Can You Read My Mind

More musings on Superheroes by David Schwartz…

Long ago, during a school visit to a top secret Government mathematics facility, I was bitten by a radioactive abacus: I quickly discovered I had gained an uncanny ability to count things. I was tempted initially to use my superhuman skills for personal gain, and very nearly became an investment banker. Instead under the cover of my alter-ego “The Plus One” I have employed my unique talent in the fight against crime for many years, and can even claim to have saved the Earth on five occasions. Or was it four?

Even with my phenomenal counting abilities I seem to lose track of the number of times the Superman concept has been “reinvented.” The novel Superpowers is just one of so many examples: films such as Unbreakable, Mystery Men, Push, Next, Jumper, Kick-Ass, Super, The Incredibles, and TV series such as Heroes or Misfits have already been there. Superheroes falling out of favour with the public, turning against the humans or against each other, with and without costumes, alter-egos and actual powers, with corporate sponsors, and with insanely powerful or eccentric powers – haven’t we all at some time fantasised about being able to hurl forks with deadly accuracy, or to make fish explode?

It doesn’t require any supersenses, though, to see that most of these “reinventions” are nothing of the sort. The Hulk never wore spandex! Batman never had any powers! Superman makes fish explode all the time! (allegedly) One theme that never seems to go away is the supervillain, and the cliché that the hero and villain complement each other.

Superpowers is therefore exceptional in that much of the story is about the absence of supervillainy. The All-Stars make a real but underwhelming impact on local crime statistics. They both assist and annoy the police, and the public become irritated and litiginous but fall short of baying for blood. Without a supervillain or doomsday plot they lose their way and lose their hero status – their powers also have their own limitations and divide the team more often than uniting it.

It turns out that the plot is smarter than this. There’s a twist coming – it was foreshadowed in the first line of every chapter but it still took me by surprise. Perhaps superheroes exist in our minds because supervillains do indeed exist in real life.

Absolute Power [Review: Superpowers]

Five college flatmates suddenly develop a range of superpowers and form a costumed vigilante group. Yes! David Schwartz’ novel Superpowers is yet another attempt to reinvent the superhero mythos – more on that story later. The plot of this novel has a superficial similarity to the film Chronicle and does cover some of the same ground, however the climax - and perhaps the point - is very different.

As the title suggests, the novel is all about the powers themselves. All five superstudents go through similar superpower angst: Mary Beth, gifted with superstrength, breaks everything she touches – her toothbrushes are doomed, as are the ribs of any potential boyfriends. The self-styled All-Stars learn to control their powers, up to a point, but they are isolated and lonely, and their situation divides the group more often than it unites it. Also, having a power will only take you so far – you can read someone’s mind but you might still not be able to influence them. In the end they are hopelessly unprepared for the crisis that is coming.

The cast are pleasingly diverse. That’s SOP for novelists now, ever since Ben Elton daringly wrote his novel Gridlock which features a traffic warden hero. The ethnic diversity is also a pointer to another aspect of the book. The term “superpowers” has another meaning, and the issues faced by the All-Stars can be read as a metaphor for conflicts played out every week on the international stage. The Earth’s most powerful countries routinely have to decide how and when to use their economic or military strength, and whether to intervene in the affairs of other countries – and in the resulting pressure, mistakes can be made.

Work in progress: Stubble part 2

Modelling another simple head from a sphere, blocking out texture zones and basic features. Next goal will be to rig both for some facial expression and lip synch, but that's for another night.

Stubble and Evie

[produced in Blender 2.67]



Work in progress: Stubble part 1

Modelling a cartoon head in Blender starting from a UV sphere.

 Blocking out some features:

Adjusting features and assigning some materials. Using the new Freestyle feature to add cartoon outlines.

 Freestyle with perlin noise geometry for a more sketchy look:

 [produced in Blender 2.67b]

"We Can Get You Some Really Cheap Gear" Screening: SHORTz

"We Can Get You Some Really Cheap Gear" will be screened at SHORTz short film and music night on 2nd June at East Bloc, Hoxton. Details here.

Mega Black Jack Geary Vs Giant Honor Harrington

John G. Hemry (Jack Campbell) and David Weber are two acclaimed writers of military sci-fi - the Lost Fleet and Honor Harrington series. I reviewed Dauntless here, have worked my way through Fearless, Courageous and Valiant and the rest of the series since, while I read and enjoyed the Honor Harrington novels several years ago. At first glance they seem very similar: both series describe massed battles between large space fleets with naval command structures and ship classes, clashing at relativistic speeds and fighting with missiles and beam weapons. Both feature very charismatic commanders. Both authors share the extraordinary ability to describe a large and complex military action in such a way that even we civvies can follow the action and understand the tactical errors made by the commanders.

David Weber is an avid historian and draws extensively on history for inspiration. The Napoleonic wars are important but in some ways this is a front – there are coded references to other historical eras everywhere if you start to look for them. The ships of the Star Kingdom have impenetrable shields above and below. As a result they fight like sailships, firing broadsides then rolling to fire double-broadsides, crossing the enemy T, forming walls of battle and so on, with only a little adaptation for three-dimensional theatres and gravity wells. It’s contrived but artfully so, and other features such as the Warshawski hyperspace sails uphold the sailship analogy.

The battles and wars in the Honor Harrington series are often recreations of real historical and political dilemmas: the different attitudes towards losing commanders on British and French sides, for example, or the social pressures that might lead a society first to republicanism and then to war.

Hemry’s background is his own Navy service. While his backstories are equally detailed, the links to specific nations or cultures are much less clear - instead the Alliance seems to be a generic feudal culture while their opponents, the Syndicated Worlds, are an equally generic business-led society where ships are commanded by CEOs. Also, where Weber’s writing celebrates history, Hemry’s seems to celebrate physics: in particular relativistic distortion becomes a major theme in every battle. On the other hand the ships of the Lost Fleet are not constrained by seafaring tactics and, once Blackjack Geary manages to stop his captains’ overreliance on the Suicidal Head On Charge, the 3D tactics become fascinating.

By choosing a more generic setting, Hemry’s writing is less about the morality of specific historical wars and more about the morality of war in general: atrocities and murders, treatment of prisoners, the importance of tactics, the politics, and the value of basic discipline, as well as the human cost of war. These issues come up in the Star Kingdom too, of course, just as they do in real life.

But all this distracts from the most important question: who would win in a fight? Fleet to fleet they are well matched: both are strategic and tactical genii, both have, at times, faced overwhelming odds and snatched victories from the jaws of defeat, both have turned rivals amongst their own captains into faithful allies, and importantly both make their own luck by responding quickly and intelligently to situations. They’re both devious as hell too – expect a battle full of feints, diversions, melodramatics and underhand tactics. Geary might have a slight edge simply because he’s used to commanding a much larger fleet. On the other hand, in a face-to-face combat situation, I don’t think Geary would stand a chance against the coup de vitesse.

Doctorin' The Tardis [Review: The Name Of The Doctor]

My money was on the Doctor being Kandy Man all along... damn.

Madame Vastra hears a cryptic message about the Doctor from a murderer and with Jenny's assistance she brings together Strax, Clara and the deceased River Song via a trance. When the Doctor eventually hears the message himself, he and Clara set out on a voyage to the one place a time traveller should never go - the location of his own grave.

The Name Of The Doctor leads to an extremely clever reveal and central concept, and it does at least look as if the whole Clara story arc has been building to this point. It's also got a lot of heart - some nice scenes with the Doctor and River Song, as well as the relationships between other characters, and for the long-suffering Doctor Who fan there are glimpses of the Doctor's earlier reincarnations, digitally remastered and worked into the plot.

However before you get to the really good stuff, you do have to swallow two bitter pills: the fact that "time travel has always been possible in dreams" (no it hasn't, sorry) and the appearance of the laziest Doctor Who creatures ever, the White-Stocking-Over-A-Plastic-Skull-Maskodonians.

Government cutbacks have gone too far. Even the Romanian entry in this year's Eurovision Song Contest made more of an effort to look sci-fi.

[It's My Life - Cezar]

Some plot elements remain vague and mysterious - it's hinted but not fully explained that the cheap monsters are just information, as is River Song, and this is connected in some way to the Library where her personality was stored after her death. Also, the Doctor and Clara have to Tardis it to the supposed graveyard with great difficulty - but the Cheapikons can get there, bringing Vastra and the others, using only background music and a couple of focus pulls. The last few seconds make no sense, but not to worry - Moffat and friends have until November to come up with a plausible explanation. Once again an episode promoted as something incredible turns out just to be a regular one but still enjoyable.