Showing posts with label rants. Show all posts
Showing posts with label rants. Show all posts

Monday, 4 September 2017

Joss Whedon, Barbara Gordon and DC's trauma fetish

So apparently Joss Whedon wants to use his Batgirl movie to “explore the damage” that made her become a vigilante. I kind of wanted to set out a reasoned and calm counterpoint to this but it just sort of came out as a rant so here we go!
No. No no no no no. We do not need this. The DCEU does not need this. No one needs Barbara Gordon of all characters reduced to another showcase of trauma fetish like Batman has been stuck as for seven decades and counting.

You want the story of why Barbara put on the suit? Here's a quick run down of the best version there ever was: she was too shirt to be a cop. Her father was a cop and as a kid she wanted to be a cop, she saw it as the noblest form of public service and public service was what she wanted to do with her life. Unfortunately, she didn't meet the GCPD's physical requirements even though she was more than academically qualified.
Then one day she does to a costume party, a big political thing her father had been invited to, and she's sort of pissed with her dad over something and she wants to show him up a bit. Her big plan for needling her father? She makes her own Batman costume and she's going to turn up to this party, the daughter of the police commissioner dressed up as the police department's dirty little secret.

And then someone takes the party hostage and its just her in a Batman costume and she's really smart and has enough bsic self-defence to get by and she manages to rescue everyone but before she can tell her dad who she is everyone is taking pictures of “the Batgirl” and suddenly there's a new vigilante in Gotham. She sees her way into public service, a way to do right when the official channels of law and order don't want her, she decides she'll become the Batgirl for real. She tries things, screws up, takes advice here and there, meets Dick and starts the whole on-off relationship thing, and over time she earns enough respect from Batman that she becomes the first costume in Gotham he “allows” to operate in the city outside of his immediate operation (a cool tradition of the female Gotham heroes is that, Cass Cain aside, they tend to be independent operators outside of Bruce's strict control).

Its as simple as that. There's no great damage or trauma there. Barbara Gordon wanted to do good and the Bat allowed her to do that when doing it the socially acceptable way wasn't possible. That's Barbara's story. For that matter, its Kate Kane's story, too. Not every superhero needs to be wedded to GRAND SUFFERING and ETERNAL TRAUMA just because untreated mental illness is the only motivating factor that seems to work for DC's marketing people.

Its not like Barbara is without pain or eternal conflict. Depending on the version you're reading she blames herself for Jason Bard's shooting and the end of his GCPD career; the end of her relationship with Dick is a source of eternal mixed feelings; and, to be frank, being the daughter of the police commissioner and a vigilante is one hell of a line to walk and you're going to end up with issues. The thing is that this doesn't totally define her the way the death of his parents defines Bruce or her cashiering from the military defines Kate's journey to the costume. Even when she loses the use of her legs and becomes Oracle that trauma does not define her. Its ever-present, as it should be, but again it isn't her soul motivating factor.

One might almost call her very varied set of emotions and motivations... complex? As if she were, to coin a phrase DC seems to not be aware of, a “complex character”?

Just a thought. 

Tuesday, 22 August 2017

On the psychoanalysis of Harcourt Fenton Mudd

A thief, a swindler, a con man, a liar and a rogue
At least, he left that impression.
SPOILER ALERT for the Star Trek: The Next Generation novel The Light Fantastic (and probably also Immortal Coil and the Cold Equations trilogy and I'm sure there's more but those are the titles I remember in this series-ette).

MUDD
“... of course, I left.”

KIRK
“He broke jail.”

MUDD
“I borrowed transportation.”

KIRK
“He stole a spaceship.”

MUDD
“The patrol reacted in a hostile manner.”

KIRK
“They fired at him!”

MUDD
“They've got no respect for private property! They damaged the bloody spaceship!”

- ST:TOS: I, Mudd by Stephen Kandel

So I've nearly finished the latest (I think) in a loose series of TNG novels about Data and various other Star Trek artificial intelligences, Jeffrey Lang's The Light Fantastic. This one deals with the sentient hologram Professor Moriarty, long ago shoved into a free-roaming simulation of the galaxy towards the end of the TV series and left there evr since. Obviously, there wouldn't be much of a novel if that happy ending stayed happy so now he's pissed and has kidnapped someone close to Data (spoilers...) so Data will find him a real world body to inhabit.

The novel also features flashbacks to my favourite Original Series villain ever, Harcourt Fenton Mudd, that glorious rogue, and his fate after his last appearance in I, Mudd. Unfortunately, they don't stay flashbacks.

Not that I have any problem with the idea of Mudd interacting with later crews, in fact there's probably a lot of mileage to be had there. Its not even (particularly) a problem for me that this is yet another TOS-era character who has somehow contrived to live to the era following the Dominion War alongside, by my count, Jim Kirk, Spock, Bones, Uhuru, Chekov and Scotty. You know, I think at this point Sulu is the only person on that crew who had the decency to die in anything resembling a timely fashion.

Rather dents Picard's insistence that Spock's “cowboy diplomacy” belongs to a bygone age if everyone from that bygone age is still knocking around, is what I'm saying.

No, the problem is that Lang decides to try and delve into the psychology of Mudd. Lang's conclusion is that Mudd is a classic narcissist and his survival this long is down to spending a large fortune he acquires before the last of the flashbacks (sometime circa The Voyage Home) on life-extending technology because he can't bear to leave the universe without the privilege of having him in it.

I mean... Lang's not wrong, exactly, not in his basic conclusion. Its hard to say that Mudd isn't a narcissistic personality. Its just that the final flashback with Mudd in a bar, richer than he ever imagined, and running into Uhuru who greats him like an old friend felt like such a good ending, such a right ending. He has everything he ever wanted but he still feels the pull of wanting to cheat people (he desperately refers to meeting his banker as “a job” like he was robbing the guy, just to feel like himself for a moment) and maybe he'll fritter it all away and do one last job and maybe he learns to live with his happy ending and it was just such a nice note to leave him on.

Then he turns up in the 2380s at a hundred and god knows years old in a mech suit that's part wheelchair and part hospice bed trying to find a way to become immortal using salvaged AI bits.

Its sad. I don't even care if he gets a happy ending out of it, its just sad and as much as half the fun of a character like Harry Mudd is seeing them be constantly frustrated they aren't meant to make you feel sad.

Characters like Mudd are meant to be fun! There's no reason to bring psychology into it or realistic consequences. They're just there to be fun. Maybe its because I was practically raised on Robert Holmes' Doctor Who stories but I've always loved a good comedy rogue.

KIRK
“Harcourt Fenton Mudd. Thief -”

MUDD
“Come now.”

KIRK
“Swindler and con man...”

MUDD
“Entrepeneur!”

KIRK
“Liar and rogue.”

MUDD
“Did I leave you with that impression?”
    - also I, Mudd

I realise that if Mudd were a real person I wouldn't want him to get away with the things he does. Hell, even as a fictional person I rather enjoy the inevitable commeuppence that's an essential part of any story he appears in, but I also admit that he's there for me to enjoy. He's a note of absurb and adorable criminality in the ever so orderly and lawful world of Star Trek. There's so much to relish about the character, not least of which the highly distinctive voice given to him by actor Roger C. Carmel.

As much as Lang captures the voice and the essential psychology of Mudd, I wonder whether he felt the joy a character like that is meant to give a writer: the deliciously naughty glee at writing someone dishonest that you know the reader is going to root for anyway, just a little.

I can't root for this version of Mudd. I just can't. He's a bitter old man whose fits of anger are genuine rage instead of wounded pride, who takes no joy in his schemes because now they really are life or death instead of get rich quick shenanigans.

Still, at least Lang has finally written one of the dream scenes of Star Trek: Data meeting Vic Fontaine. 

Tuesday, 4 July 2017

eBay: the only way to buy Forge World miniatures

My grudges against Forge World, specifically their quality control, are neither unique nor something I've ever been quiet about but this past week something happened to throw it all into sharp relief.

Yesterday, I received a package in the post. It was some Death Guard Grave Warden Terminators I'd ordered from a seller on eBay. I bought them from a seller of second hand wargames miniatures called Recycled-Marine.
Now, here's the thing about the models I received: they were de-flashed; built; primed; they had no mismoulds (or if there were any, they were filled in prior to priming); I saved £19 on the RRP; and, there was even a slip included in the packaging with contact details if I had any problems with my purchase quite.

It struck me as pretty bad, practically indefensible, that a random eBay store had better quality control than the original makers. That's not how capitalism is meant to work. Forge World should be incentivising purchasing from them directly but they simply don't offer anywhere near the assured quality of being able to see a photograph of the models on eBay.

Think about it: effectively, because of packaging, any model I buy is sight unseen. I have a box of Custodes on my desk right now that I haven't opened because I'm saving building them for when I get a big audio box set later in the month. The thing is, I can feel pretty much assured that the sprues inside are properly moulded and if they aren't I can easily get a refund or replacement by wandering down town to the local GW store.

Forge World has none of that. Being an internet business their returns policy is a bugger and their resin is terrily fragile and prone to distortion with no way for me to inspect them before purchase.

There are a lot of things I like about Forge World. Since they get to budget for a niche audience within the hobby they can greenlight projects that Citadel Miniatures can't guaratee a return on. There's a Lost And The Damned range of miniatures because of this, there are Legion-specific units because of this, there are Chaos Dwarfs because of this.

I just wish I could buy more of it without worrying it'll come to me in a completely unuseable condition. 

Tuesday, 16 May 2017

Goodbye, Black Panther & The Crew

Patience, they said as they made Captain America a Nazi. Patience, they said as the situation got worse and worse, as they told us Magneto was joining Hydra, too. Patience, they said as more and more context piled moral offense upon moral offense on the road to Secret Empire. Patience, they said for more than a year as they geared up to fill my pull list with unavoidable Nazis.

Then they cancelled Black Panther & The Crew after two issues due to poor sales. The most promising team book I've seen Marvel put out in years, that I did not see one ad for in any of their comics aside from Black Panther, will now run for a single six issue arc.
All this has happened before and all this will happen again, as the saying goes.

This was genuinely the most promising team book I've seen from Marvel since Keiron Gillen's Young Avengers. Its Harlem setting was fascinating and well-researched, Ta-Nehisi Coates' angles on Storm and Misty Knight were interesting even beyond the sheer novelty of having those two very different women working together. It was all tied in with the history, both real and fictional, of Harlem which is just something you don't have reason to learn much about when you're a white bloke from the south of England. All that was great and at the end of the second issue Coates finally introduced Black Panther to his own team book and we were off to the races.

Well, not so much now.

This is a microcosm of something I've been banging on about for a while. You see, as I write this I have Coates' Wikipedia page open and I am wondering how a series written by someone like this, with past work like his, isn't one of the biggest deals in Marvel's publishing portfolio. His second book Between the World and Me won the (US) National Book Award For Nonfiction and was a Pulitzer finalist. He has a television deal developing a series for HBO about Martin Luther King being produced by Oprah Winfrey. Not being American, I don't know exactly how famous these distinctions make him but I think that there would be some potential in getting his name out there to attract new readers...

… if Marvel, or any comics company, actually advertised anywhere other than inside their own publications.

So here we are again, with the insular nature of comicbooks coming back to bite the industry on its arse. Now, I'm as big a supporter of promoting internally and recognising when someone has paid their dues as you'll get but right now a title about a team of African and African-American characters set in Harlem written by a Pulitzer finalist who has written extensively about African-American history and philosophy has died on the vine. Meanwhile, a huge crossover event about Captain America being a Nazi at the worst possible moment in modern history is being handled by a man whose only claim to fame outside comics is a failed political career in Cincinnati and whose Wikipedia page refers to a 2011 one-shot in the future tense gets the lions' share of the company's meagre advertising budget, questions have to be asked.

Questions like: what the hell are you guys doing? Do you want new readers or not? Why did you bring Ta-Nehisi Coates into the comicbook industry if not to use his existing reputation to sell product?

Do you, in short, have any plans to actually grow your business or are you content to allow Disney to act as your life support system until they decide that just having the IP rights means they don't need your niche, barely profitable product cluttering up their portfolio?

Because that's what's going to happen at this rate.