication dates are missing): Novels A Hammock Beneath the Mangoes: Stories from Latin America edited by Thomas Cochlie (various — see shorts section) The Assault by Reinaldo Arenas (1990/1992 — Expatriate from Cuba) Flight by Sherman Alexie (2007 — Native American)  Distant Star by Robert Bolaño (1996/2004 — Chile) Crick Crack Monkey by Merle Hodge (1970 — Trinidad) Surfacing by Margaret Atwood (1972 — Canada)  The President by Miguel Angel Asturias (1946 — Guatemala) Plays “Paint Your Face on a Drowning in the River” by Craig Strete (1984 — Native American) The Imposter by Rodolfo Usigli (1938 — Mexico) Short Stories “The Man to Send Rainclouds” by Leslie Marmon Silko (1967 — Native American) “The Reptile Garden” by Louise Erdrich (2008 — Native American) “A Long Story” by Beth Brant (1985 — Native American) “A Lamp at Noon” by Sinclair Ross (1938 — Canada) “The Loons” by Margaret Laurence (1963 — Canada) “The Circular Ruins” by Jorge Luis Borges (1940 — Argentina) “Waiting for Polidoro” by Armonia Somers (? — Uruguay) “The Last Voyage of the Ghost by Gabriel García Márquez (? — Columbia) “The Age of Vengeance” by Isabel Allende (? — Chile) “The Doll Queen” by Carlos Fuentes (? — Mexico) “The Plagues” by Moacyr Scliar (? — Brazil) “Story-Bound” by Ana Lydia Vega (? — Puerto Rico) “The Gift” by Rosario Ferre (? — Puerto Rico) “Journey Back to the Source” by Alejo Carpentier (? — Cuba) Essays “The Repeating Island” by Antonio Benitez-Rojo (Caribbean) “In Quest of an American Identity” by Earl E. Fitz (American Question) “Regionalism as a Shaping Force” by Earl E. Fitz (American Question) “The Dialectics of Our America” by Jose David Saldivar (American Question) ——————————————- Update:  I thought I’d toss out some statistics so you’d see how my syllabus holds up in terms of its gender split, etc. Male authors:  13 (fiction); 4 (non-fiction) Female authors: 9 (fiction) In all honestly, I had a hell of a time trying to find female authors in Central and South America who fit all my criteria.  I intentionally tried to avoid pre-1900 and post-2000 works, though there are a handful here.  That unfortunately meant that a lot of the important Central and South American female writers (at least from my research) got bumped out.  From there, it all went downhill, as almost every female author from that region either didn’t have anything in translation, their works didn’t fit the political/cultural/social concerns for my course, or the translations I could find were for novels that were too darn long.  I think the longest novel I have on my list is 287 pages.  One author I had to drop from the novel list was Isabel Allende, whose The House of the Spirits is over 400 pages long.  I selected a short story by her instead. I say all of this as a semi-plea to any of you who are familiar with the literature of the area.  In particular, I would like to include a few women from Central America (you can see I have none whatsoever).  I just can’t seem to find any of them, either because they don’t exist, have been ignored, or haven’t been translated.  Granted, I could be very wrong.

World in the Satin Bag

Shoot the WISB #02: Star Trek Into Darkness (2013) Reviewed w/ Paul Weimer and Jay Garmon

Spoiler Alert:  the following podcast contains spoilers for the film being reviewed; if you wish to see the film without having it ruined for you, download this podcast and save it for later. Paul Weimer (website / twitter) and Jay Garmon (website / twitter) join me to discuss the good, the bad, and the ugly of J.J. Abrams’ second installment in the Star Trek film reboot.  Feel free to offer your thoughts in the comments below. You can download or stream the mp3 from this link.

SF/F Commentary

2012 Nebula Awards Winners (w/ Brief Thoughts)

Last night, the SFWA folks hosted the 2012 Nebula Awards.  I didn’t get to watch the live stream because I was trying to recover from the episode we recorded for The Skiffy and Fanty Show on Friday night (I’m still sort of recovering).  However, now that the awards have been announced, I see fit to talk about the winners. Here they are: Best Novel 2312, Kim Stanley Robinson (Orbit US; Orbit UK) I like Robinson more than a lot of my friends.  I’m not sure why.  Most people I’ve talked to can’t stand his Three Californias series, while I find them fascinating (especially The Gold Coast).  Regardless, I honestly had hoped to see Throne of the Crescent Moon by Saladin Ahmed or The Killing Moon by N.K. Jemisin take the award.  Both will probably appear on this list again, though, so maybe it’s just not their time yet. Best Novella After the Fall, Before the Fall, During the Fall by Nancy Kress (Tachyon) I love Nancy Kress, and this collection really was quite good.  Granted, de Bodard, Lake, and Liu were also on the finalists list, each them worthy of awards too.  Still, I’m satisfied with this selection.  Besides, Tachyon is bloody amazing. Best Novelette “Close Encounters”, Andy Duncan (The Pottawatomie Giant & Other Stories) Honestly, I have no real opinion here.  I’m sure Duncan’s story is great.  I am, of course, a Liu fan, so I will always be partial to his work.  But Liu can’t win everything, right?  I did get to hear Duncan read/speak at ICFA, and he’s not bad.  So I’m OK with this selection. Best Short Story “Immersion“, Aliette de Bodard (Clarkesworld 6/12) The right choice.  End of story.  Moving on. Ray Bradbury Award for Outstanding Dramatic Presentation Beasts of the Southern Wild, Benh Zeitlin (director), Benh Zeitlin and Lucy Abilar (writers), (Journeyman/Cinereach/Court 13/Fox Searchlight ) I’m really trying to understand why this film is so loved.  Everything I’ve seen from it looks awful.  Am I missing something?  To be fair, the rest of the finalists list was painfully predictable.  There was no Cloud Atlas, so as much as I would have liked to see Chronicle win…oh, right, that was not on the list either.  So it goes… Andre Norton Award for Young Adult SF/F Fair Coin, E.C. Myers (Pyr) Honestly, this is probably the right choice.  I’ve heard nothing but good things about Fair Coin and I’m sure I’m not the only one who didn’t think Railsea was Mieville’s best.  So kudos to Myers! 2011 Damon Knight Grand Master Award Gene Wolfe Yeah.  It was time.  Good.  A+ Solstice Award Carl Sagan and Ginjer Buchanan Nod.  Yes.  Perfect. Kevin O’Donnell Jr. Service to SFWA Award Michael H. Payne Alright.  I have no idea who this is, but since I’m not part of SFWA, that’s probably expected.  Good for Mr. Payne. ———————————————————- And that’s all I’ve got to say.  What say you?

World in the Satin Bag

The Black Guy is Ruining the Fantastic Four Reboot!

Oh, what?  He isn’t?  Are you sure?  I mean.  He’s black.  That means, like, Sue has to be black, right?  She doesn’t?  Johnny or Sue could be adopted?  Or they could be children of different mothers or fathers or maybe they’re interracial or something?  But I thought if you’re half black and half white you just look almost white?  That’s not true?  Really?  Well, the original Johnny was a white guy, so he has to stay white.  What about Idris Elba?  Oh, yeah, he was cool in Thor?  The original character wasn’t a black guy?  Oh, well, then that’s OK because he’s not a major character.  Besides, this doesn’t have anything to do about race.  I know I keep talking about it.  But just because I talk about race doesn’t mean what we’re talking about is actually about race, even if the only reason we’re talking about it is because a black guy might be the Human Torch.  It’s just not about race, OK? That pretty much sums up the stupidity you’ll find online about the rumor of Michael B. Jordan’s (of Chronicle fame) possible casting as the Human Torch in the reboot of The Fantastic Four. Cracked.com has a brilliant take-down here.  Read the comments on the first link at your own risk (I’ll post some gems below). Let’s call this for what it is:  soft racism.  For example, here is this amazing quote from The Wrap (linked in the previous paragraph): This is a horrible idea. Johnny Storm is an iconic Marvel character, a blonde, blue-eyed, party boy daredevil. He’s not a second string character, he’s a principal team member of one of Marvel’s flagship series. As a long-time comic book collector, it would completely distract from any story to change Johnny’s ethnicity. (It was bad enough that Jessica Alba was such an awful, awful blonde). Johnny once dated a Skrull – an African American could play her, or She-Hulk is an ancillary FF character – her ethnicity could be changed with little distraction, even Ben Grimm would be less distracting as another commenter suggested, although that would raise the question of whether Ben would stay Jewish (there are far less Jews in Marvel Comics than African Americans). But Johnny Storm? Comic book fans take “canon” very seriously, and this idea just smells like disaster. Translation:  Johnny Storm was white in the comics, and if you made him black, we’d all get distracted because he’s black; if you’re going to have black people in this, let them play aliens or green rage monsters who are secondary to the plot, but don’t you dare put a black guy as a main character, because I’ll just be so distracted by…black guys. Clearly, none of this has anything to do with race, am I right?  If you’re distracted by black people, you’re not distracted because they’re black; you’re distracted because they…are…look at the beautiful sunset!  There are a lot of people arguing variations of this type.  The irony is that in throwing a hissy fit over this topic, these commenters have inadvertently punched themselves in the face.  It’s not possible to wiggle out of a soft racism charge when your main argument is “black people are distracting when they are in my movies about white people.” Some, however, have taken a different strategy, such as this fellow over at IGN: The whole “defined by whiteness” arguement is stupid (by that same standard many black heroes should easily be recast as white as they’re not “defined by blackness”), the guy is wrong for the role plain and simple, it’s about race because that’s where he’s wrong for the role…if he was a 300 pound white guy that could nail Torch’s personality exactly, he’d still be wrong for the role. Rather than taking the time to proper cast the movie the guy is trying to go with an associate wrong for the role, it doesn’t matter how good he can act, Johnny Storm is white, and people are looking for proper adaptations for things of this sort…try creating or utilizing the existing black super heroes if it’s that important rather than lazily shoehorning bad choices for the sake of it. i.e., even though the Human Torch is not defined by his whiteness, he can’t be played by a black guy because he’s not black.  If you can see the circles going around and around here, you deserve a pat on the back. The irony with statements like these is that they often not only refute themselves, but they also fall for the typical anti-racist-is-code-for-anti-white rhetoric that assumes that because you can’t do the same thing to other races, it is just as racist to do it to white people.  Let’s set aside the fact that changing the Human Torch’s race isn’t really an insult to white people (after all, it’s not like we don’t have a shitload of white superheroes in film already *coughWolverineCaptainAmericaCyclopsProfXBatmanGreenLanternOnAndOnAndOncough*).  What is alarming about arguments like this is the bizarre amnesia to which their proponents have succumbed.  Not to beat a dead horse, but racism is alive and well in this country.  This is why I find historical amnesia on this subject disturbing, since it allows people of any race to make arguments that are counterproductive and, in some cases, damaging.  The two positions are not equal:  casting a white guy as Luke Cage is not the same as casting a black guy as the Human Torch.  There is no history of white people being denied entry based on their race (especially in American comics).  Isolated cases may exist, but one cannot rationally argue that whites are discriminated against at the same level as blacks (today and in the past — see here) — it’s an absurd claim. None of this is new to the world of film adaptations, though.  We saw something similar when Idris Elba was cast as Heimdall.  Not surprisingly, when the film came and went, it didn’t seem to have that much of an impact on,

Scroll to Top