03 May 2012

Paradigm Shift

For my classes last semester I had to read four different books about various aspects of science, and I've finally finished all of them, so the next four entries I'm going to spend detailing those books...

Trade paperback, 212 pages
Published 1996 (originally 1962)
Acquired September 2011

Read November 2011
The Structure of Scientific Revolutions
by Thomas S. Kuhn

I first heard the term "paradigm shift" and was detailed on the concept of the scientific revolution my freshman year of high school in "World Cultures" class.  The idea has since lurked in my mind-- much as it has in culture, I think.  But it took twelve years and a philosophy of science seminar to get around to reading it.

Kuhn's work is immediately incredible.  Though it's probably not always right, it's not always right in the way that most big ideas are, because it's so big that there can't not be tons of little exceptions to what he says and how he says it. His model of science, as a series of paradigms that shift but don't necessarily become more truthful, just more useful, is immediately persuasive.  I especially liked what he said about the action of "normal science," the science that happens between paradigms.  Despite the fact that scientists know that major theories are overturned throughout history and will be overturned again, they all proceed as though science has been settled and do these small tiny experiments. 

I also liked his concept of "paradigm vision" (I don't think he calls it this exactly, but I do), that scientists see the world through the lens of their paradigms, and indeed, often find it impossible to bridge the gap between paradigms because it affects the language they uses.  I thought of the Pluto-is-a-planet thing when reading this section; some people cannot believe that Pluto is not a planet because they see the world in such a way that the word "planet" means something that includes Pluto.  How could they possibly accept that it is not a planet?

Of course, Kuhn's ideas are more applicable to physics than other sciences, and rejecting the sciences they don't fit as "immature" is probably not the right solution, but that doesn't stop it from being interesting.  I am kinda disgruntled that Kuhn added an afterword in 1969 to deal with criticisms that had been lobbed at it, instead of actually integrating the criticisms into the main text.  But on the other hand, I'm glad that his response to that criticism can be safely contained in one chapter because the criticisms are all such nitpicky philosophy of science bullshit.

02 May 2012

Audio Catchup: Doctor Who: The Lost Stories: The Fourth Doctor Box Set

written by Robert Banks Stewart & John Dorney
and Philip Hinchcliffe & Jonathan Morris
directed by Ken Bentley
released January 2012

starring
Tom Baker as the Doctor
Louise Jameson as Leela
Doctor Who: The Lost Stories: The Fourth Doctor Box Set

The third season of Doctor Who: The Lost Stories takes a breather for The Fourth Doctor Box Set, which contains two unmade Tom Baker adventures: Robert Banks Stewart’s The Foe from the Future, completed by John Dorney, and Philip Hinchcliffe’s The Valley of Death, completed by Jonathan Morris. With a six-parter and a four-parter, that’s a whopping ten episodes across six discs! (There is, of course, the traditional egregious disc of extras.)

I’m not the biggest fan of Robert Banks Stewart’s televised Doctor Who stories. Terror of the Zygons left me cold, and though I thought the first two episodes of The Seeds of Doom were terrific, some of the best base-under-siege the show has ever done, then they go to England and it all gets a bit silly. The Foe from the Future is a storyline that Stewart submitted, but it ended up not being made and the seminal The Talons of Weng-Chiang was made instead. The only real similarity The Foe from the Future has to Talons is the one in its title: the bad guy is from the future. It’s set in 1977, and the Doctor and Leela discover that people are disappearing near a mysterious mansion…

01 May 2012

Faster than a DC Bullet: Jessica Jones, Part III: The Pulse: Thin Air

Comic trade paperback, n.pag.
Published 2004 (contents: 2004)
Borrowed from the library
Read April 2012
The Pulse: Thin Air

Writer: Brian Michael Bendis
Penciler: Mark Bagley
Inker: Scott Hanna
Colorists: Peter Pantazis with Brian Reber
Letterer: Cory Petit

The end of Alias wasn't the end of Jessica Jones; she soon became one of the central characters of another Brian Michael Bendis series, The Pulse, about the writers at the Daily Bugle, especially those in a special section focusing on superheroes.  (Jessica is there to investigate, though not write.)  This volume sees the Daily Bugle staff investigating the death of one of their own.

It's not very interesting.  I don't quite know why, but nothing the characters did ever grabbed me.  The mystery is pathetic.  There's no resonance to this.  Whereas Alias used the question "What would the Marvel Universe look like to a private investigator?" to say something very interesting about powerlessness, The Pulse asks "What would the Marvel Universe look like to newspaper reporters?" and discovers that the answer is "Exactly the same."  The subversion of the genre tells us nothing of interest.

And the reason I picked up the book, Jessica Jones herself, is weirdly off.  I don't think it's the dialogue, as the same guy wrote both Alias and The Pulse, but it might be, as The Pulse is paced much more like a conventional superhero comic; there's no awkward six-page halting conversations here.  It probably doesn't help that, now that she's pregnant, all Jessica does is worry about her unborn child.  I don't doubt that being pregnant would change her, but it's basically her only personality attribute here.  Worse, Michael Gaydos has been replaced by Mark Bagley, who has what is probably a decent style for a superhero comic, but is a complete mismatch for one about Jessica Jones.  As when Takeshi Miyazawa left Spider-Man Loves Mary Jane, her body language is just wrong, and it makes all the dialogue seem off; she doesn't move the way Jessica moves or make the faces that Jessica makes.  Given time I might get used to it, but with only five issues collected in this thin volume, it's time I don't have.

30 April 2012

Reading Roundup Wrapup: April 2012

Pick of the month: North and South by Elizabeth Gaskell.  This was a tricky one-- though I read some good stuff this month, nothing stood out particularly strongly to me.  I also really enjoyed Alias: Ultimate Collection, Book 2 (though not as much as Book 1), A Life Worth Living, and Young Avengers.  But this was the only book this month that caused me to go around telling people I wanted to marry the protagonist, so we'll go with it.

All books read:
1. Unsimple Truths: Science, Complexity, and Policy by Sandra D. Mitchell
2. Alias: Ultimate Collection, Book 2 by Brian Michael Bendis
3. The Pulse: Thin Air by Brian Michael Bendis
4. North and South by Elizabeth Gaskell
5. One Hundred Demons by Lynda Barry
6. The New Adventures: Mean Streets by Terrance Dicks
7. Professor Bernice Summerfield IV: A Life Worth Living edited by Simon Guerrier
8. Star Wars: The Clone Wars: Deadly Hands of Shon-Ju by Jeremy Barlow
9. The Head of the House of Coombe by Frances Hodgson Burnett
10. Checkerboard Nightmare: A Brief History of Webcomics by Kristofer Straub
11. The Pulse: Secret War by Brian Michael Bendis
12. Professor Bernice Summerfield V: A Life in Pieces by Dave Stone, Paul Sutton & Joseph Lidster
13. Robin by Frances Hodgson Burnett
14. The White People by Frances Hodgson Burnett
15. Young Avengers by Allan Heinberg

All books acquired:
1. Mumbai Noir edited by Altaf Tyrewala
2. A Preliminary Discourse of the Study of Natural Philosophy by John F.W. Herschel
3. Making a Social Body: British Cultural Formation, 1830-1864 by Mary Poovey
4. The Powers of Distance: Cosmopolitanism and the Cultivation of Detachment by Amanda Anderson
5. The Posthumous Papers of the Pickwick Club by Charles Dickens
6. The Science Fiction of Edgar Allan Poe
7. Trillion Year Spree: The History of Science Fiction by Brian W. Aldiss with David Wingrove
8. Metamagical Themas: Questing for the Essence of Mind and Pattern by Douglas R. Hofstadter
9. The Flash Omnibus by Geoff Johns, Volume Two by Geoff Johns
10. Tales from Super-Science Fiction edited by Robert Silverberg
11. Dark X-Men by Paul Cornell

For the first time, I purchased books for my exam reading (#2-7)!  Stuff is about to get real.

Books remaining on "To be read" list: 412

STOP RISING!

Faster than a DC Bullet: Jessica Jones, Part II: Alias: Ultimate Collection, Book 2

Comic trade paperback, n.pag.
Published 2010 (contents: 2003)
Borrowed from the library
Read April 2012
Alias: Ultimate Collection, Book 2

Writer: Brian Michael Bendis
Art: Michael Gaydos (with Mark Bagley, Al Vey & Art Thibert and Rick Mays)
Colors: Matt Hollingsworth (with Dean White)
Letters: Cory Petit (with Richard Starkings & Wes Abbott and Jason Levine)

The second volume of Alias continues the excellence of the first. It continues Jessica Jones's investigations of the dark underbelly of the Marvel Universe, as she looks into the disappearance of one of the many superheroes known as Spider-Woman... who just happens to be the adopted daughter of J. Jonah Jameson. Jameson is always a great character, and he's even greater when he's legitimately worried about something. I would say that this story is my favorite of Alias's "cases," except that it's tied with the Rick Jones and runaway mutant cases in the first volume. (I do love those moments where we see Jessica's very awkward way of flying.)

As good as the first half of the book is, the second is even better. Intending to read just one chapter before I went to bed, I read all of them-- and when she read the book, my wife did the same thing! Here, we finally learn the "secret origin" of Jessica Jones. She went to Midtown High with Peter Parker, which maybe stretched credulity a bit, but as always I like the way that Bendis and Gaydos juxtapose Jessica's miserable life against superheroics. Part of the story is drawn in the style of Steve Ditko, and Bendis's naturalistic dialogue is put right alongside all-caps Stan Lee proclamatory stuff. Jessica says things like "I can't believe how badly I screwed that up" at the same time that a Midtown student says, "SAY, GANG! WE NEED ONE MORE GUY FOR THE DANCE! HOW ABOUT PETER PARKER OVER THERE?" I especially like it when Jessica calls Flash Thompson "a fucking repressed dickhead retard" and Peter replies, "I wouldn't put it in those words exactly."

As always, putting Jessica's life next to these other ones shows how terrible her life is. The secret origin starts with her getting a car crash, and things only get worse from there, as we explore Jessica's past and see how what's happened then relates to her present. It's great, terrifying stuff. Poor, poor Jessica.

As good as it is, though, there are three things I don't like about the ending. (YES, THIS PARAGRAPH HAS SPOILERS IN IT.) The first is that Jessica's "archnemesis," the Purple Man, thinks that he's a character in a comic book. It's too knowing, and I don't think it adds anything to the story. We already get when Bendis and Gaydos are doing if we're paying attention. The second is that when Jessica defeats the Purple Man because Jean Grey installed a psychic trigger in her all those years ago. That's it? Lame. Too easy. The third is Jessica's sudden decision that she loves Luke Cage, who we've seen on a total of three previous occasions this entire series. Really? Why? I just don't see what exists between them.

Aside from that stuff, though, Alias's second book is just as good, if not better, than the first. Good dialogue from Bendis and great art from Gaydos give us a gripping examination of what it means to be powerless-- and the lengths to which people will go to overcome that feeling.

27 April 2012

Faster than a DC Bullet: Jessica Jones, Part I: Alias: Ultimate Collection, Book 1

Comic trade paperback, n.pag.
Published 2009 (contents: 2001-02)
Borrowed from the library
Read March 2012
Alias: Ultimate Collection, Book 1

Writer: Brian Michael Bendis
Art: Michael Gaydos (with Bill Sienkiewicz, David Mack and Mark Bagley & Rodney Ramos)
Colors: Matt Hollingsworth
Letters: Richard Starkings & Wes Abbott, Oscar Gongora & Jason Levine

Not only have I read a lot of superhero stories by this point, I've read a lot of "deconstructions" of superhero stories, stories where the tropes of superhero stories are turned on their head in some way. Sometimes this is done to make a clever point (i.e., Watchmen), but sometimes you wonder why the writer bothered. "Oh, you've proved that it would suck to be a cop in a world full of superheroes. Congratulations, so has everyone else who's written this story."

What differentiates a good deconstruction from a bad one, I think, is doing more than simply subverting a genre convention, but understanding what a genre means. Alias is, thankfully, one such book. It stars Jessica Jones, a former superhero, now a private investigator, and her cases take her into the dark underbelly of the Marvel Universe, as she crosses paths with Daredevil, Captain America, Ms. Marvel, and J. Jonah Jameson. But why bother showing what the Marvel Universe would look like from this perspective?

What writer Brian Michael Bendis understands is that the superhero story is a power fantasy-- and Alias is a story about powerlessness. It tells the tales of people who were superheroes, or can't be superheroes, or have had brushes with superheroes, and contrasts the superheroes against their sheer inability to do anything whatsoever. Jessica Jones is a woman with low self-confidence who very rarely gets what she wants. Nothing can exacerbate the feeling that you can't control your own life like putting you next to people whose lives are magnificent. There are a few sequences in this book where Jessica tries to get in contact with the Avengers or the Fantastic Four, and she can't even get past the phone menu or the receptionists. She's completely powerless.

In her cases, she encounters a number of others trying to find power of various sorts: politicians, an ex-sidekick, a teenage runaway who might be a mutant. They're decent mysteries, but they're even better explorations of what it's like to amount to nothing, and what you might do to amount to something, anything. I particularly enjoyed the story where Jessica was trying to track down Rick Jones, who has been a sidekick to Captain Marvel, the Hulk, and Captain America at various times, which presented a very funny flip-side to the superhero archetype:
"This fucking guy doesn't shut up about the -- about the fucking -- what is it?"

"Kree..."

"Kree-Skull War. And I have no idea what the fuck a Kree-Skull War is! Some big space war and he saved the planet and shit."
And of course, we're all powerless, right? At least that's what Bendis convinces me of by the time that the first volume of Alias is over. He's used the superhero genre to say something interesting and with thematic depth, and though I like a story where Superman-2 fights the Anti-Monitor just as much as the next guy, I like this a whole lot, too.

Bendis is aided in his "deconstruction" by the excellent artwork of Michael Gaydos. I mean, serious excellent. Gaydos as a very realistic style, suited to a grounded story like this, but what's best of all is Gaydos's masterful command of facial expressions. You always know exactly how Jessica (and all the other characters) are thinking and feeling. The art and dialogue move slow at times; there are two-page spreads that include 34 panels, continuously flipping back and forth between two characters. You really feel immersed in a scene and a conversation.

There's a lot of nice, little touches too, and big ones. I like Jessica's not-quite-trusting relationship with Ms. Marvel, and her own "sidekick," and her brewing relationship with nt Man, and every line of dialogue spouted by J. Jonah Jameson (seriously, give that man his own series).

Not to mention that it is the only superhero comic I have ever read where someone sits on the toilet.

25 April 2012

Dr Who and the Return of Media Studies

Trade paperback, 261 pages
Published 2010
Acquired December 2010

Read March 2012
Triumph of a Time Lord: Regenerating Doctor Who in the Twenty-first Century
by Matt Hills

I am pretty sure that I once saw someone point out that this is the first scholarly monograph that takes as its subject the new Doctor Who (i.e., 2005 and beyond).  As such, it represents an excellent next step beyond texts such as Time And Relative Dissertations In Space, which took the entire 26 years of the old show as their topic, bringing some focus to the enterprise.  Triumph of a Time Lord isn't much more focused than that, however-- there's no central thesis to Matt Hills's book that I can see, aside from 1) media studies can tell us interesting things about Doctor Who, and perhaps more usefully, 2) Doctor Who can actually upset some things that we think about media studies.

I found the first and third sections of the book the most interesting.  The first, "Fans and Producers," talks about Doctor Who's "author."  As a now-almost-50-year phenomenon with no clear George Lucas or Gene Roddenberry figure, Doctor Who has long resisted the idea of an "author," but Hills points out the ways in which Doctor Who is now coded (or was, anyway) as the work of Russell T Davies.  Linked to this is his upsetting of Henry Jenkins's work in the seminal Textual Poachers; Hills argues that fans no longer "poach" from Doctor Who, for the fans now run Doctor Who.  The discourse of the show is the fan one; there is no clear boundary between fan and professional anymore.  Similar themes permeate the last part, "Quality and Mainstream TV," which looks at how Doctor Who is positioned as either a "cult" or "mainstream" television show, ultimately arguing that the distinction is becoming increasingly irrelevant.  Using various media studies texts lets Hills both how useful they can be, but also where their limitations are.

I might have found an overall argument easier to find if Hills's use of transitions was smoother.  He doesn't really do introductions or conclusions; rather, there are periodic paragraphs that say, "I have just argued [X]. I shall now argue [Y]."  I'd rather see something that drew [X] together and explained why it was the perfect lead-in to [Y].  I know what you just argued, because I just read it!

Perhaps the most impressive thing that Hills does in Triumph of a Time Lord is create "Who Studies" as a field.  Hills effortlessly quotes not just from other works in media studies, or even other scholarly works on Doctor Who, but articles in Doctor Magazine, blog posts, fanzines, reviews in the popular press, and so on, pulling them all together into a body of work that he can respond to and quote as need be.  At first I was like "Really? Blogs?" but fan amateurs have thought as hard about Doctor Who, if not harder, than many academic professionals, and ignoring their work would make very little sense.  Why should Hills reinvent work that has been done?  Triumph of a Time Lord is the first substantial contribution to a scholarly discussion about the Russell T Davies Doctor Who; with a starting point like this, it ought not to be the last.

23 April 2012

Doctor, Who is Required

Hardcover, 559 pages
Published 1959 (originally 1957)
Acquired October 2008

Read March 2012
Doctor Zhivago
by Boris Pasternak

Nine years ago, David Lean's Doctor Zhivago was one of my favorite films, though I've scarcely seen it since. I thought I would enjoy the book, but for whatever reason, I found it hard to get into, though I did read the whole thing (minus the poems at the end). It has moments of greatness, especially early on, but I would just lose focus and discover that incredibly important things had happened and I had missed them.  Pasternak's fault, or the translators'?  The best part was "Train to the Urals," a fifty-page chapter detailing the Zhivago family's journey from Moscow to the country during the Communist revolution.  Pull it out and you'd have an excellent standalone novella.

The long time it took me to read was exacerbated by my discovery that my copy (a January 1959 printing of the first edition of September 1958) was misprinted, with pages 373 to 404 appearing twice, and 405 to 436 not at all.  But I had gotten it for free, and I borrowed the library's copy to fill in the gaps, so all was fine in the end.

20 April 2012

It's Like Homeward Bound, but with More Blood and More Cyborgs

Comic hardcover, 116 pages
Published 2011 (contents: 2004-05)
Acquired January 2012
Read March 2012
We3: The Deluxe Edition

Writer: Grant Morrison
Artist: Frank Quitely
Colorist and Digital Inker: Jamie Grant
Letterer: Todd Klein

We3 is an odd little comic. It's about a government project to abduct three pets (a dog, a cat, and a rabbit) and wire them into killing machines so you can have a living soldier on the battlefield without it being a human being.  The project gets shut down, and the scientist ordered to terminate the animals actually releases them, forcing the government to come after them, all guns blazing.

There are some great things about this book.  Most of that is due to Frank Quitely's art.  The absolute best page is where we see a man being torn apart by a hail of bullets, and we are positioned on the opposite side of his body from the shooter, all the bullets coming right at us after having passed through him.  It is the most beautiful image of a man being torn apart by bullets that I have ever seen.  Indeed, the whole book is filled with oddly beautiful images of violence, which cause you to reevaluate what you think of violence more than any number of gruesome images ever will.  In fact, the beautiful images that are not overtly violent are still only possible because of violence, such as the three animals' star-filled escape.  Sure, it's gorgeous, and sure, it's a two-page splash emerging from a cramped grid of panels-- but a page earlier those animals murdered a bunch of people.

The notes at the end by Morrison and Quitely indicate that they think they're doing something innovative, and I don't fully buy it, but they're almost there.  At first I rejected the tiny inset panels, though a great technique unique to comics, as having been done by Crisis on Infinite Earths back in 1985 (and though I like George Pérez, he's not exactly avant garde), but I realized that these are different. While Pérez's images show a number of moments all happening simultaneously to each other, Quitely juxtaposes multiple moments that don't actually take place simultaneously, but come on top of each other so quickly that they seem to. But I can't come up with an effect caused by the 3D panels that comics couldn't do before already.

The story itself is kinda obvious-- it really is any old "escaped animal" story but with violence and cyborgs.   The characters are mostly types, especially the human beings (but maybe that's the point).  We3 is formalistically complex, but not married to a story that makes full use of that complexity.

18 April 2012

Visit to a Ghost World Revisited

Comic trade paperback, 80 pages
Published 2008 (content: 1993-97)
Acquired June 2011

Previously read March and July 2011
Reread March 2012
Ghost World
by Daniel Clowes

This is my third time reading this book in twelve months.  I'm kind of tired of it now-- not that it's bad, but there are very few books I would enjoy reading three times in a year that aren't written by George Eliot.  I did, however, have a higher appreciation for some segments that I have in the past, thanks to an exercise where I went through noting all of the panel transitions' McCloudian types, which let me see what techniques Clowes uses and thus what effects he is creating with greater detail.

For example, in one chapter where there are a lot of "subject-to-subject transitions," I realized that this is because the chapter is all about Enid and Rebecca watching people, and so there are a number of panels where we see people from their perspective.  Realizing this made more potent a bit I'd previously never gotten, where a creepy guy leans out of his window and passes judgment on everyone he sees.  He's Enid and Rebecca, years later if they keep on doing what they're doing.  But in a world filled with terrible things and terrible people (or worse, mundane things and mundane people), what choice do they have but to pass judgment on what they see?  It's do that or become mundane themselves.