Monthly Archives: May 2015

Badly done comics snark (#SFWApro)

So Dr. Jill Lepore, who wrote a book about the creation of Wonder Woman (quite good according to some reviews) decided to take on A-Force, an Avengers spinoff with an all-female team (not the same team that has John C. Wright freaking out, but I’m sure he’s not happy). Her take (the link is to A-Force author G. Willow Wilson’s response—no need to give Lepore any clicks) is that “they all look like porn stars,” their costumes are “pervy” and that the whole thing is just incomprehensible — dang it, she has no idea who any of these people are!

STK671072Wilson picks apart the flaws in Lepore’s It’s All So Sexist argument at the link. I thought I’d add a few more points. First off, I agree that if you don’t know the players, probably any modern comic is going to be a baffling mess of characters and backstories it’s hard to figure out. It’s a valid criticism … except Lepore writes as if the fact she doesn’t know the backstory automatically makes characters and stories bad.That’s a very different point to make, and I don’t think it’s a valid one. Case in point, Lepore appears to hold that female Thor is a stupid idea, not because she’s female but because Lepore doesn’t know how this happened and doesn’t care enough (as Wilson notes) to do even cursory research. Lepore says “”Thor became female because he’s a Norse god and I guess he can be whatever he wants”—No. A different person took up the hammer because Thor, for personal reasons feels no longer worthy.

Similarly, her conclusion asserts that good female super-heroes may be unworkable because “they’re all ridiculous in the same way. Dazzler, Miss Elusive, the Enchantress, She-Wolf, Medusa, She-Hulk. Their power is their allure, which, looked at another way, is the absence of power. Even their bodies are not their own. They are without force.”

She-Hulk’s power is most definitely not that she’s hot. It’s that she has, surprise, Hulk class strength (and during Dan Slott’s terrific run, a first-rate legal brain in her human identity). Sister Grimm, whom Lepore mentions in passing, uses magic, not sex. It’s true female heroes are often drawn for maximum cheesecake but as Wilson points out, that’s hardly the case with the cover of A-Force (I haven’t read it but I trust her when she says it’s the case inside as well)

Likewise, she compares Pepper Potts become Rescue in her own Stark-designed armor the equivalent of “wearing a boyfriend shirt.” Is she arguing it’s somehow worse than Jim Rhodes becoming War Machine in Stark designed armor? If so why? She doesn’t say; possibly she has no idea War Machine exists.

On top of that, Lepore’s trying to write snark and she kind’a sucks at it. Consider this example: “‘Her name is Sister Grimm!’ Mr. What? said. ‘She’s like the Brother Grimm, but not?’ Girls are so lame.”

What exactly is Lepore supposed to be snarking at with that last line? Presumably she doesn’t think girls are inherently lame—does she mean girl super-heroes? Is it that having a name derived from a male source makes Sister Grimm second-rate? And if so why? It’s not like riffing on a male hero like Hulk/She-Hulk. I can’t get the joke, and I’m inclined to think it’s more Lepore’s crappy efforts at humor than my lack of comprehension.

Lepore is writing in an old tradition. For most of my life, non-comics fans have been turning out various forms of Comics Are So Dumb articles for people who know even less of comics than they do. There are fewer of them these days as comics characters have become big-ticket properties, but apparently the flame is still alive.

(Cover by Jim Cheung, all rights with current holder)

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Comic books! (#SFWApro)

CARDBOARD  by Doug TenNapel is an entertaining kids’ fantasy in which a widowed, unemployed father gets a mysterious cardboard box as a gift for his son, then discovers whatever it’s made into can come to life. Which would be cool, except he and his son come up with a way to create more magic cardboard, and then the creepy neighbor boy gets hold of it … Visually fun, and an entertaining tale though the character arcs are stock.\

THE SPAWN OF MARS by Wally Wood and various EC writers, as I mentioned last week, is heavy on twist endings; while the stories occasionally have some pathos in the twist, I’d pick DC’s Strange Adventures any day (even though the cover-first method of creation could be just as gimmicky as an ending twist). And while this tries for more technical realism, the technobabble is at least as tedious as some of what you’d get in the DC book.

LAZARUS: Lift by Greg Rucka and Michael Lark has Forever Carlyle dealing with a terrorist threat against her kin and an impoverished family struggling to get on the Carlyle payroll (the Lift process referred to in the title). Unfortunately the results are inferior to the first volume: The story is just a backdrop for flashbacks to Forever’s youth and to introducing the new characters, and it’s less interesting than the scheming of the first volume.

21870089LOBSTER JOHNSON: Get the Lobster! by Mike Mignola and Tonci Zonjic (cover by Zonjic, rights with current holder) has the Lobster targeted by the cops when a battle with two mind-controlled wrestlers leaves a chaotic mess behind it. Meanwhile, reporter Cindy Tynan is digging into the Lobster’s secret origin … Pulpy fun, though the subplot involving a gangster has no payoff (I realize that’ll come in the next volume, but it still felt like an awkward fit). I’ll have this on the Hellboy Chronology later today.

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Mad Max: Fury Road (#SFWApro)

There’s not much to say about MAD MAX: Fury Road (2015) that hasn’t already been said, so I’m not even going to try. Suffice to say, both TYG and I loved it. Creating amazingly real F/X is so normal these days, it’s been a long while since an SF movie’s visuals actually impressed me. This one delivered — it’s an insanely strange-looking desert trek as Max and Furiosa (Charlize Theron) struggle to get a local warlord’s wives somewhere they and their kids can live free. It’s also astonishingly fast moving—when I checked my watch I couldn’t believe an hour had already flown by. That’s some fine filmmaking.

Interesting points:

•Furiosa’s missing arm isn’t discussed at all. No history, no tragedy, no vows of vengeance on whoever cut it off, it’s just a fact of her life. That seems like a nice break from stereotype.

•There’s a real mix of women in this: young and pretty, hardboiled and old and tough.

•The film has caused a number of anti-women men to freak out over the film for showing a very tough protagonist in Theron and thereby implying a woman can, in fact, kick ass.

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Love across time, time warriors and other time-travel films (and TV) (#SFWApro)

Jennie_LoganTHE TWO WORLDS OF JENNIE LOGAN (1979) was one I watched years ago for Cyborgs, Santa Claus and Satan; rewatching, it strikes me as a variation of the time traveler meeting the Exact Double of his/her lost love. In this case, time-traveling Lindsay Wagner (all rights to image to current holder) turns out to be the exact doppelganger of 1890s artist Marc Singer’s dead wife—though illogically, even her father and sister don’t notice the similarity. The romance and Wagner’s struggle to change Singer’s tragic fate are OK, but like For All Time, it’s heavy on nostalgia for the 19th century. And given Wagner’s present-day husband is clearly no competition for Singer, the amount of time spent on them struggling to save their marriage seems pointless. “I feel warmed by him.”

TIMESCAPE (1992) is another I watched for that earlier movie book (when it was titled Disasters in Time) and rewatching confirms it’s very good. A loose adaptation of CL Moore’s Vintage Season, it has Jeff Daniels slowly coming to realize that the peculiar tour group holing up at his inn to watch “the spectacle” is actually composed of travelers from a dreary future traveling back to witness the great disasters of history. Which is obviously bad news for everyone Daniels cares about … nicely done. “You’re dead because you don’t feel. You’re dead because you’re so goddamned bored with your own world, you’ve got to come to ours to be disaster groupies.”

FOUND IN TIME (2012) is one of those movies where “ambiguity” seems to a euphemism for complete incoherence. Assuming that the protagonist isn’t completely nuts, however, this does qualify for the book as it involves people with a distorted time sense actually being able to sense the future and in a couple of cases change time, although that still doesn’t explain the Mysterious Figure who gives out cryptic advice. Nowhere near as clever as it probably thinks. “I want you to experience life the way well people do.”

LOVE & TELEPORTATION (2013) has a Mad Scientist struggling to perfect his defective teleporter despite the joint distractions of his loan-shark backer wanting the money ASAP and a Pretty Art Teacher finding him inexplicably fascinating (the writers know the lines, but the actors can’t generate the chemistry). An ending twist (which unsurprisingly I saw coming) turns this into a time-travel film—blandly watchable but not very interesting. “These are the best oatmeal cookies in the universe.”

JOSH KIRBY … TIME WARRIOR (1995) was a six-issue direct-to-video series from Full Moon Entertainment (the same studio that brought us Trancers) in which the protagonist is dragged out of his present-day home and into a quest to stop a villain from the future from assembling the parts of a super-weapon that can wipe out all time and space. This is above average for Full Moon’s kidvid though not above the level of a good Saturday morning live-action show. I watched Planet of the Dino-Knights, The Human Pets, Trapped in Toyland (which was quite amusing) and the closer The Final Battle for the Universe (it’s coincidence I missed parts four and five, but I can probably get by without them at this point). However the ending, like Forbidden Kingdom, suffers from Josh forgetting about his girlfriend’s heroic sacrifice as soon as he meets her Exact Lookalike.  “I appreciate the need to save the world, but I think I’m in over my head.”

Turning to TV we have ALCATRAZ, a short-lived 2012 series in which we learn the real reason the feds closed Alcatraz Prison is that everyone there vanished overnight in 1963. Now the most dangerous criminal of the 20th century are back, unaged, having traveled through time to the 21st; can a government team headed by Sam Neill figure out why this is happening and stop a new crime wave? The fatal flaw for me was that the hoods aren’t very interesting, nor do they seem any deadlier than the guys on all the other cop shows. So I’m not surprised this ended before we learned the hidden agenda behind it. “We can’t get in without the third key.”

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Maxed Out? (#SFWApro)

Forty-one hours this week though that wasn’t intentional. But I did extra work in advance to make up for the time I’d be spending giving blood Thursday. But it took less time than planned, and I forgot you’re not supposed to exercise after donating, so I had my normal exercise break to write.

I kept up my Demand Media work, watched my full slate of time-travel movies, ordered various posters as illustrations for the book, and worked some of the movie-credits section. I did not manage to start submitting stories again, but I did get in my next And column (not out yet). So productive.

blackhawk236But exhausting. Thursday afternoon, I felt like I was completely melting, probably because the extra work had wiped me out. So I stopped an hour early and did little but pet Trixie and Plushie (cover art by Dick Dillin and Charles Cuidera, all rights with current holder). It really is surprisingly demanding (compared to what I’d have thought a year ago) doing that much work while watching over the pups. Lord knows what it’ll be like when I’m writing more hours instead of watching movies.

Surprisingly I haven’t suffered the massive attacks of monkey mind I do sometimes when I’m stressed out. I’m staying focused, or reasonably so — dealing with dogs definitely isn’t stressful the way caring for a sick TYG can be.

But I do feel more exhausted than usual in the evenings. Partly that’s because an evening of writing/dog care segues into an evening of dog care (even though TYG helps) so I don’t really feel as if I’ve taken a break. I need to work more on that.

Okay, enough grousing. The fact is, I made 40 hours a week consistently this month, met my writing goals and still managed to be a good father to our furry children. This is a good thing. Rejoice!

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The Story Behind the Story: Kernel of Truth (#SFWApro)

My story Kernel of Truth is now out at Kzine. So as usual, here’s the background.

The story had its roots in Michael Pollan’s The Omnivore’s Dilemma, which included a lengthy discussion of our crazy farm policy. To take one example, the reason corn and corn meal and corn syrup is in so many things is that our agriculture policy pays good subsidies for corn. So much so that farmers can’t help but plant lots of it, because that’s where the money is. So the food industry then has to use the corn surplus.

I started to wonder if there wasn’t a hidden agenda behind our national agriculture policies (I think it’s SOP for writer’s minds to imagine hidden agendas behind things). And of course, hidden agendas require someone take action if the agenda is exposed, or threatened … and so we open the story with a US senator very very dead, and not accidentally. And we bring on my er, heroes, Det. Suarez and Hal Whitcomb, Vice-President of Security for the “big agro” firm GreenLife.

I don’t think I’ve ever had two less appealing protagonists. Both careerists, willing to do what it takes to get along, even if what it takes isn’t perfectly ethical. Neither one particularly skilled—Suarez is competent, Whitcomb’s a management type (I have known good management types. He is not one). I think at some level I was influenced by an article written by John Westermann years ago in Writers Digest where he commented that if your protagonists are stumblebums and losers, it’s no surprise they miss all the clues.

Another influence was my politics. Everything I’ve ever read convinces me that despite the endless right-wing cries for government to be “run like a business,” big business isn’t much better, and no, people who get big salaries and corner offices are often not super-achievers and wealth-producers (it’s been known for at least 20 years that CEO pay doesn’t track performance). So my take on the inner workings of GreenLife is somewhat jaundiced.

This is my third story out this year. That really makes me look forward to getting back to fiction writing next month.

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The twist is the story (#SFWApro)

The late film critic Roger Ebert once criticized a movie by pointing out that the premise (Kate Jackson discovers her husband is gay and tries to deal) was pretty much the entire plot. He did not consider that a good thing.

22488048Reading SPAWN OF MARS and Other Stories, a collection of Wallace Wood’s EC Comics science fiction art (cover by Wood, all rights to current holder) I’m inclined to think it’s not a good thing if telling the ending twist tells the entire story. For example:

The Probers. Scientist who thinks nothing of vivisecting animals winds up in the clutches of aliens who think nothing of vivisecting pink hairless apes

The Sinking of the Titanic. Man goes back in time to prevent the sinking and causes it instead.

Breakdown. Woman warns the authorities that aliens are hiding among us, plotting to take over. OMG, the authorities are aliens themselves! (as I mentioned here, this is a very old shtick in SF).

And so on.

It’s not like twists or last minute surprises are a bad thing in a story. And it’s normal to structure a story (at least on the later drafts) so it leads towards the end you have in mind. But there are some stories, like these, where it’s all about the ending. The rest of the story is just a set-up as necessary yet unimportant as the set-up in a joke.

These stories usually don’t work for me (there are exceptions). I’m not sure they work for anyone, because I don’t run into them except in old anthologies. Sometimes I can sense it on the first page or two, the feeling that whatever’s happening on the page is just marking time until the big reveal.

That feeling is one of the reasons they don’t work. Another, as Orson Scott Card once said, is that setting up the end often requires distorting normal behavior and characterization. To avoid letting readers see what the big revelation is, the writer can’t have the wrong questions or say anything that gives the game away. That can make the conversations seem unnatural, which makes the story unsatisfying.

HP Lovecraft’s The Whisperer in Darkness has some of this problem (as I mentioned a couple of years back). The story of a man discovering alien horrors lurking in the New England hills is certainly effective, but the narrator never suspects that when his contact switches from AAAH ALIENS to Aliens Are My Friend, something might be up. He walks blindly into a trap and never grasps the obvious, all so that the final revelation can be a terrifying shock.

Like I said, I don’t run into many stories like that these days. That is definitely a good thing.

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Doc Savage: So who was this Kenneth Robeson guy, anyway? (#SFWApro)

ManofbronzebamaIf you’ve followed my Doc Savage posts, you’ve doubtless noticed that the writers I credit include Lester Dent, Laurence Donovan and Harold Davis. But the name on every book is Kenneth Robeson.

The reason is simple. Lester Dent was Doc’s creator and the primary writer, but back in the pulp days, it was standard operating procedure to publish series like Doc Savage under a “house name,” a fictitious author. That way nobody was going to object if the publisher changed writers or, as frequently happened with Doc, Dent couldn’t get an issue in. Likewise Walter Gibson wrote well over a couple of hundred Shadow novels as Maxwell Grant, with ghost writers filling in the rest (Lester Dent was one of them, contributing The Golden Vulture)

This can make identifying the real authors of particular stories or series a challenge. Street & Smith also used the Robeson house name for The Avenger pulps, but most pulp histories I’ve read credit that series to Paul Ernst. Nevertheless, people do sometimes assume it’s Lester Dent’s work (heck, before I knew about Dent I assumed Kenneth Robeson had written both).

Dent is now primarily known for Doc, but he also wrote the Gadget Man series of adventures (I haven’t read them) and some serious hardboiled fiction for Black Mask magazine. I’m glad that he’s now able to get full credit for his work on the Man of Bronze.

(Cover by James Bama, all rights with current holder).

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The Mad Eyes of the Land of Fear: Doc Savage, with spoilers (#SFWApro)

I don’t usually post my Doc Savage reviews this promptly, but after a productive day, the deeper post I had in mind is a no-go, so …

4340896MAD EYES is another story by Laurence Donovan (cover by James Bama, all rights with current holder) and very different from the usual. Doc only appears for a couple of scenes in the first half of the book, which is a wildly chaotic tale involving insane men seeing terrible monsters, suspicious cops, impossible thefts (it’s not easy to move five tons of metal equipment without drawing attention), mysterious, seemingly invisible vehicles and a female lab assistant who claims Doc kidnapped her.

On top of that, the appearances turn out to be a Doc imposter. The Man of Bronze, we eventually learn, is tightly bound with rawhide in a cellar somewhere in New York’s tenements; the imposter gloats that by the time Doc’s body is found, it’ll be nothing but rat-gnawed bones. Of course, it doesn’t work out that way, but that is one of the most terrifying death traps from the series (I can envision getting gnawed alive by rats much easier than getting disintegrated by the Smoke of Eternity in Land of Terror).

It turns out that Jane, the young woman, is the real ringleader of the plot, which involves making tiny protozoans visible to the naked eye (the monsters everyone screams about) and a bacterial weapon that paralyzes its victims—after which the fake Doc will miraculously cure everyone, for a fee.

There are some details of the villains’ tech that don’t quite work; a bigger problem is the scientist on the bad guys’ side is a hideously deformed man whom the text informs us was hopelessly warped mentally by his warped body (paging The Cinema of Isolation …)

timthumbTHE LAND OF FEAR by Harold Davis (cover art—William Baumhofer?—rights reside with current holder) unfortunately uses another Doc Savage impersonator, though in a much smaller role. A bigger problem is that the African city of Genlee where the climax takes place is actually founded by Confederates fleeing the fall of the South (the name is a corruption of General Lee) to set up a small plantation in Africa. While they refer to the black workers as “field hands” rather than outright slaves, it’s hard not to assume they are. Whatever the concept of GenLee meant to the readers back in 1937, it’s now disturbing as heck.

The novel starts nicely with a very Lester Dent-ish opening (“Customs inspectors can stop contraband coming into the country. They can’t stop fear.”) and the familiar set up of someone trying to reach Doc with a plea for help. As usual, it doesn’t go well; approaching Doc’s skyscraper, the man suddenly transforms into a skeleton.

The skeleton death is an effective gimmick, more so because it’s not presented as a super-weapon in itself: its real power is that it scares the hell out of everyone, including the villain’s mob-boss sidekick “Greens” Gordon (he has an affectation for wearing green). For some reason I liked Greens’ description as a ruthless but cautious killer, always sticking with low-risk, modest-profit jobs until this one came along …

The McGuffin is a hybrid rubber tree the leader of Genlee has developed that will allow the United States to produce its own rubber supply, regardless of what wars and other issues do to foreign sources. This is an interestingly practical prize (reminiscent of benlanium in Mystery on the Snow) though obviously dated now.

Curiously, although the big bad is a master of disguise, able to impersonate Ham and Doc, he never actually uses it that way—instead, he simply uses his disguises to keep his real identity a secret. It’s odd, though not as big a problem as having an Old South plantation in the middle of Africa.

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The Power of the Pen: Writing Links (#SFWApro)

detective398(Cover by Neal Adams, rights with current holder).

Some news stories are already written by robots. As someone who’s written a lot of dull fact-regurgitating stories (So how is the real estate market in Destin this month?) this doesn’t seem like a bad idea. Though I could also see it being overused—it might seem like a logical way to cover city budgets, but those really need in-depth analysis (I’m unconvinced by the company that claims its robots can do that too—though of course I might be wrong).

•The current Hugo games have led to a heavy imbalance in men’s favor.

•How long should a pitch for a nonfiction story be?

•A look back at a writing scam from the past.

•How to write a brief synopsis (hat tip to Walk of Words)

•You can get away, maybe, with having a douchebag protagonist, but acknowledge he’s a douchebag.

•Studios suddenly realize women buy a lot of movie tickets.

•A musician says a copyright claim from Universal (which apparently licensed his music for something) kept him from playing his own songs on YouTube.

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