Tag: Storytelling

Star Trek into Idiot Plot

2013-06-07, 11:15 pm
Categories: Movies, Stream of Consciousness

Major spoilers follow, I guess, albeit mostly stuff everybody's been expecting since roughly the end of the last movie.

So let me get this straight.

Eric Bana travels back in time and kills Kirk's father.

And this causes Ricardo Montalbán to turn into Benedict Cumberbatch?

Did that happen 300 years prior to the era Bana actually traveled to, or did it cause an already cryogenically-frozen Ricardo Montalbán to turn into Benedict Cumberbatch?

Like, was he really surprised when he woke up?

I kept waiting for the other shoe to drop and for the real Khan to be the guy in the pod they had to open up to save Kirk.

I mean, it's not like the plot reasons for Khan's ethnicity and national origin changing are that important. There is a rather strong argument to be made against the Hollywood trend of recasting minority roles with white guys (and no, trolls, casting Laurence Fishburne as Perry White is not "the exact same thing", because you see making a film's cast more diverse is not the exact same thing as making it less diverse), and, moreover, there are some rather regressive overtones in making the ultimate genetic model of a human being a pasty white guy. But as for the plot reasons? You could really handwave all that stuff. Whatever; it's just a movie; they recast the guy. Don't think too hard about it.

Which would be much much easier to do if the last act of the film weren't spent beating you about the head and shoulders with Wrath of Khan references.

After the first couple, I thought, You know, I'm getting way more out of this than people who haven't seen Wrath of Khan recently.

By the end of the film, I thought, You know, they're much happier for not getting all those damn references.

Hell, I was the only person in the theater who laughed out loud when Spock yelled "Khaaaaaaaaaaan!"

Anyway. I'm a casual Trek fan. I've seen a few episodes and movies here and there; I generally enjoy them.

I can definitely see the fans' gripes that the new movies are dumbed-down action flicks -- but what the hell, they've been pretty entertaining, and impeccably cast.

I still love Benedict Cumberbatch. Even if I don't think they should have cast him as a Mexican.

Welcome Back to Astro City

2013-06-06, 8:11 pm
Categories: Comics, Stream of Consciousness

One morning when I was fourteen years old, my uncle asked me, over Sunday breakfast, if I'd heard of Astro City.

"It's great," he told me. "There's this kid who comes to the big city because he wants to get a job as somebody's sidekick."

"Sounds like something out of The Tick," I said.

"Kind of," he responded, "except that it's played totally straight."

So I picked it up, and Uncle Jon was right -- it was wonderful.

I don't remember if #4 or #5 was my first issue, but in short order I'd bought all the back issues too, including the trade of the original miniseries. I haven't missed an issue in the 16 years since. And most of them have been downright sublime -- while, at worst, some were merely all right.

Astro City has disappeared a few times over the years, usually owing to writer Kurt Busiek's chronic health problems. Yesterday, after a nearly three-year hiatus, it relaunched with a new #1. And it was delightful.

Straight away we're introduced to a new character (though one, Kurt teases, who we've seen before) called the Broken Man. He looks like Bowie in Labyrinth or Dream in Sandman, and he breaks the fourth wall and addresses the reader directly as he narrates the rest of the issue.

And what an issue it is. It's new-reader friendly and makes for a great jumping-on point -- but it still manages to pack plenty of nods in for the old fans. Brian Kinney, the kid who came to Astro City in 1996 to become a sidekick? He's in there. And some other familiar faces are too.

It feels like going home. It feels like checking in on old friends you haven't seen in years. And there's only one other comic book that makes me feel like that: Love and Rockets. I think it takes a pretty specific set of variables -- a strong, singular vision by the same creators over a sustained period of time, who are willing to let you feel that passage of time as their characters grow and age, and who are confident enough in their world-building that they can take a break from the same old characters, explore the world, and check back in on the old cast a few years later.

Reading Astro City is like coming home. There's a purity to it, and a joy, and an earnestness. In a time when the superhero genre and superhero fandom are dominated by cynicism, Busiek, Anderson, and Ross aren't afraid to show a world that's bright and full of wonder. And to tell a story that has a complete beginning, middle, and end all in one issue, even if it is Part One of something.

It's not entirely free of irony -- the Broken Man makes a crack about the previous story arc a couple of pages in that made me laugh -- but it's cheerful. It's a book that remembers that superheroes can be both fun and awe-inspiring.

Or not. Because, as much as anything else, it's also a book about ordinary people going about their ordinary lives in an extraordinary world. Regular folks, going to work, living their lives, raising their families.

And that's why Astro City struck a chord. And why it continues to resonate, two decades in. The title aside, it's not really about the city -- though the city is certainly important -- and it's not about superheroes -- though they're pretty important too. It's about people.

And in the new Astro City #1, Kurt Busiek delivers a solid story, with faces new and old, new mysteries, and the prospect of plenty of adventure to come.

As for Brent Anderson, he's really hitting his stride again too. I was a little disappointed with some of his recent work as he began experimenting with digital inking, but in this issue he's back to his crisp old self. His Samaritan, in particular, is a joy to see again, and he handles the rest of the sizable cast with aplomb. Whether he's doing an action scene or just swooping in on an ordinary family, he keeps the action brisk and dynamic. And I'm particularly fond of the new, Kirby-inspired alien character who shows up near the end of the issue.

Ross's cover (I got the "main" one, I guess?) is great as always, but this time it's more remarkable for its composition than for its detail, as 2/3 of it is the dark shape of two doors opening out on the world. It fits the story nicely -- both reflecting the mysterious door as a focal point, and drawing attention to the reader looking in on this world from outside, another key element of the story.

So, by all means, go out and buy the new Astro City #1.

And in the meantime, the original, 1995-vintage Astro City #1 is free on Comixology.

If you want a few more recommendations, my favorites are the first three trades, Life in the Big City, Family Album, and Confession. You can read them in any order (chronology is important for the later ones, namely The Dark Age and Shining Stars, though those appear to be out-of-print at the moment anyway).

And while I urge you to support your local comic shop or independent bookseller, well, if you'd rather do the Amazon thing here are some links that I'll get a kickback on:

  1. Life in the Big City (original miniseries -- 6 self-contained issues)
  2. Family Album (ongoing series #1-#3, #10-#13 -- some self-contained issues and short story arcs)
  3. Confession (ongoing series #4-#9, a single story arc, plus a short story from #1/2)
  4. Tarnished Angel (#14-#20, another arc)
  5. Local Heroes (#21-#22, the eponymous 5-issue miniseries, the Supersonic one-shot, Since the Fire 9/11 tribute -- mostly self-contained single-issue stories; I think there's one two-parter in there)

...and from there it looks like kind of a mess, with The Dark Age and Shining Stars apparently out of print for the time being. I'm guessing that'll change soon; maybe I'll update this post when they're easily available again. Meantime, it looks like the individual issues are pretty easy to get ahold of.

Anyhow, all this to say...I love me some Astro City, and the new #1 did not disappoint. I'm glad it's back.

Go, Ken, Go! -- Part 1: Sonic Fandom ca. 1996

2013-05-13, 6:11 pm
Categories: Cartoons, Comics, Games, Politics, Stream of Consciousness, TV

I'd like to talk about Archie v Penders, because it fascinates the hell out of me. In fact, I've got enough to say about it that I'll be on the subject for most of the week, if not longer.

But I should probably get some disclosure out of the way first.

First of all, my feelings on creators' rights are pretty well known.

And second, I corresponded with Ken Penders for years in the mid-1990's and he was pretty cool to me.

It may be hard to remember in these days where I can just get into a political debate with Ethan van Sciver or ask Kurt Busiek about his unpublished Final Fantasy comics, but it wasn't so long ago that most people didn't have the Internet and it wasn't common for fans to connect directly, personally, and regularly with comics creators.

The first cartoonist who I ever knew to directly engage his fans online was Ken Penders. (Not the first person, and not even the first person who worked on Sonic the Hedgehog at Archie -- that honor goes to editor Paul Castiglia, who likewise was a class act -- but the first person who was actually writing, drawing, and inking the things.)

In those days, the main place where I participated in Sonic fandom was on a mailing list run by Ron Bauerle. And when I say "mailing list" I mean something less sophisticated than an automated majordomo system; I mean people E-Mailed Ron and he forwarded those E-Mails to a list of addresses, manually, with some edits and comments of his own.

Ken was kind, engaged, patient, and forthcoming. He took the credit or blame for ideas that were his, and he was entirely candid about decisions that were forced on him by Archie or Sega.

I always liked the guy, though I grant I often had a funny way of showing it. I was thirteen, fourteen years old, and behaved about like you expect an angry, entitled, teenage member of comic book fandom to behave. And Ken was always patient and polite with me (and others), even when I didn't earn it.

In my defense, there were times when he actively and transparently trolled the fans. The biggest thing that ever happened on Ron's mailing list was when one day Ken posted -- in a fake casual, "oh by the way" manner -- that he'd just written a script where he killed off Princess Sally.

He may not have deserved all the vitriol he got for that -- but he did very clearly and deliberately invite it.

(And while I remember being nastier than I should have been, I won't recant the substance of my criticism of the story -- if possible, my disdain for the "women in refrigerators" and "revolving door of death" tropes has only deepened in the intervening years. It was a terrible idea, a terrible execution, and, all right, at least the "Director's Cut" reissue of #50 shows that editorial meddling made the comic even worse than if Ken had done it the way he wanted to.)

But again, I always liked Ken -- he was a nice, friendly, forthright guy, who made time for his fans. Even when I didn't like the comics he was writing or drawing, I still liked him.

And, nontrivially, I also think he's a big part of why Archie's Sonic comic is still out there.

The mid-1990's were a weird time for Sonic fandom. The cartoon had ended, and the games were going through what would become the longest dry spell in their history.

Nobody expected, fifteen and twenty years ago, that Sonic the Hedgehog would still be running in 2013, zooming toward issue #250. (And that fact is essential to understanding the current legal disputes. It looks to me like Archie got sloppy with its paperwork, precisely because this was a licensed comic that they didn't think would last. But more on that tomorrow.)

Indeed, Ken didn't tell us at the time, but there was every possibility that the book was going to end with #50. I mean, given that the story arc was called Endgame, that should have been obvious, in hindsight.

But Ken, more than anybody else, is the guy who kept the book afloat. He's the one who took the wheel in the teens (#16?) and decided the book should depart from the slapstick roots of the Scott Shaw/Mike Gallagher/Dave Manak era and generally start to look more like the Saturday morning cartoon. He wrote more complex, character-based stories. That's how the comic attracted an audience outside its 8-to-12-year-old target, how it managed to keep its 8-to-12-year-old target, and generally the reason there's still a Sonic comic at all. Ken believed in the book, he took it seriously, he made it the best he could. It wasn't always great -- in fact, there were times it was downright lousy. But a Ken Penders story was still usually better than anything printed in the first 15 issues.

And look, I quit reading Sonic comics ages ago. People say Ian Flynn is great and I take them at their word. I definitely acknowledge the possibility that he's writing better comics than Ken ever was. I don't know.

But I am pretty confident that Ian Potto would never have gotten a job writing Sonic the Hedgehog if not for Ken Penders. Firstly, because there wouldn't have been a Sonic comic if Ken hadn't shepherded it through some of its most turbulent years, and secondly, because it was guys like Ken, Paul, and Karl Bollers who interacted directly with the fandom and created an environment where fans like Flynn and Dawn Best could actually make the step to pro.

So anyhow, that's my bias in all this. I like Ken Penders as a dude. I like a lot of what he did when he wrote and drew Sonic and Knuckles. I don't like a lot of what he did, too -- and while a lot of that's down to editorial meddling by Archie and Sega, some of it is indeed down to decisions made by Ken himself.

But that's not why I think he's right and should win the case against Archie -- indeed, when he first announced he was pursuing legal remedies I thought he must be crazy, and said so, rather rudely.

But as the facts have come out, I've found myself believing Ken isn't just morally in the right, he's legally in the right.

And that doesn't have anything to do with whether I, or anyone else, actually like him, as a person or as a writer or as an artist.

That's a point Sonic fanboys just can't seem to grasp in this case: whether or not you personally like Ken Penders's Sonic and Knuckles comics is completely irrelevant to the merits of his legal case.

Free Comic Book Day Musings, 2013

2013-05-06, 9:54 pm
Categories: Comics, Stream of Consciousness

A highlight reel from the last couple days on Brontoforumus:

The Tick

(Originally posted yesterday, 2013-05-05.)

The free Tick is pretty great but makes a basic storytelling mistake in not introducing the supporting cast. I know who Tick and Arthur are, but Bumbling Bee and Rubber Ducky aren't referred to by name until pages 12 and 13, and they never say Cod's full name, unless Cod is his full name.

I know there's a general backlash against techniques like the 1960's era of characters all addressing each other by name on the first couple of pages, and the 1990's method of just having each character's name appear in a caption when they first appear, but there are still ways to integrate it organically in the story. Arthur addresses Bumbling Bee as "Bee" several times in the first few pages, and she later tells Cod she wants to "meet up with Ducky". Those could trivially be changed to the characters' full names without seeming out-of-place.

And again, Cod is referred to as "Cod" exactly once in the story, and I assume that's one more shortened name.

For all that it's still a perfectly fun Tick comic. Arthur gets a vacation, Tick gets an undersea adventure, there are hijinx with the other heroes, and eventually Arthur gets to save the day. It's enjoyable. I would buy more Tick comics if they didn't charge seven bucks for 20 pages. And I heartily recommend the Complete Edlund collection, even though it is really pricey for its quality of materials. ($35 for B&W on newsprint -- but you will definitely get $35 worth of enjoyment out of it. I keep meaning to do a full writeup of it.)

The backup stories and prose sections aren't bad either. But given the latter's repeated reference to how this is bound to be some people's first Tick comic and be introducing people to these characters for the first time, it's that much more baffling that they dropped the ball on actually introducing the characters.

Superman

(Originally posted yesterday, 2013-05-05.)

DC, of course, has spent the past two years on a big relaunch, where its continuity is fundamentally changed and all the characters are redesigned.

And so, for the Free Comic Book Day issue of Superman, which is likely the first Superman comic many people have picked up in years, if not ever...

...they reprint the Donner/Johns/Kubert issue from, what, 2006, 2007, that introduces Chris Kent.

Lois still knows Superman is Clark Kent. They're still married. His costume still has red trunks on it. And the story is best-known for the introduction of a character who was written out pretty soon after, who nobody really remembers, and who sure as hell doesn't exist in the New 52.

But we can't have Stephanie Brown appear in Smallville, because that might confuse people.

Star Wars

(Originally posted earlier today, 2013-05-06.)

The Free Comic Book Day issue is pretty much the perfect little Star Wars story: somebody for some reason decides it would be a great idea to fuck with Darth Vader, and then learns that it really isn't after all. Also Boba Fett gets to shoot some dudes.

I think it's Wood's best Star Wars comic yet; all of my complaints about the pacing-for-the-trade present in the main series are gone here, it's over and done in pretty short order.

It's so easy, after the last 4 movies, to think of Vader as a gigantic pussy. This comic doesn't just play him as a stone-cold badass, it actually uses his engineering talent cleverly too (spoiler: as he's crawling around the outside of the ship, his would-be assassin tries to jump into hyperspace -- but Vader's already destroyed the hyperdrive with his light sabre).

Anyway. It's free (though you've gotta sign up for an account); it's well worth reading. It comes with Avatar (the Last Airbender) and Captain Midnight, too; haven't gotten around to reading those yet.

Digital Freebies

(Originally posted earlier today, 2013-05-06.)

Anyhow, for those who missed FCBD, Bleeding Cool has a list of freebies available at Comixology, the Dark Horse store, and elsewhere. No Tick, sadly, but definitely check out Star Wars.

The Thing About Grimm

2013-05-01, 10:21 pm
Categories: Stream of Consciousness, TV

You know, I like Grimm, mostly. I like its oddball setting and I love its supporting cast.

But it's got the Star Wars problem: the dullest, most tedious, least charismatic person on the show just so happens to be the main character.

Actually, the two dullest, most tedious, least charismatic people on the show are the main character and his girlfriend.

So really that makes it more like Episodes 2 and 3, I guess.

They've spent, what, twenty episodes now on this fucking amnesia plot? But they forgot the part about giving it any kind of stakes or giving me any reason to give a fuck. Oh no, Juliette might leave Nick? Oh no! Because I am so emotionally invested in their characters and their relationship!

She can leave on a bus or get hit by a bus for all I care, and take Nick with her. I'd watch the hell out of a show that made Hank or Wu or even Captain Renard the main character. And if Monroe and Rosalee were the leads? ... honestly, why aren't they? There's a couple I've developed some genuine affection for.

That one the other week where Nick, Hank, Rosalee, Monroe, and Bud all pulled off a caper together was really Grimm at its best, for reasons Les Chappell at AV Club pretty much nailed. The show diverts itself from the monster-of-the-week formula for a bit to acknowledge that oh yeah it's already got a whole bunch of monster races to work with already, and it ropes in most of the best members of the supporting cast to generally be charming and clever. Even Nick is pretty inoffensive, and Juliette...well, Juliette is barely in the episode, which I guess also counts as a win.

I really like parts of the show. I just wish they wouldn't pad them out with so much bullshit.

History of the Doctor

2013-04-26, 7:52 pm
Categories: Stream of Consciousness, TV

What we know for sure about the Doctor's origins -- and I'm going to go ahead and put this in chronological order for his timeline, though of course it's instructive to look at the order in which these facts were revealed on the show, too:

He's a Time Lord from Gallifrey. He has two hearts, and when he dies he regenerates into a new form. He's currently in his eleventh incarnation of thirteen.

He and the Master went to school together. When they were children they looked into the Total Perspective Vortex; the Master went mad and the Doctor ran away.

The Doctor and the Master chose their own names.

The Doctor stole the TARDIS and fled Gallifrey. Until he finally gives himself up in The War Games, he is a wanted man, both for the theft and for violating the Time Lord equivalent of Star Trek's Prime Directive and constantly interfering in affairs of the universe instead of just standing by and watching.

When we first meet the Doctor, he's parked his TARDIS in a scrapyard in 1963 London. He's an old man traveling with an apparently teenage girl who goes by the name of Susan Foreman and calls him Grandfather. (We reasonably assume that he is in fact her biological grandfather, though this is never stated unambiguously.)

The reason he's in London in 1963? He's got a powerful Time Lord artifact called the Hand of Omega -- a device which is capable of destroying planets across time and space -- and seeks to hide it.

I don't know if that's an exhaustive list, but those are the key points of what we know about the story before the beginning of the first episode, off the top of my head.

Other than that, there are hints, and things expressly stated as the intentions of the writers (and, in some cases, novelized), but nothing really concrete on the show itself.

First, there's the nature of the Hand of Omega. It's the device that Omega used to perfect time travel by collapsing a star for fuel. Omega was blasted into the antimatter universe, and his partner Rassilon became the first Time Lord.

The Doctor later says of the Hand of Omega, "And didn't we have trouble with the prototype?" Pressed by Ace, he corrects himself and says "They." Script editor Andrew Cartmel has stated explicitly that his intent was to imply that the Doctor himself was a third founding Time Lord, alongside Rassilon and Omega (and there are further seeds to this end in Silver Nemesis, which I've never actually seen), but this plot never reached fruition.

Not on the show, anyway. There's a novel called Lungbarrow which lays the whole thing out; I haven't read it but it sounds immensely complicated, implying that the Doctor is a reincarnation of the Other, retaining his memories through the Time Lords' technological method of asexual reproduction, the Looms. It all sounds frankly quite complicated and is absolutely not the sort of thing I would ever expect to see on the TV show.

But the idea of the Doctor as the Other? Still a possibility. Especially since I expect we'll be seeing Omega again soon.

The Omega symbol's been cropping up on the show for several years now. The clerics who kept River as their prisoner in Time of the Angels had it on their uniforms. It cropped up again in A Good Man Goes to War.

Now, obviously that shit's there for a reason. It's not just there because some costume and set designers think omegas look cool. And while certainly there's a religious connection, this is Doctor Who; there's no way they threw it in just as a Revelation reference.

So I'm comfortable in assuming Omega is going to figure into the coming story arc somewhere. If Omega himself doesn't put in an appearance, then his legacy's going to be relevant, and I bet we'll be hearing about the Hand of Omega again.

Last night I ran across the possibility that the Doctor's name was a mathematical formula. What if the secret of time travel itself is encoded in his name?

Again, that would make it tough for him to be one of the three founding Time Lords (short of a paradox where he travels back in time and becomes one of them) -- but I can easily imagine that Time Lords might name their children after founding principles of their society. Like naming a child after a religious figure or a king or a lord.

It would also explain why the Doctor had to change his name before going out into the wide universe -- if his name holds the secret to time travel, well, that wouldn't be a secret among the Time Lords, it would be common knowledge. But sharing it with somebody outside Time Lord society would be a big no-no.

We've seen, of course, over the series, that there are other races and cultures capable of time travel -- but theirs is always rudimentary, limited in some fashion. Dangerous and unpredictable (moreso than the Doctor's TARDIS). The Doctor, as last of the Time Lords, guards his TARDIS and its secrets closely -- and maybe that includes keeping his name a secret.

It's an elegant theory and I like it -- but it creates its own problem: barring a copout where his name is never actually spoken onscreen, he still needs to have a name. And, if this theory is correct, it needs to be a name that's not just satisfying to the ear but also sounds like plausible enough technobabble that the audience will buy that it's some fundamental secret of time travel. And you've only got a short space to work with. (My full name is nine syllables. And it's pretty long.)

Alternately, maybe it's something far more prosaic. Or maybe Moffat's got something much more interesting in mind. Guess we'll find out in three weeks.

Time Lord Names

2013-04-25, 9:26 pm
Categories: Stream of Consciousness, TV

Some Time Lords have names -- like Rassilon and Romana. And some have descriptions -- like the Doctor and the Master. And, presumably, the Rani; I don't know what the fuck a Rani is but she's a the.

And then there's Omega. Omega's important and I expect we'll be seeing more of him very soon. But his name is sort of an interesting exception in that it's not a the but it's still more description than name.

Of course, Doctor Who's mythology is patchwork. Time Lord society is built across decades of retcons -- hell, nobody uttered the words "Time Lord" for the first six years of the show, or "Gallifrey" for the next five. Time Lord social customs aren't mysterious and inconsistent by design, they're mysterious and inconsistent because they're making it up as they go along. Present tense; they're still making it up.

So I'm sure there's a reason some Time Lords have names and some have descriptions. Maybe it's out there in the books or audioplays somewhere. Or maybe nobody's come up with one yet and it'll be up to some writer to handwave a reason at some point. Hell, maybe both; books and audioplays aren't canon and the show is free to contradict them.

And of course the names operate on another level besides the in-universe one. I'm sure that, in-universe, the Master didn't choose his name because of a double-meaning implying he's second-best after the Doctor; I'm sure that, in-universe, he chose it solely on its primary definition and not its academic one. But even if Letts and Dicks didn't have that double-meaning in mind when they named him -- and Wikipedia says they did, though there's no citation -- then certainly later writers made the connection.

...

...oh my.

So while I was looking over that Wikipedia entry, I clicked on over to the page for Terror of the Autons, the Master's first appearance. And it's got this bit about the novelization of the episode:

The Master and Doctor are revealed herein to have names that are mathematical formulae

Hmmmmm.

Again, the books aren't canon -- but if the Doctor's name is a mathematical formula, that could certainly be pertinent to the current storyline, now couldn't it?

Doctor Who?

2013-04-24, 9:04 pm
Categories: Stream of Consciousness, TV

Spoilers for Doctor Who episodes new and old follow.

So Steven Moffat's been teasing the revelation of the Doctor's real name since 2008's Silence in the Library, and built it up as his major arc last year. I figured this year was a break from that plotline and we'd probably get an answer next season -- but the BBC's just announced this season's finale will be titled The Name of the Doctor. So while there may be fallout next season, it looks like the big answer is coming in just three weeks.

So I've got some thoughts. What could the Doctor's name be? Some possibilities:

  1. It's a fakeout. We never hear his name. Even if it's spoken, it's spoken offscreen, or whispered so we can't hear it, like in Silence.

    This strikes me as unlikely. Moffat's been building to this for five years. He's big on misdirection and on things not meaning exactly what you think they do -- but when he teases something big, he eventually delivers on it. Even if it is exactly what it appears, like last season when we found out that yes in fact River Song is the Doctor's wife, which we'd pretty much all assumed since Silence in the Library anyway.

  2. It's an homage. To somebody real. Like in Human Nature when he says his parents are named Sydney and Verity.

    Of course, if his name is a reference to a real-life person, then the name itself won't have any in-universe significance -- see #4, below.

  3. It's a name we've already heard.
    1. It's a name we've heard before, either on the new series or the original, either a famous Time Lord, some other august personage, or hell, maybe he was faking it that very first time he said "Doctor Who?" and his name really is Foreman.
    2. It's a name that's been referenced that we don't even know is somebody's name -- like when we heard "Silence will fall" and only later learned that "Silence" was the name of an evil alien religious cult. The Doctor's name could be hidden in any of the catchphrases we've been hearing -- The Fields of Trenzalore, The Circle Must Be Broken, etc.
  4. It's just some random name. It's not the Doctor's name that's actually important, it's his identity.

    This is a possibility -- a little Moffat-y misdirection -- but I doubt his name will be selected completely at random. If he goes this route I expect it'll be a combination of this and #2.

#3 seems the likeliest option to me.

There have been hints that Moffat intends to revive what's been called the Cartmel Masterplan:

The overall plan for Cartmel was to reveal that the Doctor was some form of a reincarnation of The Other, a mysterious figure from Gallifrey's past who helped form the Time Lords' society and perfect the time travel technology of the Time Lords.

Of course, "the Other" is no more a name than "the Doctor". It might tell us his significance, but it's not his name.

There's another problem: Moffat's view of the Doctor as a wanderer who stole a TARDIS when he was young seems incompatible with the idea that he's one of the three founding Time Lords. That is, short of some wibbly-wobbly-timey-wimey paradox where the Doctor is born in an already-established Time Lord society, steals a TARDIS, and at some point travels back in time to become one of the three founding Time Lords.

Which would be a workable plot, but might also tell us too much about the Doctor. Moffat, like most of the Who showrunners, thinks that a little bit of the origin story goes a long way. (For example, Neil Gaiman tells us that Moffat asked him to pare down his description of the Corsair in The Doctor's Wife because the original pitch implied that the Doctor patterend himself after the Corsair -- Moffat's response: "Answers too many question that should be left alone. He's the Doctor, he does what he does for reasons too vast and terrible to relate.") Obviously whatever the Doctor's name is must work toward some big reveal that leaves its mark on his origin story -- but it also needs to walk a fine line that doesn't tell us too much about where he came from and why he does what he does.

Indeed, in some ways it's better that the original series was canceled before Cartmel could spell everything out -- this way we got hints, in serials like Remembrance of the Daleks, that the Doctor was more than he seemed, but he still got to maintain his mystery.

If all goes according to plan, I'll have some future posts coming up dealing with Time Lord names and what we actually know about the Doctor's origins.

This Week on "Nobody Involved with Bones Gives a Fuck Whether Computers Behave in a Remotely Rational or Coherent Fashion"...

2013-04-22, 8:20 pm
Categories: Stream of Consciousness, Tech, TV

...somebody gets an E-Mail -- "probably spam" -- and it allows Angela to decrypt every encrypted E-Mail she's ever gotten.

This somehow manages to be the stupidest thing in an episode about a mutant virus injected into a blogger with a microneedle that, still attached to her skeleton, then manages to jab one of the interns and infect him too.

Well maybe next week's episode will be less stupid.

...wait. Season finale? Fuck. That means another Pelant episode.

Well, maybe they'll finally just fucking shoot him and next season's premiere will be less stupid.

The Big Little Moment in Batgirl #19

2013-04-11, 8:49 pm
Categories: Comics, Politics, Stream of Consciousness

Expanded from a Brontoforumus post I wrote yesterday. Spoilers follow.

I haven't been reading Batgirl ('cept one issue a couple months ago). I don't really know Alysia Yeoh. I knew enough to know she was who everybody was figuring would be the trans character.

But y'know, coming into it as a new reader, I think Simone really nailed it. It's the wonderful little moment of "this is a big deal to this character but it doesn't really change anything". It's that peculiar mix of something that really matters and simultaneously doesn't matter at all.

That's Simone's strength: these little human moments.

I've been on the other end of an "I have something to tell you" coming-out moment a handful of times in my life. It's just like that. The moment of "I'm glad you're comfortable telling me, but from where I'm sitting it doesn't change a thing." Or, in some cases, "Well Jesus, dude, I knew that within five minutes of meeting you" or "Yeah, I just assume every woman on the Internet is physiologically male." It's something that's so big and so small, all at once.

And superhero secret identities as a metaphor for the closet is hardly a new idea, but I've rarely seen an actual superhero comic commit to it so fully and unambiguously. Alysia reveals her secret to Barbara, but Barbara doesn't reveal her secret to Alysia -- and indeed, while her brother and her mother know, she hasn't told her own father. Subtle it ain't, but deft and nuanced it is. Simone takes on a great tradition here, what the masks and the cowls really say about people -- and it bears remembering that superheroes are rooted in the American Jewish tradition. Taking on an assumed name, hiding your identity from all but a trusted few -- the experience of the oppressed outsider is deeply encoded in the DNA of the superhero. Simone pays homage to that heritage here, in a way that never distracts and always serves the story.

As for that story, as for the rest of the book -- well, it's more of the "Barbara's brother is a sociopathic serial killer" arc that I don't care much for. I think Gail does a fantastic job with it but it is so very much not my cup of tea.

She's promised things are going to get lighter in the coming months, but next month's cover has a super-creepy new version of the Ventriloquist on it and I'm not holding my breath.

Still, I expect I'll be along for the ride for a little while to come, at least. Even if the big stories don't interest me, the little ones do -- and there are few other writers working in mainstream superhero comics right now who are Gail Simone's equal at those.