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Thursday, 16 June 2011

Boy in the Box (Philadelphia)

The "Boy in the Box" is the name given to an unidentified murder victim, approximately 4 to 6 years old, whose naked, battered body was found in a cardboard box in the Fox Chase section of Philadelphia, Pennsylvania, on February 25, 1957. He is also commonly called "America's Unknown Child".

The crime

The boy's body, wrapped in a plaid blanket, was inside a cardboard box that once contained a baby's bassinet from J.C. Penney. The body was found first by a young man checking his muskrat traps. Fearing the police would take his traps away, he did not report the matter. A few days later, a college student spotted a rabbit running into the underbrush. Knowing there were animal traps in the area, he stopped his car to investigate and discovered the body. He too was reluctant to have any contact with the police, but did report his find the following day.
The case engendered massive media attention in Philadelphia and the Delaware Valley, with pictures of the boy even being placed in every gas bill in Philadelphia. However, despite the publicity at the time of the body's discovery and sporadic re-interest throughout the years, the case remains unsolved to this day, and the boy's identity is still unknown.
The story has been profiled on the television series America's Most Wanted. The television series Cold Case[1], CSI: Crime Scene Investigation and Law & Order: SVU have all used fictionalized accounts of the story as the basis for episodes.

Like many unsolved murders, many tips and theories have been put forward regarding a solution to the case. Although most have been dismissed, two possible solutions to the case have been extensively investigated and engendered much focus by both the police and the media.

 The foster home

The first involves a foster home that was located approximately 1.5 miles from the discovery site. In 1960, Remington Bristow, an employee of the medical examiner's office who doggedly pursued the case until his death in 1993, contacted a New Jersey psychic, who told him to look for a house which seemed to match the foster home. When the psychic was brought to the Philadelphia discovery site, she led Bristow straight to the foster home. Upon attending an estate sale at the foster home, Bristow discovered a bassinet similar to the one sold at J.C. Penney. Also, he discovered blankets hanging on the clothesline similar to the one in which the boy's body had been wrapped. Bristow believed that the child belonged to the stepdaughter of the man who ran the foster home; they disposed of the boy's body so that she wouldn't be exposed as an unwed mother, as there was still a significant social stigma associated with single motherhood in 1957. Bristow theorized that the boy's death was accidental. Despite this circumstantial evidence, the police were unable to find any concrete links between the Boy in the Box and the foster family.[2][3] In 1998, Philadelphia police lieutenant Tom Augustine, who is in charge of the investigation, and several members of the Vidocq Society, a group of retired policemen and profilers investigating the crime, interviewed the foster father and the daughter, whom he had married. The interview seemed to confirm to them that the family was not involved in the case, and the foster home investigation is considered closed.[4] According to a DNA test, the stepdaughter was ruled out as the boy's mother. [5]

 "M"'s story

The second major theory is one brought forward in February 2002 by a woman identified only as "M". She claimed that her abusive mother purchased the unknown boy, named "Jonathan", from his birth parents in the summer of 1954. Subsequently, the youngster was subjected to extreme physical and sexual abuse for two and a half years, then killed in a fit of rage by slamming him to the floor after he vomited in the bathtub. "M"'s mother then cut the boy's long hair (accounting for the unprofessional haircut that police noted upon their initial observations of the crime scene), and dumped the boy's body in the then-secluded Fox Chase area. "M" went on to say, as they were preparing to remove the boy's body from the trunk, a passing male motorist pulled alongside to inquire whether they needed assistance. As the pair ignored the would-be samaritan, while being careful to obstruct the car's license plate from his view, the man eventually drove off. This story corroborated confidential testimony given by a male witness in 1957, which alleged the body was placed in a box previously discarded at the scene. Police considered the story quite plausible, but were troubled by "M"'s testimony, as she had a history of mental illness.[3][6] When interviewed, neighbors who had access to the house denied that there had been a young boy living in the house, and said that "M"'s claims were "ridiculous."[7]

 Current status

The case remains officially unsolved. Investigators were able to extract mitochondrial DNA from the boy's tooth. They are now attempting to link him to entries in a national mitochondrial DNA database.[8]

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Wednesday, March 04, 2015

Senate Ag panel chair says child nutrition rules should work for all districts, including rural

Senate Agriculture Committee Chairman Pat Roberts, R-Kansas, said he wants to overhaul federal nutrition requirements so that not only wealthy, urban school districts but also poor or rural ones can meet the meal standards, Philip Brasher writes for Agri-Pulse. "We need a program that works for all districts regardless of their location and access to resources," Roberts said while speaking to the members of the School Nutrition Association. He offered no details but got an ovation from the school food directors.

The Healthy, Hunger-Free Kids Act, which sets the current standards, will expire Sept. 30. Roberts didn't specify how the bill will address concerns that the standards are too hard to reach. "While he said he intended to produce a bipartisan bill in committee, any push to weaken many of the standards will run into stiff opposition from Democrats and the White house," Brasher reports. Debbie Stabenow, the committee's ranking Democrat, has staunchly defended the standards.

On Monday, John Hoeven, the chairman of the Senate agriculture subcommittee on nutrition, proposed keeping sodium limits at their current levels, rejecting the USDA's plan to tighten them in 2017. Roberts didn't "commit to including Hoeven's proposals," Brasher writes. (Read more)

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Metal ManhoodSubjugation, Dominance and Cyberpunk Heroism in Tetsuo: The Iron Man

Brittany Coombs
8 May 2012
Prof. Martin Irvine
CCTP 725: "Cultural Hybridity"

tet.pngClocking in at sixty-seven minutes, Tetsuo: The Iron Man (1989) by director Shinya Tsukamoto is a short film. Its running time, however, is belied by its legacy. William E. B. Verrone calls Tetsuo “[o]ne of the most original and influential films to emerge from Japan over the last twenty-five years … a mind-blowing and ear-shattering excursion into a visual ‘metal machine music’” (150). Tsung-Yi Michelle Huang echoes the popular belief that Tetsuo, along with its sequels, Tetsuo II: Body Hammer (1992) and Tetsuo III: The Bullet Man (2009), “established Tsukamoto’s suo.pnginternational reputation as one of the best Japanese film makers of his generation (81). Set in a pseudo-modern Tokyo, Tetsuo uses “minimal plot, provocative visual effects, and piercing industrial music” to tell a haunting cyberpunk story about metallocentric cyborgian metamorphosis (Huang 81).

At the center of the film—which Huang paints as “[a] combination of Japanese manga and quasi-Blade Runner cyberpunk” (81)—is an unnamed businessman whom it is tempting to believe is a cyberpunk hero: after all, he occupies the vast majority of screen time, and as Tetsuo is a prime example of the Japanese cyberpunk genre, it figures that its protagonist would be the all-important cyberpunk hero—masculine, powerful, conquering. But a closer reading of Tetsuo reveals that the protagonist is not a cyberpunk hero—at least, not initially. The cyberpunk hero of Tetsuo is another unnamed character, who despite his invisibility for much of the film, violently triggers all of its action. Dubbed by filmmakers and fans as the Metal Fetishist, this oft-downplayed character is the real cyberpunk hero of Tetsuo—not coincidentally because he is also ‘more’ of a man. The Metal Fetishist changes the protagonist—acts upon him, sculpts him—while the protagonist spends most of his time weeping, bleeding and fleeing. The former character represents the heroic masculine ideal; the latter, the feminine terrain which that ideal conquers.

Thomas Michaud defines cyberpunk as “a science fiction movement that describes the future of industrial countries, depicting the influence of massive telecommunications networks upon the lives of individuals and societies” (Hassler and Wilcox 65). Ollivier Dyens points out that cyberpunk stories are usually “set in a near future (fifty to one hundred years from now)” in a “chaotic society [that is] governed by a maelstrom of street gangs, multinational corporations, and mercenaries” (74). As a genre cyberpunk is ruled by masculinity and maleness, its seminal works in the West including Blade Runner (1982), Tron (1982), Johnny Mnemonic (1995), Judge Dredd (1995), The Fifth Element (1997) and The Matrix (1999), which all revolve around a handsome, awe-inspiring male protagonist who struggles to find order in an ultramodern dystopia. The gender-power thread uniting these works is not a coincidence. As Sharon Stockton explains, masculinity and femininity in a fictional cyberpunk world are best understood as forming the dichotomy between a roguish, phallus-owning hero and an anarchic environment that must be tamed by him. “It seems clear to me that it is cyberpunk’s project to remythologize an earlier, powerfully autonomous subject through a literary form that is, in effect, a latter-day version of adventure/romance,” Stockton claims. “The cyberpunk ‘self’ [is] defined as male” and is pronounced in “the roles of swashbuckling pirate and/or American cowboy” (588).

Stockton uses pirates and cowboys as an example because she focuses primarily on the sexuality of Western cyberpunk, which preceded generic Japanese emulation by about one decade: the German Welt am Draht (World on a Wire) was released in 1973, while Bakuretsu Toshi (Burst City), directed by well known Japanese auteur Gakuryu Ishii, came in 1982. She even specifies that the “enemies” of the (Western) cyberpunk hero are typically “Japanese megacorporations that deny individualist achievement” (589), entities that have long clashed with America’s trademark, slightly rebellious sense of Rooseveltian ‘rugged’ness. A Western cyberpunk hero cannot be a company man, Stockton writes, because a company man is necessarily ‘under’ someone, subjugated in a hierarchy that denies him more power than he exercises. The cyberpunk hero “is the antithesis of corporate organization,” she says, because he is destined to be “pure subject in a world of pure object, … phallic projection into a feminized matrix that approximates the universe” (589). Jane Chi Hyun Park agrees, noting that cyberspace, at times represented in cyberpunk fiction by the waiting-to-be-acted-upon metropolis, functions as “a doubled Other: both female and ‘oriental’ (primarily Japanese)” (61). If the presence of a Japanese element imbues something with Otherness, then presumption of viewership is clearly oriented to the West.

The Metal Fetishist (here pictured in his lair) and postwar Japan are alike, argues Takayuki Tatsumi: both are obsessed with the compounds and alloys that can (re)build cities... and bodies.
Further separation between Japan and the West emerges when we consider the metallocentricism of Japanese cyberpunk, a philosophy that heavily defines Tetsuo: The Iron Man. Takayuki Tatsumi holds that, despite claims made in 1949 by his Japanese compatriot Kiyoteru Hanada, metallocentricism is a thoroughly Eastern, if not specifically Japanese, school of thought. Tatsumi contends that since the Renaissance, Europeans have had a “hard-core anthropocentric” and “too humanistic” preoccupation with “the organic over the inorganic … vegetation over minerals, animals over vegetation, and especially human beings over other animals”—basically, with anything that is the opposite of metal (165). Though agreeing with Hanada on a basic level that Don Juan, the legendary fictional Italian (and thereby Western) lover, is a “metallocentric precursor of [Tetsuo]”, Tatsumi specifies that “the genealogy of the metallocentric imagination is essentially compatible with the history of the postwar Japanese mental condition,” in that Japan developed a ‘metallivorousness’—a special obsession with strong earthy compounds and alloys—in the midst of its need to rebuild cities which had been decimated in World War II (167).

Yet even with these controversial differences, Japanese and Western cyberpunk are alike at their cores, united with an especial firmness by discussion of gender and what that binary means for a science-fictional world and its characters. For all the apprehension that the West has historically courted at the mention of Japanese conglomeration—at the apparent abolition of ‘rugged individualism’—Western countries owe their powerful influence in the modern era to the rise of capitalistic enterprise, which is, of course, a primary reason why Corporate Japan (and Corporate America, for that matter) function as they do. Stockton argues that capitalism and phallocentricism are equally important in constructing the cyberpunk hero. “[I]n cyberpunk,” she claims, “the alienated capital of late capitalism has grown into the alienated information capital of late capitalism, and this free-floating information capital has become, symbolically and cyclically, unalienated nature—nature defined as available raw material” (589). If we remember the Western-based metaphor of the cowboy or pirate that pillages whatever space he travels, we understand that cyberspace, birthed by and alongside modern capitalism, opens new avenues for subjugation of the environment and its elements—new methods by which to express masculinity. These methods can be virtual and electronic, as these are often defining characteristics of the cyberpunk environment. Praised more than any other nation for its technological prowess, Japan is therefore just as capable as any Western country of producing a cyberpunk hero that conforms to traditionally Western models of maleness. Tetsuo could in fact be proof positive that Japan is even better equipped than the U.S., prime producer of most noted cinematic cyberpunk, at creating a cyberpunk hero who not only satisfies the Western mold but shatters it. I refer now to the concept of male feminization, which in Tetsuo is depicted with a zealous explicitness quite rarely seen in Western cinema.

Sporting a “convoluted and bizarre” narrative, “Tetsuo is about the merging of metal and flesh, and its graphic representation of this blending or commingling leaves one exhausted (and perhaps confused) by the end,” writes Verrone (150). Of course, this is far from the only thing that Tetsuo is about. Fundamentally, though, the film is a classic tale of revenge. It opens with a man, the Metal Fetishist as he has come to be known in fandom, walking to his hidden shanty-lair, which is situated amongst miscellaneous metallic rubbish—springs, wires, machine parts, hangers and fans. Décor suggests that he is obsessed with understanding the essence of what it means to be human: imitation cave paintings are etched on his walls, and he has surrounded himself with cut-out pictures of muscular Olympic runners. The plot of the movie is thrust into motion when the Metal Fetishist, true to his name, gashes open his thigh and inserts a corrugated metal rod into the wound. At the moment he does this, his photographed runners burst into flame—an indication that his humanity, in contrast to that of the now-burned athletes who had a visceral, obvious humanness, has been compromised.

The transformation begins.
The film then cuts to the unnamed protagonist: a Japanese businessman who lives in his own private haven of metal and electronics—his television blares, his fan is always near him, he shaves himself meticulously with his electric razor. One morning he notices a small metal object poking through his cheek. When he touches it, it spurts blood, and he realizes that it is strangely emerging from inside of him. The situation soon escalates: his forearm and his ankle begin to burst and bubble and steam, motorized mechanisms slowly but surely becoming one with his natural body. Through flashbacks we learn that this transformation is owed to a chance encounter the protagonist had had earlier with the Metal Fetishist. Driven mad by the sight of maggots squirming in his self-inflicted thigh wound, the Metal Fetishist had run into the street, where he was struck by a car driven by the protagonist. Presuming the Metal Fetishist dead, the protagonist had then moved his body to a disposal site in the woods with the help of his girlfriend, who was so aroused by the event she initiated sex within view of the Fetishist—who was, in fact, still alive.

As revenge against the couple, specifically against its male member, for attempting to conceal his ‘murder,’ the Metal Fetishist begins to project his internalization of metal, which is both literal and psychological, onto the protagonist. It is in this way that Tetsuo tells a story that is as phallic as it is feminine. At first glance it appears to viewers that the protagonist is a powerful man: multiple flashbacks portray the same sex act that occurred in the woods following the dumping of the Fetishist’s ‘body,’ and a later sex act with his girlfriend, occurring after his metallic metamorphosis has begun but far before it has taken full effect, is another portrayal of his dominance upon a female body—a reminder to himself, amidst the disconcertion of mutation, that he is still an actor, a subject, and that his girlfriend, to contrast, has always been and will always be an object, a space upon which actions occur. Even the dress of the protagonist connotes power. Returning to Stockton’s argument that male power and corporatism are inseparable in critical analyses of cyberpunk heroism, the protagonist is initially depicted in the film as a stoic, buttoned-down professional: he wears a suit and tie and black-rimmed glasses, he carries a briefcase, and his dark hair is slicked back. While his job is never made clear, he is shown as a having a morning routine that would fit the life of an ambitious corporate man. It is suggested that, with every sunrise, he rides the train into the kind of bustling metropolis that houses many modern companies.

But it becomes evident that the protagonist, while perhaps owning a powerful appearance, is in fact a symbol of vulnerability and weakness. Indeed, as Crauford Goodwin and Alex Rogers note, “Often, even the most successful in the cyberpunk world are little more than indentured servants to the corporation” (46). Seeking vengeance, the Metal Fetishist ‘enters’ the physical body of the protagonist, somehow transporting the metal elements he has had to manually insert into his own body into the body of his ‘killer.’ “It is important to remember that the plain over which the cowboy rides (into which he makes inroads, which he conquers, subdues, and makes his own) is conceived as ‘virgin’ territory,” Stockton writes. “[T]his femininity is crucial to the ideology of imperial capitalism” (590). Comparing the transmutation of the protagonist to an imperialist take-over or invasion only makes clearer the feminine station the protagonist must occupy in order for the Fetishist to exact revenge. How does the Metal Fetishist gain access to the body of the protagonist? Tetsuo is deliberately vague about the specifics. This is because the precise methodology of the attack by the Fetishist is not important. What the film wants us to focus on is the fact that the initially projected and audience-perceived masculinity of the protagonist has been proven defective and deficient—that his body has been feminized, reduced to a state of occupation by an external force that is evidently more powerful and more phallic.

In a possible callback to the tentacle rape of Japanese 'hentai' (dehumanizing child/female-based pornography), the protagonist is assaulted by his girlfriend, who is possessed by the Metal Fetishist.
Any doubt about this reading of Tetsuo’s sexual dynamic is crushed by a telling scene that occurs near the halfway point of the film. As the protagonist begins to realize the severity of his situation, he slips into a disturbing dream: his girlfriend stands above him in a dominatrix-like outfit, long metal piping attached above her genitals and snaking through the room. The piping moves as though it has a mind of its own or is powered by unseen forces. The protagonist, meanwhile, is naked, sweaty, panting and wide-eyed—frightened as he rests on all fours. Finally, the
The metal pipe of his dream-rape has a mind of its own.
girlfriend picks up the ‘head’ of the piping and licks it before thrusting its length into the protagonist. He moans in pain as the corrugated serpent moves into his anus. The girlfriend—whose body it is later revealed had been possessed by the Fetishist—smiles as clouds of hot smoke fill the room.

The entire scene is a validation of how defenseless the protagonist is and feels at the hands of the transformative force that is invading him. It is also a cinematic callback to hentai, or pornographic Japanese anime—specifically, to the tentacle sex for which Japan had become (in)famous by the 1980s due to federal sanctions against depicting human intercourse and genitalia. Dennis D. Waskul notes that tentacle sex or rape, the “most extreme and uncommon version” of hentai, has no basis in reality and thus “exists for its own purpose as an erotic phantasm of the strange and teratological” (99). Tentacle penetration is unrealistic, he says, because it is absurd to imagine “nubile girl-women and cloned boy-men” as “the order of the day—a monstrous sex-feast” involving “sex with machines, sex with cyborgs, sex with dangerous protruding tentacles, and, of course, an endless stream of the most debasing, brutal, and humiliating rape images” (100). While the scene in Tetsuo is not nearly as graphic as any scene found in typical hentai, it shares with hentai an implicit sense that its portrayed rape victim is broken, is garbage—a conquest to be desecrated both physically and emotionally. Even more power is stripped from the protagonist for the fact that, in his dream sequence, he is an adult—a male adult—who is being raped. In most hentai, as Waskul observes, the victim is a prepubescent female. The protagonist cannot be the cyberpunk hero of Tetsuo because he encapsulates “the feminine [that] has traditionally been conceived in the West as that passive field which foregrounds masculine activity and identity formation” (Stockton 590). He is the blank canvas upon which the Metal Fetishist paints, which makes the Metal Fetishist the real cyberpunk hero despite his lacking screen time and back story. If this can be accepted—while it was never in doubt that Tetsuo was always about more than one person’s metamorphosis—new avenues of rumination emerge. With the Metal Fetishist as the unquestioned hero, it becomes possible to imagine Tetsuo as a phantasmagorical investigation into what it takes to ‘make’ a man, both literally and metaphorically—and, therefore, what it takes to ‘make’ a cyberpunk hero, who in both the East and West is typically masculine.

With newfound power, the protagonist can make anything turn to metal... including his own cat.
One particular conclusion thus seems natural to draw from Tetsuo
that only a man can make another man, or that a ‘true’ man is only made by another man. Although womanly involvement is unavoidable in procreation, Tetsuo suggests that, in an ideal (cyberpunk) situation, there would be no feminine aspect to the process, especially as relates to the creation of men. Only three characters are present in Tetsuo: the male Fetishist, the male protagonist, and his female girlfriend. Of the two male characters, we have established that one, the protagonist, displays markers of feminism for the fact that his body is the wilderness to be tamed by the Metal Fetishist, who through means unexplained enacts a hostile take-over of the body of his ‘killer.’ But eventually, the protagonist is able to shed this femininity; in time he is ‘made’ into a man. Ironically if not paradoxically, while the fact his transformation can occur at all signals his being like a woman—or even a ‘girl-woman’ to use terminology from Waskul—upon full completion of his change into a metal monster, he wields more power than he ever could have dreamed to as an ordinary man. As a machinic cyborg, he exercises control over his environment in ways that were previously impossible to him, in ways that remain impossible to everyone in the world except for him and the Fetishist. Through some combination of psychokinesis and magnetism, he comes to be able to literally bend anything metallic to his will—bicycles, garbage cans, toys, utensils. Testing his newfound power with a gleeful curiosity, he even forces his cat to suffer an expedited version of his own fate, combining the creature with nearby metallic objects to form a meowing monstrosity. How does he become so powerful when, upon initiation of the metamorphosis, he was made so weak? Penetration is the name of the game. The protagonist was reduced to a station of femininity because his physical body had been compromised by a foreign presence: the Metal Fetishist, while not with a literal phallus, in many other senses ‘penetrated’ the body of the protagonist. The result of this penetration was something not dissimilar from a pregnancy—the protagonist medically ailed while harboring an alien influence, and, in the end, this influence caused him to rupture both physically and mentally. But unlike a pregnancy, which results in expulsion of the alien element, the protagonist became the metal intrusion that had been cooking inside of him. “In cyberpunk novels and films, technologies are … the unifying theme allowing characters to experience new configurations of birth, life, death, and rebirth,” writes Dyens. “But most significantly, cyberpunk technologies are incubators of extraordinarily altered forms of life” (74). His body transformed from tiny to tinny, the protagonist no longer has a penis made of muscles and nerves and veins, but instead wields an electric power drill that rotates loudly in perpetual motion. Although this new ‘tool’ precludes intercourse in the traditional sense, it is able to achieve a vastly more powerful form of ‘penetration’—death by stabbingwhich makes him a vastly more powerful individual.

The protagonist accidentally guts his girlfriend...
The protagonist and his girlfriend are shown to have plenty of sex: Tetsuo often provides flashbacks to their encounter in the woods, aroused by the disposal of the ‘body’ of the Fetishist; and after his tentacled dream rape, the protagonist initiates another encounter—presumably to reassert, at least in his own mind, the power he feels is draining from him as his mutation continues. But sexual dominance does not compare with vital dominance, with supreme control over life and death. Brandishing a metal phallus instead of a fleshy one, the protagonist newly boasts this power. When his mind is possessed by the Fetishist, who wills
...and her guts end up swirling on his new drill-phallus.
him, at one point, to kill his girlfriend, she manages to subdue him but does so by sitting too close to his drill-phallus. She accidentally impales herself, her blood spraying the curtains behind them, the gore-coated twisted helix of his ‘penis’ spinning so quickly that smoke—like the kind that appeared in his imaginary assault—emanates from its base. It is thus implied that before the intervention of the Metal Fetishist, the protagonist was a cog in the corporate machine and not a real man; that only through invasion or ‘penetration’ of the protagonist, the effective subjugation and feminization of his space, is he able to achieve true manhood, represented by a new phallus that is far more potent and commanding than the average penis. It is all but an über-penis, so extraordinary as to transcend traditional penetration (which is simply sexual and not fatal). Indeed, as Huang writes, it is at the point that he skewers his girlfriend that the protagonist “realizes he has irreversibly become a metal fetishist” (82).

With a new penis to go along with a burgeoning new body, the protagonist is essentially being remade, reborn. Vaguely Tetsuo in this way could be said to hark back to various Western mythologies that speak of heroes being born without womanly involvement. Athena, the most popular (and masculine) of the female Greco-Roman gods, and one of its most enduring in general, springs to mind—just as she did from that of Zeus, her father, having no mother. More specifically, though, Tetsuo seems to say that femininity is a flawed state and that masculinity is the ultimate individual condition: the film’s subtitle alludes not only to the fact that metal now dictates the protagonist’s life, but that his attainment and absorption of it makes him an ‘iron man,’ a man of strength and virility. In order for the protagonist to achieve this arch-masculinity, his initial feminization was required. Tetsuo therefore teaches us that it takes being acted upon to become an actor. Dyens supports this line of thinking: “For cyberpunks,” he states, “the human ‘I’ lives only when woven into a degraded body in which technology, society, and culture coexist” (75).

Even the Metal Fetishist is evidence of this philosophy, as it is not until he ruptures his own body—in effect, raping himself or bringing about his own feminization through the insertion of the (phallic) metal rod into his thigh—that he displays the power to remotely control the actions of the protagonist and to ‘rape’ his body. Dyens acutely observes that in cyberpunk “realms filled with ‘ahuman’”—his term for “algorithmic realties created and maintained by networks” instead of by real human beings—“the only way one can truly be ‘saved’ or ‘redeemed’ is by repudiating one’s own body” (74). Here the link that Stockton draws between phallocentricism and imperialism is especially pertinent. The notion that penetration feminizes but ultimately makes masculine—when the ‘penetrated’ assimilates and adopts the characteristics of the ‘penetrator,’ which was masculine enough to ‘penetrate’ in the first place—is wholly colonizational. It is really the contestable notion that imperialist takeover, while at first resisted necessarily, in the end does more good than harm. For this reason Tetsuo might be interpreted as an imperialist allegory, one that is driven by the inevitable resistance of an environment—i.e., the protagonist’s body—that is destined to be colonized. “The protagonist hackers [n.b.—the Metal Fetishist] ‘project’ into a feminized field,” writes Stockton, “[and] the plot complication consists in the revolt of this terrain which should be passive” (591). Dani Cavallaro holds a similar position, noting that cyberculture is simultaneously touted as a tool that enables freedom and one that facilitates domination over others. “Cyberculture is alternately construed as a liberating experience verging on the sublime,” she writes, “and as a means of reinscribing conventional prejudices about identity and colonial fantasies of conquest” (173).

If only a man can ‘make’ another man, we can also conclude that Tetsuo means to tell us something about what is required for a man to be or to qualify as a cyberpunk hero. The Metal Fetishist, as we have established, is the cyberpunk hero for the majority of the film, perhaps from the moment he penetrates his own body and becomes something more than human. According to Stockton, the word “cyberpunk” comes from the Greek word kuernetes, which means “pilot” (593). Moreover, she juxtaposes the notion of a cyberpunk hero against the standard of “mythic hero” proposed by Timothy Leary. A cyberpunk hero, Leary says, is “clever, creative, entrepreneurial, imaginative, enterprising, fertile, ingenious, inventive, resourceful, talented, [and] eccentric” (Stockton 593). But for all the enviable traits of this character, Stockton observers that he is “[a]lways located in opposition to the system, always oppressed by ‘sensible normal’ people” and is thus only admired as the genius or pioneer that he is until much later in plot development (593). Because Tetsuo depicts the Metal Fetishist as an insane and deluded hermit, it is tempting to argue against his having intellectual powers that are vastly superior to those of the protagonist. The Fetishist, however, does successfully mastermind his revenge from the dirty and exiled edge of society. There can thus be no question that he has the imagination and talent outlined by Leary to be a model cyberpunk hero, if perhaps a ‘Bizarro’ one for his malice, as well as the ability to “pilot” not only his own fate but the fate of others.

Furthermore, despite the questionably severe nature of the Fetishist’s revenge, “[t]he cyberpunk hero,” as Goodwin and Rogers observe, “does not usually have the moral virtues normally associated with heroes. In fact, the cyberpunk hero often engages in criminal activities.” Indeed, they continue, “every new technology is to some extent intrusive” and “technology is never neutral” in cyberpunk, with information technologies being “so inimical to the individual that [they] can only be classified as evil” (46-7). Though it is never explained howthe Metal Fetishist ruins the protagonist—at one point he ominously states that “[t]he metal bar I implanted was rusty … and the rust fused with my cells”—the fact that his actions are immoral by most standards does not preclude him from cyberpunk heroism. If anything, his wickedness seems to make him more qualified for the title. In some sense the Metal Fetishist cannot even be blamed for the course of action he takes against the protagonist. As characters in a cyberpunk fiction, both he and the protagonist are always already vulnerable, owning bodies that are all but meant in a cyberpunk universe to be ‘hacked.’ “In fact, the typical cyberpunk protagonist sees his body as something essentially foreign, neither essence nor materiality, but host to a multitude of frequently parasitic beings,” Dyens states. “Like a bee in a hive, a cyberpunk body belongs to a multitude. Paradoxically, then, the loss of his individuality and human specificity is fundamental to a cyberpunk’s ontology” (75). Goodwin and Rogers additionally hold that, “For cyberpunk authors, the hero is the loner who fights the system, who wants something more than merely to pay homage and kowtow to the corporation” (46). Tetsuo gives us every reason to believe that the protagonist is a faceless drone in a huge corporation. The actions of the Metal Fetishist prove that the Fetishist is greater than that, better than that, stronger than that—and he shows this by reducing the protagonist to feminine helplessness through the transformation, which he cannot stop despite his agony. The Fetishist is the aggressor, spitefully assuring the protagonist in separate scenes toward the end of the film: “I know all about you. You can’t get away from me. … Soon even your brain will turn to metal.”

The protagonist and the Metal Fetishist meet face-to-face for the first time, and the protagonist realizes the cause of his transformation.
Nevertheless, once the protagonist realizes that his torture is but part of a twisted vendetta, he does enjoy momentary power over the Metal Fetishist. In a middle-of-nowhere mill loaded with mechanical debris, the protagonist and the Fetishist have a final battle. The Fetishist begins to turn himself into a metal cyborg on the spot. “Fuck you,” he screams at his victim, who by now has become a bulbous metal ogre covered in plates and gaskets and wires. “You’re better off being a miserable chunk of metal the rest of your life!” But the protagonist fends off the attacking Fetishist, stabbing him with his drill-phallus. At first it appears
The two combine into a giant phallus.
the Metal Fetishist has been defeated per this penetration; he crumples to the ground, blood-oil oozing from his lips, and the protagonist starts to integrate him into his gigantic metal corpus. The Metal Fetishist looks to have become the new phallus of the protagonist, his agonized face attached to the end of a long, retractable tube. Ultimately, however, the cyberpunk hero is victorious. Winning an internal battle with the protagonist after his integration into him, the Fetishist fuses with the protagonist into a new metal super-creature that resembles a giant penis. Reclaiming the throne of arch-masculinity, the Metal
"Sounds like fun."
Fetishist sits at the ‘head’ of the structure, a gun welded to his cyborgian arm. He suggests to the protagonist—who is strong and virile in that he is part of a engorged metal phallus, but still ‘below’ the hero in station—that they team up to bring about Armageddon. “How about turning the whole world into metal? You and me,” the Fetishist asks. “And we can rust the whole world and scatter it into the dust of the universe.” Permanently semi-defeated, the protagonist accedes: “Sounds like fun.” It is a well known trope in cyberpunk fiction, says Dyens, for disturbed characters to enact or inflict their suffering upon the wider world. “In fact, what cyberpunk fictions chiefly depict is the spread of a new and global schizophrenia, one based not only the inability to cope with great, ahuman societal changes, but also on the inability to cope with bodily mutations and alterations” (75). In effect, the Metal Fetishist and the protagonist plan to enunciate their power by treating the earth as if it were their personal virtual playground that can be influenced, altered and destroyed. In this way the whole world is transformed into a kind of cyberspace—its reality ceases to be ‘real’ for the protagonist and the Fetishist, and rather becomes an empty condition that merely awaits their corruption or inscription. “Cyberspace is not physically accessible,” Michaud states. “It is necessary to use a machine to connect through cognition. Cyberspace assures the fusion of cognition and artificial worlds” (Hassler and Wilcox 67). As machines—as one machine—the two characters have made the planet their cyberspace: after their nihilistic declaration, the camera zooms through the streets of modern Japan, taking in the homes and cars and trees and office buildings that they will obliterate, if only because they can. This is the sole reason why it can be argued that the protagonist is (or rather, becomes) a cyberpunk hero
alongside the Metal Fetishist, he can now ‘penetrate’ the world as if it were a malleable wilderness.

The combination of the Fetishist and the protagonist into a single entity is also perhaps a reflection of the two biggest trends in science regarding artificial intelligence: centralized control systems and ‘layering,’ which is also called ‘subsumption architecture.’ “For a long time,” as Cavallaro explains, “scientists were interested in devising automata that imitated the structure of the human nervous system—a hierarchical network governed by a privileged center.” But as it became evident that nothing ‘like’ a brain can yet match the power of a real brain, scientists moved toward “assembl[ing automata] through the layering of separate units, each corresponding to a specific behavior system, without any dominating ruler from above” (Cavallaro 173). The hybridization of the Fetishist and the protagonist that occurs at the end of Tetsuo can be read as a hybridization of these two influential but separate scientific tracks. Though amalgamated into one giant being, both characters remain distinct and retain individual sentience on par with layering. But in the tradition of brain-like rule “from above”—to quote Cavallaro—the Fetishist declares, from a position of supreme power at the top of the structure, what the two of them will do. Still though, the amalgamation of the protagonist and the Metal Fetishist speaks to more than just the devastation they can wreak as powerful cyborgs—it also says something about their ability to create, even if the only thing a cyborg can support or produce is another cyborg. “Despite its graphic nature, the film explicitly deals with the way man-as-machine not only has the power and potential to destroy, but also to multiply and carry forth, mainly through machinery-as-flesh,” writes Verrone.

It all started with a metallic protrusion on the cheek of an otherwise 'normal' protagonist.
Many conclusions can be drawn from this essay's analysis. One is that, despite well-noted variations between Japanese and Western cyberpunk, such as their different takes on Otherization and metallocentricism, the two are fundamentally alike in the staunch maleness of their cyberpunk heroes. Another is that the Metal Fetishist of the ground-breaking Tetsuo is the ‘hero’ of that fiction, despite his frequent absence from the screen in place of the protagonist, whose transformation is dissected by scholars far more
Eventually, the protagonist is entirely metal.
often than is the role of the Fetishist in causing that transformation. The Metal Fetishist fits many descriptions of the prototypical cyberpunk hero: he is “inventive, resourceful, talented, [and] eccentric” to quote the model proffered by Timothy Leary, and he is also the “pilot” of many destinies, including those of every individual in the film, to refer to Sharon Stockton’s note that “cyberpunk” originates from the Greek word kuernetes. Even his nefariousness seems par for the course: cyberpunk heroism is often defined by dubious or nonstandard morality, as Craufurd Goodwin and Alex Rogers explain, and his hostile takeover of another body is to be expected in
Arch-masculine 'penetrator' of the film, as well as its true cyberpunk hero, the Metal Fetishist gets vengeance in the end.
cyberpunk—a genre that, as Ollivier Dyens notes, insists upon the parasitical invasion of matrices both physical and electronic.

Primarily, however, Tetsuo reinforces the notion of the arch-masculine hero by presenting us with two characters: one who is ‘penetrated,’ and another who ‘penetrates.’ Penetration, the film teaches us, involves both strength and weakness, masculinity and femininity, much in the same way that capitalist/imperialist assimilation does. A phallus proves the frailty or femininity of the entity it invades, but at the same time, it plants a ‘seed’ of masculinity—enables a future realization of manhood if only because the entity penetrated has necessarily been touched by a powerful vessel of masculinity. Such is the story of the protagonist and the Metal Fetishist. True to his cowboyish tendencies as a cyberpunk hero, the vengeful Fetishist reshapes, warps and sculpts the protagonist as if he were unexplored terrain, virgin soil. We are thus led to yet more conclusions. In the ideal cyberpunk scenario, women are removed from the reproductive process—only real men can make other real men. Necessarily, then, the feminine body is a raw, untrained and default condition, while the male form is something toward which human beings must work and strive. In the end it therefore becomes clear that Tetsuo is as much a tale about what it takes to achieve manhood as what it takes to achieve heroism in a cyberpunk fictional world.

Works Cited

  • Cavallaro, Dani (2001), Cyberpunk and Cyberculture: Science Fiction and the Work of William Gibson, London: Athlone.
  • Dyens, Ollivier (2001), Metal and Flesh: The Evolution of Man, Cambridge, MA: MIT Press.
  • Goodwin, Craufurd and Alex Rogers (1997), “Cyberpunk and Chicago”, in Henderson, James P., The State of the History of Economics: Proceedings of the History of Economics Society (Perspectives on the History of Economic Thought), London: Routledge.
  • Huang, Tsung-Yi Michelle (2004), Walking Between Slums and Skyscrapers: Illusions of Open Space in Hong Kong, Tokyo, and Shanghai, Hong Kong: Hong Kong University.
  • Michaud, Thomas (2008), “Cyberpunk Science Fiction as Political Philosophy”, in Hassler, Donald M.; Wilcox, Clyde, New Boundaries in Political Science Fiction, Columbia, SC: University of South Carolina Press.
  • Park, Jane Chi Hyun (Sep.-Dec., 2005), “Stylistic Crossings: Cyberpunk Impulses in Anime”, World Literature Today, 79 (3/4), 60-63.
  • Stockton, Sharon (Winter, 1995), “‘The Self Regained’: Cyberpunk’s Retreat to the Imperium”, Contemporary Literature, 36 (4).
  • Tatsumi, Takayuki (2006), Full Metal Apache: Transactions Between Cyberpunk Japan and Avant-Pop America, Durham, NC: Duke University Press.
  • Verrone, William E. B. (2011), The Avant-Garde Feature Film: A Critical History, Jefferson, NC: McFarland.
  • Waskul, Dennis D. (2004), Net.SeXXX: Readings on Sex, Pornography and the Internet, New York: Peter Lang Publishing.


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The Mountain Lake (Heiko’s) Trail

The Mountain Lakes (Heiko’s) Trail is a 22 km hike that ends at Island Lake Lodge. Starting on the East side of the 3 sisters the trail includes lush old growth forest, waterfalls, caves, alpine meadows, wildflowers and mountain passes. Island Lake Lodge has guides available upon request.

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"Without timeshare, we would not make time in our busy schedules for vacations - Thanks for making us stop and enjoy life!"
Island Time Share Logo

About Island Consulting Realty

Since its inception many years ago, president Tom Tubbs had one thought in mind about timesharing: There's a better way to do this! Having grown up in his father's boating business, he learned a valuable lesson: Give your customers more than they expect and always be accessible to them. His dad's 43 years in business saw the competition come and go.

By the same token, Tom has seen many time share companies come and go in the last 20 years. The industry has evolved greatly. The consumer now demands more and expects greater service, all at a lower cost. Tom saw his niche. He saw that the average resort spent 60% of it's gross revenue on promotion and marketing. He saw that the service after the sale was poor. He saw salespeople whose only interest was in their commission check. He saw that these resorts enjoyed very little repeat business and even less referrals. How did he see it? From first hand experience----he worked at a time share resort in management for a number of years. And what he saw troubled him. He saw people who had trouble trading their time shares. He saw people paying top dollar for a time share because the marketing costs were so high. He saw salespeople lying about resale value. But he also saw one other thing. There were other people who absolutely loved their time share and could trade it for anywhere they pleased. Thus, there were "good" time shares and "bad" time shares.

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The National Defense University (NDU)

The National Defense University (NDU) is the nation's preeminent joint institution for education, research and outreach in national and international security. Established in 1976, NDU is dedicated to educating, developing and inspiring national security leaders.

The International Student Management Office (ISMO)

Within NDU the International Student Management Office (ISMO) is administrative home to all international students attending NDU in-residence. Aligned with the Chairman of the Joint Chiefs of Staff's priorities, military and civilian officials from across the globe study at NDU. ISMO provides programmatic and practical support for NDU's international students and their families.

The ISMO Internship

The ISMO internship is as unique and exciting as it is challenging. Program Assistants (interns) are afforded the opportunity to interact with senior international civilian and military officers and their families from around the world.

Program Assistants help advance the ISMO mission in their support of the International Fellows Program. This internship will provide Program Assistants with the opportunity to develop practical administrative, logistic, event planning and other critical skills as they assist the ISMO staff in transitioning and preparing the International Fellow for living life within the United States. The ISMO office plays a critical role in managing a variety of issues and processes for the International Fellows so they can focus on their coursework, without having to worry their pay, finding an apartment/home, schools, and/or local doctor. Program Assistants may also assist staff in coordinating events, visits, briefings, and/or receptions. They may also assist with executing parts of the American Studies Academic program, which teaches international officers about U.S. institutions and American culture, values, and ideals.

Typically, we try to assign Program Assistants individual projects, based on their area of interest. In this way, we give our interns autonomy and treat them as members of the staff responsible for project deliverables. These projects require both individual attention to detail and collaboration with others in the office. Interns should invoke staff confidence and demonstrate the ability to take on responsibility, work independently and in group settings. Attention to detail is crucial for completing various tasks within the ISMO office.

Most importantly, our interns must be aware that they are helping our international partners and allies understand America. For some officers, it is their first time visiting the United States and you will be seen as an ambassador or representative of America. We seek friendly, dedicated, motivated, and organized individuals. Foreign language proficiency, is not required, but useful in an atmosphere with over 25 spoken languages. International Relations, Political Science, History, Education, American Studies, Language majors and ROTC students are preferred; however, all are encouraged to apply.  Housing and transportation are the responsibility of the intern, and unfortunately, this position is unpaid, but valuable workforce skills can be earned.

The deadlines to apply are:

For Fall Semester: July 24th

For Spring Semester: November 1st

For Summer Semester: February 15th

To apply: Please provide your resume, cover letter and one letter of recommendation to the ISMO Internship Program Manager at

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Prospective ISMO Interns:

Use the ISMO Internship Facebook page to view and read about the experience of past and current interns. You can also connect with past and current interns to learn more about their experience if you think the ISMO Internship may be a good fit for you!

ISMO Intern Alumni:

Use the ISMO Intern Facebook page to stay in touch with your colleagues and utilize the ISMO Internship network. Feel free to keep in touch with us, and write post. We'd love to hear about where you are and what you are doing life post-ISMO. We would also love to learn how the ISMO Internship may have helped you prepare for the workforce.

Link to FACEBOOK: ISMO Internship Page

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To view the ISMO Internship Flyer please click here:

For Academic Advisers and Student Fellowship Program Managers:

If you are an academic adviser or student fellowship program manager and would like to establish a relationship with the National Defense University's International Student Management Office's Internship Program, please click the link below and fill out the form. Someone will be in contact with you shortly.

Google Form: University POC Contact Information Form

The NDU Young Professional Community (YPC):

The NDU Young Professional Community is an additional resources for interns and other junior staff members at the National Defense University to engage with NDU senior leaders, sit in on distinguished lectures and take advantage of various volunteer opportunities. The YPC Happy Hour is also a great time to network and meet some other young professionals in the NDU Community.


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Sunday, May 15, 2016

In 1961, they knew how to solve the 'Palestinian problem'

Here's an amazing 1961 Atlantic piece (would the Atlantic even publish something like this today @JeffreyGoldberg) written by a woman I am told is Ernest Hemmingway's ex-wife (thanks @soccerdhg) who took a tour of eight 'Palestinian refugee camps' in 1961.

Here's the money quote (in more ways than one) (Hat Tip: @zlando).
On this warlike note, we left. My guide had seemed a sober contented fellow until our little meeting, whereupon he sounded like a politician running recklessly for office. He then astonished me again.
"It can all be solved with money," he said. "Now the people have nothing in their mouths but words, so they talk. Money fills the mouth too. If every man got a thousand dollars for each member of his family, for compensation to have lost his country, and he could be a citizen in any Arab country he likes, he would not think of Palestine any more. Then he could start a new life and be rich and happy. And those who really do own something in Palestine must be paid for what they had there. But those are not many. Most had nothing, only work."
It could - and probably still can - all be solved with money (although probably more today than 55 years ago). But of course no one - especially UNRWA - has any interest in solving it with money. And so, unlike any other refugees in the world, the 'Palestinians' continue to fester in camps... except for the ones who have escaped to the West.

Read the whole thing (I'm still reading it myself). And keep in mind that it was written six years BEFORE Israel 'occupied' the 'West Bank' and Gaza, so obviously that's not the problem.

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At 4:57 PM, Blogger pre-Boomer Marine brat said...

"... no one ... has any interest in solving it"

Not quite.

Many have a vested interest in keeping it unsolved.

For example, if Israel and the Jews suddenly vaporized, a majority of the Brotherhood's political rice bowl would vanish. Then it would be more difficult to motivate ordinary anti-regime demonstrators in the Arab/Egyptian streets. What one might call, Morsi's "we must cultivate the hatred" tool describes a terribly convenient, multi-purpose kindling, presently readily-available to Islamist demagogues across the planet.

At 6:12 PM, Blogger Empress Trudy said...

There is no palestinian problem and no refugee problem. There is an unwillingness and inability to culturally deal with the Arab mindset problem. There is an inability to deal with the ethics or lack of ethics of the bazaar and the shouk where nothing is ever concluded and the goal is nothing less than endless haggling for better terms in and of themselves. There are no palestinians because it could just as easily be some other made up identity in some other place. The particulars don't matter. The western tradition of making a deal, concluding it and going away to proceed with that deal is utterly foreign to the Arab mind. The Arab never ends the fight for a better deal. Even if he gets everything he demanded he'll turn right around to demand more and better terms.

At 10:55 AM, Blogger NancyB said...

Oh my goodness! This is another historical jewel! (you've posted some others) Thank-you so much for posting this. Truly amazing...

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Recover FAT partitions in Windows

FAT get its name from the kind of database it uses called as File Allocation Table, which contains an entry for each cluster on the disk. It was created by Microsoft in 1977 and since then it has undergone several revisions. FAT is computer file system architecture now widely used on many computer, pen drives and most memory cards, such as those used with digital cameras. It is commonly found on floppy disk, flash memory cards, digital cameras, and many other portable devices because of their relatively simplicity. FAT was commonly used on hard disks throughout DOS and Windows 9x eras, but its use on hard drives has declined since the introduction of Windows XP, which primarily uses the newer New Technology File System (NTFS). The successive major versions of the FAT are FAT12, FAT16 and FAT32. The FAT standards have also been expanded in other ways while generally preserving backward compatibility with existing software. This makes it a useful format for solid state memory cards and a convenient way to share data between operating systems. If FAT partitions of your hard drive get deleted or corrupted due to some common errors then you can recover FAT partition using partition recovery software.

With the advent of NTFS, usage of FAT file system has been restricted to USB drives, pen drives, and memory cards. The popularity of NTFS over FAT is due to the advanced features are supported by NTFS file system. There are laptops and USB drives that make use of FAT file system. The major setback of FAT file system with respect to the data loss is that the file system lacks a good crash recovery or security option, which automatically makes FAT file system more prone to data loss.

Some of the common scenarios for the loss of data on a hard drive with FAT file system are virus attack, malware, accidental deletion of partitions and loss of partitions due to hard drive crash. Data loss can also occur if you convert the file system from FAT to NTFS. You can recover it with the help of good data recovery software. Switching over from FAT to NTFS is not the only way you lose data from partitions. Formatting the partition, corruption of partition and deletion of partitions will cause data loss. Partition corruption can be caused by software malfunction or improper shut down of the system. Data lost from partitions can be recovered if the data is not overwritten by other files or programs.

If you have lost data after switching your file system to NTFS from FAT, you need to use recovery software that can recover data from FAT partitions. Some of the software available can recover data from both FAT as well as NTFS partitions. Remo Re cover (Windows) – Pro Edition is powerful recovery software that can recover your data from lost/missing partition, formatted, re-formatted partitions FAT and NTFS volumes in Windows operating system. You can try demo version of the Remo Recover Software, which is freely available in internet. Once you are satisfied with recovery result, go ahead and purchase the full version of this software.


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Saturday, 20 April 2013

How just two words in a Guardians of the Galaxy preview angered SO many people this week.

I have long since started to believe that there is a perverse kind of balance in the profile of Marvel's Captain Britain. For every bit of positive exposure he receives, it only seems a matter of time before it gets balanced out with something... well, something a little bit crappy.

For every strong characterisation like that of Alan Moore or Jamie Delano run, you then get things like Brian the angry drunk of early Excalibur. For every positive reinforcing of the character, like that of Captain Britain & MI13, you then get a pretty brutal and unwarranted character assassination in the form Uncanny X-Force or Secret Avengers.

A few weeks back we got to see a fairly positive Captain Britain appearance, in the form of his new role as Head master of Braddock Academy, in Avengers Arena.

I should have known something like this was on the horizon... :)

Guardians of the Galaxy #2 isn't even out yet. But it certainly seems to have made a lot of people angry.

A preview for the issue went up last night, and quickly started prompting responses like these:

Pretty clear displeasure, I'm sure you'll agree. Wondering what prompted that kind of response?

Well, at the end of the previous issue an alien race (The Badoon) had begun invading London.

Yes. London.

So as you can imagine some folks were actually hoping for an appearance by Captain Britain. Or MI13. Or Union Jack. Or students from Braddock Academy. Any number of British Marvel characters, really, though especially those local to London.

I on the other hand was a little more cautious. I mean on paper it might make sense, but I've come never to expect such things from the modern Marvel. When headline characters visit non-US cities in Marvel comics these days the likelihood of their local heroes, who Marvel has had in continuity for years, making an re-appearance is incredibly slim. If they happen it's a pleasant surprise, but I certainly don't take it as a given, by a long shot.

That said, even I wasn't quite expecting... well, this:

Yeah. That was Tony Stark. Iron Man. Telling all those new to Marvel readers which the Marvel NOW program aims to acquire, that Captain Britain isn't any good.

A pretty blunt statement. Some might argue an out of character statement, also.

Maybe there's been a little bit of a knee-jerk reaction, but I think you can see why some folks were a little upset.

It is kind of odd. I mean Iron Man and Captain Britain have both been Avengers, both been Knights of Pendragon together. You'd think there would be a little more respect, there. It seems even odder when you consider that Captain Britain was one of the heroes which Iron Man hand-picked from Marvel's timeline, to help save his ass in The Iron Age limited series from a year or so back.

If he was so rubbish, why specifically choose Captain Britain from all the other possible heroes?

I actually find it slightly more irritating that Marvel editorial seems to have once again forgotten (or possibly chosen to ignore, I suppose) that there *is* a London-based superhero initiative.

In the form of MI13.

The government backed team which operates through the British version of the American Superhero Registration Act.

You know, the one which Tony Stark had a hand in *writing*!?

As this blog kind of serves to point out on a regular basis, Marvel's Britain actually does have a lot of resident heroes. Many of whom held their own series, at one point or another. Now maybe Brian Michael Bendis isn't aware of that, but given that MI13 themselves have been making Marvel appearances very recently, in the pages of Gambit (and soon to appear in those of X-Men Legacy too, I understand) you'd think that somebody might have pointed that out.

I would also have thought that maybe Mr Bendis would have learnt something about how easy it is to end up rubbing Marvel's non-US readers the wrong way. Canadian readers were practically baying for his blood when he killed off Alpha Flight in a one-panel death, a few years back. A dramatically viable and shocking death, one could argue. But nevertheless, the blunt instant offing of characters whose books they'd been buying for years is something which upset those readers greatly. And was always going to. I think that when your favourite characters actually appear so infrequently these days you do tend to be a little protective over others using them for shock value, or as the butt of a quick joke. Readers often do take it very personally, and while some might argue that's more down to a sense of perspective failure on their part sometimes, you do have to ask - is it really necessarily to bad mouth a smaller property in order to make a larger one look better?

It reminds me very much of the whole furore over when Joss Whedon had Wolverine refer to New Excalibur as "Excalisuck" a few years back, on his Astonishing X-Men run. It was a joke. Clearly a joke. Basically, Whedon had Wolverine tell young mutant Armor that if she screwed up they'd stick her on some obscure offshoot team. Like 'Excalisuck or something'. Clearly a statement for comic effect, but one which a lot of readers *did* take as a personal slight.

At that time a fair number of Excalibur fans online had rather vocally been blaming the extensive delays to the faux Hellfire Club story in Whedon's Astonishing run as being responsible for editorial asking Chris Claremont to make some pretty large changes to the direction of New Excalibur - namely removing the London Hellfire Club (which he had been publicising since before the book began) as New Excalibur's Big Bad, so as not to give away that the Hellfire Club characters in Whedon's story weren't real. I think most people had already guessed that they weren't a couple of issues in, but because of delays Astonishing X-Men was only coming out every 2-3 months. And  people were getting antsy, I guess. It was a perfectly plausible story, I guess, but there was certainly no way of knowing if it was true. This didn't stop a lot of folks posting it online as gospel, of course, apportioning a fair slice of blame in Whedon direction, on several different comics sites.

When that 'Excalisuck' comment turned up in panel, I would certainly hope that it was pure unlucky coincidence. But that self-same group of fans didn't, and wouldn't, see it that way. As far as they were concerned this was Whedon responding directly to them. A direct and personal middle finger directed back at them. And while that remains unlikely, and any threats of 'boycotts' were never going to effect (what certainly was at the time) a Sales Giant like Astonishing X-Men, it was perhaps a little bit stupid to allow derisory comments made in a larger title to be made about any other book in your current publishing catalog. By that time New Excalibur had started to slide in terms of monthly sales. I'm not claiming that comment was responsible for its demise. But it was hardly doing it an favours. Joke or no.

So, yes, whether intended or not some folks will always read a joke as a personal slight.

Nevertheless, I can't help but think, that in the case of Guardians of the Galaxy #2 this was a bit of an unhelpful move. It's already been receiving a fair bit of criticism from long time readers, and I really don't think it needed something like this adding into the equation.

For the uninitiated Guardians of the Galaxy was an obscure late 60s Marvel property, left largely forgotten until a few years back when it was relaunched by Marvel UK stalwarts Dan Abnett and Andy Lanning. Back  in 2006 (while Marvel were still being a bit more adventurous, and trying much more to expand their universe of titles rather than consolidate) they decided to take their Cosmic/Space characters out of mothballs and throw them into a big multi-series event named 'Annihilation'. It was a huge success, with the standout series being Abnett and Lanning's 'Nova'. This began somewhat of a Cosmic Title Renaissance at Marvel, with these multi-book Events taking place each year. Somewhere along the line it was decided that some of these characters who featured regularly in the events together might function well in a book of their own.

So was (re-)born Guardians of the Galaxy. Separate to the original team (which had been based in the 31st Century) but true to the original concept. It used the recently revived Star-Lord (who had been an incredible success in his new aesthetic from the 'Annihilation: Conquest' event), sometime Nova love interest (and adopted daughter of Thanos) Gamora, space mage Adam Warlock, former Avenger Moondragon, Thanos-obsessed bruiser Drax the Destroyer, the towering living tree Groot and gun-toting, talking raccoon, Rocket Raccoon.

They weren't the most coordinated of teams. They weren't the best of teams. But they tried to do a job, living out at the edge of space, in the floating giant head of dead Celestial.

With a telepathic Russian space dog named 'Cosmo'.

Yeah. Really.

It was all a little off-beat, but that was the point.

The book lasted 25 issues, and gained a very dedicated though cult level following - many of whom were long-term Abnett and Lanning fans, going right back to their days at Marvel UK.

Look at that image for a minute. That's a pretty distinctive aesthetic. Star-Lord with the helmet and face plate, sword-wielding Gamora like a sword & sorcery warrior in space, Rocket in the standard 'Guardians' uniform. Visually it all worked very well together. It was always a little bit tongue in cheek, it had a very distinctive vibe to it, but it worked.

Even the most ardent fans were more than a little bit surprised when it was announced that Marvel Studios were going to make a movie out of it. A little concerned about it too. In this Avengers-centric movie world were they going to meddle with that aesthetic? Were they going to change the characters involved? Luckily for them, both in terms of concept art and casting rumours, so far the movie seems very much to be matching up with Abnett and Lanning's vision of the team.

Which is actually why the new relaunch of Guardians of the Galaxy seems even more odd to many. It's only an issue (and a set-up #0) old, but right from the earliest publicity material it was fair to say that the Guardians faithful were getting a little restless.

A very different aesthetic, I'm sure you'll agree. Gone are the uniforms, replaced by what the online consensus seems to feel is a wholesale ripping-off of the armour style of the videogame Mass Effect. As a fan of said game I will state that it *isn't* the same, but do also concede a certain amount of similarity.

Gamora has swapped warrior robes and swords for the same body armour, and assault rifles. She's also being referred to a lot in publicity material as 'Thanos' Daughter'. Which is slightly misleading, bit tells a little of where this is likely to be focusing. A lot of people are complaining about this particular change of look. Gamora wore what she wore because it suited her fighting style. I can certainly understand it. It's a certainly a bit of an odd choice. If she's now dropping swords for guns permanently that really is disappointing.

Despite the movie very much going with concept art of a helmet and face-plated Star-Lord the new Guardians series has opted for crossing this same armour with the brightly coloured, slightly campy 70s costume for the character. This too has been met with a fair bit of hostility. You can get a clearer picture from the panels up-post. I can sympathize.

And of course there's the addition of Iron Man. I can actually understand the logic of his being here; for Tony Stark to be exploring space frontiers. I was actually quite interested to see where they went with the character. Perhaps a little less after reading this preview. :) But many longer term fans see this too as the clear homogenizing of the Guardians into the Avengers brand. And that's something which they simply cannot stand, and viewpoint they will not budge from.

Now generally speaking I have been a Brian Michael Bendis fan for quite a long while. From Powers to Daredevil, Alias to New Avengers. Between him and Mark Millar I had a reason to come back to Marvel in the early 2000s, after a long break. Without them I probably wouldn't have. I'm also currently loving his All-New X-Men - Finally putting some order back into a line of books which just hadn't been working for several years.

But Guardians of the Galaxy, so far? I've not been blown away. I've tried talking myself out of all the complaints above, of the 'Galaxy's Avengers' tag that gets banded about, and the fact that a lot of people just seem to find it really fashionable to criticize Bendis at any opportunity. But I can't help but think that this time a lot of what is being criticized is legitimate. The Guardians weren't great heroes. They were a patchwork team of bit-part players, thrown together, and quirky as hell. What we have in this new incarnation is quickly becoming something very different. Now they're the best at what they do, sons and daughters of Kings and rulers, changing fighting styles, visual styles so dramtically from what they were.

Is it just me, or are they losing a little bit of their charm?

It's not just me, of course. I read forums. I know this. And microcosm within the buying public though forums are I'm clearly not alone. For many folks Guardians of the Galaxy will always BE Abnett and Lanning. That fanbase was already kinda being eroded by certain creative decisions. Badmouthing the corner of the Marvel Universe that many of these same readers first encountered Abnett and Lanning in just works as another grudge for them to bare. A somewhat counter-productive move all round.

I'll be honest, I personally think that there has been an overreaction to this one 'Joke'. But at the same point Guardians of the Galaxy is a part of Marvel NOW. The entire point of Marvel NOW is that it's an opportunity to introduce new readers (especially those who have been watching Marvel properties in other mediums) to Marvel comics, getting in at the start of a new comic series.

The guy who's never read a Marvel comic before has also likely never heard of Captain Britain before. All he knows about the character now is that Iron Man (the guy he HAS heard of before) thinks that the guy's not worth bothering with.

Ask yourself this: Is that guy now MORE or LESS likely to pick up a future title featuring Captain Britain, as a result of what they have read?

I fully accept that I am personally part of a fandom (be that Captain Britain or Marvel UK in general) which I'm sure Marvel do not see as being a huge or significant part of their business. Nor, more than likely, would the die-hard fans of Abnet and Lanning's take on Guardians of the Galaxy be. But my point is this:

Surely if a fandom forms around ANY property you own should that not be something you are happy about?If a set of people independently decide to show appreciation and enthusiasm for something which you have produced, no matter how large a response, no matter how small, should it ever be considered sensible or even acceptable for another part of your business to belittle that enthusiasm, to try and put down the property which interests them? That just seems to me to be a really shabby way to treat folks.

Joke or not if you want to try and score points against people maybe you should be working harder at targeting the opposition, rather than counter-productively targeting the people who actually buy your products.

Because sooner or later, they might just decide it's time they stopped doing that.

  1. The irony is that -- for some reason I can't fathom -- Marvel have decided that Rocket Raccoon is English.

    1. He has been voiced as English in Marvel videogames, hasn't he? :)

      Oh, well. I know it's all just a joke, but I can't help but feel that it was totally unnecessary.

      If Stark had been shown to respond to Star-Lord even slightly differently there wouldn't have been a problem. I mean if it had rolled out like:

      "Hey, Stark, are there any London-based super hero initiatives? Any British X-men?"

      "There is a Captain Britain?"

      "Is he any good?"

      "Hard to know. He's never in the right damn Universe for us to work out".

      People wouldn't be complaining. Sure, it's still disapaging, but not cruel. Not unwarranted. Not at anybody's expense.

      This kind of comment pits one fandom against another. Because, like it or not, that's how fandoms ALWAYS respond.

      Bendis has defended this preview on Twitter, pointing out that these aren't *his* words. They're Tony Stark's. The intention being to show that Iron Man is a bit of a dick. But that's was never going to be how that was interpreted.

      There was just no need.

    2. I believe Rocket's also been voiced as English in the recent Avengers cartoon. I think it was the same actor as in the video games.

    3. The new Rocket Raccoon and Groot collection arrived a few days ago and I have just read Rocket's -- or "Rocky" in this case -- first appearance in Marvel Preview #7. I'd read it years ago but back then I hadn't noticed what I noticed this time, which is that Rocket seems to be English. He's been given an upper class English accent rather than the more, er, earthy one he has on TV and in video games in recent times, but there is a precedent for it.

  2. There's also been a fair bit of rumouring over the past few days that David Tennant might be playing Rocket in the Guardians Movie...


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Thursday, February 21, 2008

Remembering 1.12

An article by Jonah Keri on reminded me just what an incredible year 1968 was. 1968 is remembered as "The Year of the Pitcher" and without a doubt, Bob Gibson was the pitcher of the year.

Rather than rehash everything Keri wrote, below are a few of the most mindnumbing stats for Gibson that year:
  • His 1.12 ERA was the lowest figure in a season not played in the Deadball era
  • Gibson completed 28 of his 34 starts, 13 of them for shutouts
  • 268 strikeouts
  • From June 2 through July 30, Gibson threw 99 innings -- and gave up two runs. According to baseball researcher Bill Deane, the two runs Gibson allowed were the result of bad luck more than anything. One came on a catchable wild pitch, the other on a bloop double that landed inches fair. Earlier that season, Don Drysdale set the record for most consecutive scoreless innings with 58 2/3. Orel Hershiser would break that record 20 years later with 59. Yet Gibson's streak is regarded by many as the most dominant stretch of pitching in major league history.
  • Denny McLain, who won 31 games in 1968, faced Gibson in Game 1 of the World Series that year and McLain's 1.96 ERA ranked fourth in the AL, behind Dave McNally (1.95), Sudden Sam McDowell (1.81), and Luis Tiant (1.60)
  • His 17 strikeouts in Game 1 of the 1968 World Series set a World Series record that still stands.
Take a look at his game log to the right. Note that he went PAST 9 innings 5 times. Can you imagine the fall-out if today's pitchers were used the same way? Joba Rules? Ha!!!
And the aftermath of 1968:

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Wednesday, January 21, 2009

Brotherly Love?

Guess someone's not getting invited to Thanksgiving:

"Shortly after I won the Contra Costa Bodybuilding Championships in May of 1994, Mark took the plunge. I accompanied him to Sacramento where we met with my supplier and trainer, who explained to him how the different drugs would work on his body and answered a myriad of questions from Mark. Given Mark’s curiosity and lack of knowledge about steroids I saw from Mark, I would be shocked if Mark did something like what Jose Canseco claimed happened back in the early years....[M]ark began to use, but in low dosages so he wouldn’t lift his way out of baseball. Deca-Durabolin helped with his joint problems and recovery, while growth hormone helped his strength, making him leaner in the process. I became the first person to inject him, like most first-timers he couldn’t plunge in the needle himself. Later a girlfriend injected him."
Looks like there is a McGwire who's here to talk about the past. Not that Big Mac really cares:
"...I’ve heard speculation that Mark will never get into the Hall of Fame. To some that might really get to them. Take Pete Rose. I think he would cut off his left arm to be enshrined in Cooperstown. Not Mark. I don’t think being in the Hall of Fame matters a lick to him."

As for that picture, it looks like lil Mac's head is on the wrong body like a bad photoshoped picture. Yeesh!

Also, I haven't seen this book anywhere else (or even hints of its existence), so maybe Deadspin's pulling a funny...

No comments:


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Author Archive: honeydscreations

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