Archive for the 'Commentary' Category

Sep 01 2009

Disney announces deal to buy Marvel

Hello, I'm an assistant editor providing writing advice. SN specializes in superhero writing advice, obviously, but most of the advice here applies to fantasy and sci-fi as well.

You can see the Associated Press’ take here and The Wall Street Journal has more here (subscription required?).   I have a few thoughts below.

  • Disney is paying roughly $50 per share, which is a 29% premium over Friday’s closing.  If you own Marvel stock, you will come out ahead quite nicely on this.  It was trading around $25 earlier this year.
  • I am cautiously optimistic that Disney knows how to buy a successful firm without ruining what made it successful.  For example, Pixar’s movies didn’t drop in quality after the Disney buyout.  (Nor have they released a lot of straight-to-DVD sequels to successful movies).
  • I doubt this will have a noticeable impact on Marvel’s products.  Even the movies.
  • I think Disney is the biggest loser here.  It’s betting 4 billion dollars that it can leverage Marvel’s characters better than Marvel did.  I’m skeptical.

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Jul 23 2009

How I Would Reboot Superman

Superman is a waning superhero.

In the past year, his comics have consistently been outsold by Buffy the Vampire Slayer, Flash, Green Lantern, Deadpool, and every A-list franchise.   (For example, his top-performing comic book in June 2009 placed #43 on the bestsellers list).

According to io9, even DC Comics acknowledged that the Superman movie franchise is struggling.  Superman’s latest film-outing grossed about $390 million on a production budget of $270 million.  That’s notably worse than 1996’s Batman Forever, let alone either of the two most recent Batman films.  Yes… even Joel Schumacher, the “director” that put nipples on the Batsuit, beat Superman.

Here’s how I would reboot Superman.

1.  Give him a real personality with some actual flaws. This does not mean that he has to be brooding.  (Please see Spiderman or Ironman– characters can be three-dimensional and fun!) For example, maybe he’s a bit overconfident or careless.  Even a small flaw would make him more likable and believable.

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49 responses so far

May 04 2009

Writers are dispensable; readers are not

If you’re looking to get a novel published, I think that understanding the Boston Globe’s difficulties will help you.

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Aug 04 2008

The Future of Political Nonfiction

City Journal wrote a well-researched article on the future of conservative nonfiction, but I’d like to make a larger point about political nonfiction. “Since the new conservative imprints have far less latitude than traditional nonfiction imprints to fail, they tend to rely heavily on, and largely be defined by, a handful of proven iconic authors.” It’s probably true that smaller publishers have to be wary about rolling the dice with noncelebrities. But, because of blogging, I think that it’s tremendously difficult for a non-celebrity of any political persuasion to publish political nonfiction. Readers can find blogs that offer any style of political thought for free. Some blogs are exceedingly well-written and intelligent. So why would anyone want to pay for your opinion? Because you’re someone who has an invaluable perspective because you used to be a President, a secretary of state, or are a hugely popular talk-radio host, etc…*

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Aug 03 2008

Why are mysteries more popular than fantasy or sci-fi?

Published by B. Mac under Commentary

Observations from the Balcony suggests it is because mysteries are helped more by cinema than other forms of literary fiction. I’d lay out two alternate theories: 1) it’s far easier to make a detective story intriguing and interactive, because the readers can solve the case alongside the detective. 2) The premises, particularly in detective mysteries, are easier to sell than exotic premises that use magic or advanced technology.

Additionally, I think it’s slightly easier to write mysteries…

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One response so far

Jul 25 2008

Don’t Write for Yourself: You are Your Own Worst Reader

Published by B. Mac under Commentary

Today, a commenter at Nathan Bransford’s site said…

While I’m striving to write a book that I hope will be some kind of bestseller, I never forget that I’m also striving to write a book that *I* would want to read if I saw it on the shelf.

That is badly misguided. Whether you want to buy your book is irrelevant. You are not the audience of your book. Publishers do not want to publish a book for you. Publishers need to sell thousands of copies and they want books with that sort of appeal.

Authors that write a book they want to read tend to lose sight of the audience. I think that leads to self-absorbed and completely ineffective titles like “The Legend of Edarotag” and “Cimmeria’s Song*”. It may contribute to in-jokes and references that no one can relate to. As a rule, I think it’s safe to say that no one finds your interests as interesting as you do.

In conclusion, your career will probably be more successful if you forget about what you want to read and focus on finding what you can (and would be proud to) sell.

*These are both fictional titles (try reversing the letters in Edarotag).  I hope that demonstrated how easily in-jokes can disgruntle mass audiences.

9 responses so far

Jul 11 2008

A few questions for opinionated authors

The authors that try to present political or religious opinions usually confuse their opinions with insights. How is your message different from what people have already heard about abortion? For example, your readers have already heard many people chant “abortion is good” and “abortion is bad.” Is your story just another voice in the chorus or will it actually add something? Why will anyone care about your opinion? Do you have any unique perspective on the subject material? Do you have relevant professional or scholarly experience? Are you personally affected by the issue? Etc.

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Jul 03 2008

A brief argument: reviewers don’t have to be credentialed to be relevant

Published by B. Mac under Book Review, Commentary

When authors or fans challenge negative reviews, they sometimes say something like “what have you written, because I bet it’s awful.” I think that reflects a fundamentally wrong conception of reviewing. Every day, people evaluate and suggest things without any experience of having made them. For example, over the past few years I’ve suggested that friends stay away from (ugly) Pontiac Azteks, (shoddy) Craftsman tools, and (inedible) McDonald’s food. But I’ve never designed a car, built a tool and hardly ever cook. Does my lack of experience disqualify me as a relevant reviewer?

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Jul 02 2008

Season 3 of Heroes will have MORE characters!

The creator of Heroes, Tim Kring, has promised that season 3 will have more villains. Yes, more characters… that’s exactly what Heroes needed.

“You’re going to see a lot of bad guys,” he said to Sci Fi Wire. “We’re playing off the idea of our characters as heroes or villains. So it’s really the duality of good and evil.” T.K., I will see your duality of good and evil and raise you character development, interesting traits and a well-rounded cast. For one, I’d start by killing off about half the cast…

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Jun 07 2008

A Quip About Ulysses

Ulysses is a totally incomprehensible book. Understanding it is like machine-gunning a pack of unicorns. Anyone that claims to have done either is lying, but should be institutionalized anyway.”

–Cadet Davis

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May 21 2008

Future Cops, 1. Academics, 0

Published by B. Mac under Comedy, Commentary, National service

This is an excerpt from an interesting article on college.

I assigned a research paper. This time around, the students were to elucidate the positions of scholars on two sides of a historical controversy. Why did Truman remove MacArthur? Did the United States covertly support the construction of the Berlin Wall? Their job in the paper, as I explained it, was to take my arm and introduce me as a stranger to scholars A, B, and C, who stood on one side of the issue, and to scholars D, E, and F, who were firmly on the other—as though they were hosting a party.

A future state trooper snorted. “Some party,” he said.

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May 18 2008

What!?!

Published by B. Mac under Comedy, Commentary

The US government has introduced a fitness test for adults. Did you know that the government thinks it’s “normal” to have a 500-inch waist circumference?

I’m going to go out on a limb and say that if you have a 500 inch waist, you probably do not have a 24.1 BMI.

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Apr 15 2008

Quote of the Day (April 15)

It is only when a politician speaks clearly that he is required to “clarify” himself.

–paraphrased from Thomas Sowell

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Mar 20 2008

Something is clearly missing here…

The conservative Washington Times reports on the latest feud between Senators Obama and Clinton.

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Jan 29 2008

Heroes got sued

Published by B. Mac under Commentary, Heroes

The gist of the lawsuit is that Heroes supposedly ripped off a preexisting plotline that where an artist painted the future and included the (possible) destruction of two New York City landmarks.

If this lawsuit works out, I’m going to sue every romance publisher because they’ve all ripped off a story I wrote last year where a guy and a girl struggle through adversity and finally get together.

(Wait a minute…)

I’m not sure I can think of a superhero story set in the real world where a New York landmark isn’t endangered. In fact, superhero stories are probably more likely to endanger NYC landmarks than romances are to show guys and girls getting together, because some romances are tragedies).

As as for the supposed ripping-off of a superpower (painting the future), again pretty much every superpower is a direct and blatant ripoff of something that’s already been used. Some of the superpowers used on Heroes are…

  1. Superstrength

  2. Regeneration

  3. Flying

  4. Mind-reading

  5. Time-travel

Groundbreaking stuff there!

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Jan 28 2008

Overheard at the Sports Desk

Published by B. Mac under Comedy, Commentary, Sports

The [NY] Knicks need to let Isiah Thomas go. To quote Ozzy Ozbourne, the Knicks have been “going off the rails on a crazy train” for the past four years, and Thomas is the conductor. It’s time to cut this ride short.

–Mr. Andrews

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Jan 28 2008

Seen Online

Published by B. Mac under Comedy, Comic Books, Commentary

I got a kick out of this quote.

“A few years back, I suggested a new rule that no male writer should be allowed to write a female protagonist unless he had dated a woman at least once in his life.”

That’s fine, but that’s probably why there are so few (clothed) females in comic books.

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Jan 23 2008

Wincing at CNN

Published by B. Mac under Commentary, Journalism, Politics

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Jan 21 2008

Peter Parker deals with the devil? What the hell were they thinking?

I’ve written before that you have to keep the level of unusualness in your stories steady or things will feel really weird. Case in point: Peter Parker breaks up with Mary Jane. After making a pact with Mephisto. Who brings back Aunt May and Harry Osborn. (No word yet on whether Peter actually is a clone this time around).

There are a few ways to interpret this:

  1. Marvel admits it really screwed the pooch when they outed Spiderman during Civil War. Trying to fit Spiderman into a Fantastic Four-sized hole was not well thought-out.

  2. Marvel has decided it isn’t done screwing the pooch. There’s no other industry where companies feel the need to dilute their good products with their crap products*. Spiderman, meet Mephisto.

The Ubyssey suggests that Quesada was the main cause.

Joe Quesada, editor-in-chief of Marvel, had long been an opponent of Spider-Man’s marriage. A married Spider-Man, Joe felt, restricted the kind of stories that could be told. A single swinging Spidey, however, was free to “have sex and download porn.” Now, a simple divorce would have sufficed, and could reasonably be explained. But this, Quesada felt, would tarnish Peter’s status as a role model for kids.

If the Ubyssey is even remotely close on this, we can safely say that Marvel may actually be the worst-run entertainment company around.

  1. Unless Peter gets single, we can’t write stories where he can “have sex and download porn.”
  2. But a divorce would tarnish Peter’s status as a role model.
  3. Let’s have him make a pact with the devil instead.

Admittedly, things are different in NYC than Indiana or South Carolina, but that’s just ridiculous.

*”There’s no other industry where companies dilute their good products with their crap products.” To some extent that’s hyperbole. Each new Star Fox game discredits the Nintendo brand as a whole. But at least Nintendo doesn’t force Star Fox plotlines on its actually good franchises.

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Jan 07 2008

My spies report…

The UN plans to “use Spiderman to fight evil,” according to the Associated Press. (Wait, doesn’t the UN already have its own superheroes?)

The article mentions that…

John Bolton called it an “act of desperation… you can have Spiderman in a comic book all you want, but it’s not going to change public perception.”

John’s wrong. Adding Spidey to a comic book always changes public perception about its quality. For example, take Spiderman: Get Kraven. It made it to issue six, out of a scheduled seven. Get Kraven would not have survived to two.
Just how bad was Get Kraven?

Get Kraven #1

Kraven 1

Makes you wonder what they did for 2-6, right?

Savor excerpts of a review of #1:

It works, in the same way that selling Pokemon toys to children works. The characters don’t go challenging any boundaries, except those of good taste.

Spidey’s appearance is best quickly forgotten…

Get Kraven #2

Kraven 2

Incidentally, the mini-WTC logo is the only reason this comic should not be burned.

Excerpts of a review:

it’s about as witty as two-day old vomit down the back of the sofa. It’s as funny as a draft notice in 1967 [hey!] It’s as clever as a Ph.D thesis in pig-latin*…

Namor swims up and gives him some advice about Hollywood…

SUMMARY: Renting a bungalow. Scott Baio. Six pages.

*Which is different from regular theses… how?

Get Kraven #6 (skipping 3-5 for everyone’s well-being)

Kraven 6

Wait… the WTC logo is gone.  Light it up!

If you actually bought this, you have no one to blame but yourself.

Here are some excerpts of a five-star review of #6.

The Rothsteins weren’t the head of the snake. They need to go to Beverly Hills…

It turns out, Ned is playing a role playing game with the Chameleon because it’s healthy, according to his shrink. The Chameleon snaps, he takes a spear and runs towards Al…

The story ends with Nickles [THE F***ING DOG] wondering that this was supposed to be a seven issue series. And that it’s weird that he waited to the last page to talk!

Anyway, the point is that Spidey got Get Kraven to issue six. After that, world peace should be a snap.

In any case, he can sell a comic that will be heavy on the preaching and light on the miracles.

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Jan 03 2008

Texan Headline of the Day

Dallas Police, Officials Discourage Random Gunfire.”

Uhh… what were the Dallas police doing before?

On a side-note, I think the Dallas police will find that it’s easier to cut murders by reducing targeted gunfire.

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Dec 12 2007

Improving Your Beta Reviews

This article will focus on how to find beta reviewers and how to get beta-reviews that are more useful.
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Dec 09 2007

Quote of the Day: Dec. 9

Agent Orange: Contrary to popular belief, the New York Times is not actually the most anti-American news outlet. CSPAN is far more dangerous, and not just because it is more accurate than the average comic book. You couldn’t design anti-American propaganda more effective than around-the-clock Congressional coverage.

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Dec 04 2007

Characterization

I hate little writing guides. I read one this morning that offered only ~300 words on writing characters, all of which could be summarized as “write authentic characters,” which was incidentally the chapter heading. Write authentic characters. Thanks!

Hopefully, this article will prove more useful to you. As you craft and introduce a character, you have many tools at your disposal. I’ll offer some tips for the following aspects and tools of character creation.

  1. Character genesis: what kind of character do you need?
  2. Introducing your character
  3. Making your characters memorable/sticky
  4. Three dimensional characters
  5. Character problems

Character Genesis: what kind of character do you need?

Virtually every well-designed character has each of the following:

  1. Purpose
    1. This is the role he plays in your story. If your character does not play a unique and useful role in the plot, you need to rewrite or remove him. Characters are unique if their role can’t be performed by the story’s other characters. A character is useful he cannot be removed without dramatically weakening the story. That’s subjective, but often your beta readers agree which characters are productive and/or interesting and which aren’t. If you have beta readers, ask questions like “what role did John play in this chapter?” or “which character contributed the least?”—those are pretty direct ways of getting reader impressions on the material. If you don’t have beta readers, go to http://www.critters.org; it’s a very professional and free online writing workshop.
    2. Purpose comes first because everything else you put into your character hinges on the role you need him to play. Purpose should drive development. For example, if you want a character to add comic quips, he should be witty. Readers will notice if a supposedly slow character is verbally quick.
    3. Your audience and world often reach the same conclusions about a character. But, if you intend your readers not to agree with what your characters think about another character, make it clear why there’s a distinction. (Failing to do so will make your characters feel flat or unbelievable). NOTE: this should be done as sparingly as possible. Discrepancies tend to disconnect readers from the story.
  1. Goals
    1. Real people have goals. Your characters should, too! Goals add plot coherence. If your plot moves from one characters attempting to achieve his goal to another thwarting him by pursuing his own agenda and then back to the first character trying again, it tends to flow nicely.
    2. Goals make characters deep and believable. Did Neville Longbottom go to Hogwarts just so Snape could pound on him? Hell no! He wants to be a man, which drives him to (hilariously) confront Harry Potter towards the end of the first book. Goals are essential to making your characters more than just props. Even your minor characters should have them.
  2. Problems
    1. Real people have problems, too. Problems are a great way to develop your characters. In fact, sometimes the problems are more memorable than the characters themselves (how long could you talk about Luke Skywalker before saying “Darth Vader?”)
    2. Sometimes you reach for your goal and fail. Failure adds drama! Someone who succeeds the first time, every time is not really interesting. The higher the barriers are, the more your readers will enjoy watching the leap. Failure also helps develop characters. Adversity brings out resourcefulness, ingenuity and strength.
    3. Problems also help you mix up the plot. If your character tries shouldering open a locked door but fails, it wouldn’t be very dramatic if he just kept hitting it until it opened. This gives you an opportunity to show that your character is able to do more than solve all of his problems one way—action writers often tend to focus on violent or confrontational solutions. If you feel you have that problem, try mixing it up by placing your hero in a position where he’s hopelessly outpowered, ideally in a social setting. You can’t punch your boss…
    4. Are you using a broad set of problems? Here are a few to consider. 1) Nature/natural phenomena 2)Violent antagonists 3) Iagos (diplomatically savvy antagonists) 4) The hero’s shortcomings 5) The hero’s goals conflict 6) Conflicting heroes
  3. Flaws
    1. Authors sometimes mistakenly confuse problems with flaws. Problems are obstacles or failures. Flaws are attributes that the audience won’t find endearing.
    2. Many authors tend to subconsciously write characters as reflections of themselves. That’s fine, as long as you don’t idealize yourself. Realistic characters virtually require flaws. “But I want my audience to sympathize with my hero!” That’s a good point, but keep in mind that flaws can accentuate positive traits. For example, an idealistic character might be depressed because the world doesn’t meet his expectations. His depression will remind us that he lives by his ideals.
    3. On the other hand, villains often have too many flaws. Sympathetic villains—with agendas we can relate to, even if we don’t want them to succeed— are often the most memorable and feel the most realistic (Darth Vader).
    4. Flaws tend to be more memorable. For example, in Naomi Novik’s Temeraire series, Temeraire has an interesting set of characteristics. Let’s see… he’s a dragon, enthusiastic about geometry, he is very affectionate towards his Captain/partner, is strongly anti-slavery and wants sweeping reforms to make British society more dragon-friendly (like tearing up London buildings to make the streets widers). But what is most salient about Temeraire—and characterizes him the best—is that he’s politically radical and doesn’t care about what society deems acceptable.
    5. Flaws tend to add plot coherence. Temeraire [SPOILER] goes rogue and refuses to carry out a plot to poison French dragons. [/SPOILER] That flows naturally from his deeply held views about the dignity of dragons. It doesn’t feel like the author randomly decided to have Temeraire rebel to spice the plot up. Plots driven by flaws tend to be more coherent and feel less arbitrary, partially because flaw-driven foreshadowing is more noticeable and memorable.

Memorable/Sticky Characters

You want your characters to be memorable, I’m sure. More precisely, your characters should be sticky—something about them needs to stick long and hard with your readers.

Readers will often miss minor details, especially one introduced only once or twice. The essence of stickiness is giving each character one or two defining characteristics that provide memory cues to everything else about the character. If you bring attention to those defining characteristics a few times, readers will gradually make a lasting impression and they will easily remember the character.

Here’s an example from my own work: one of Agent Orange’s defining characteristics is that he’s an (reptilian) alien. I assumed that readers would remember that unusual detail. WRONG! Not only had the majority forgotten that he was the alien, many more had gotten confused about the species of some human characters. To help cue my readers, I had Agent Orange say “mammals*” whenever he’s exasperated, faces a political obstacle, has to explain something about himself or is otherwise perplexed by American culture.

[1]

ORANGE: Do you smell that?

LASH: That you smell like an ashtray?

ORANGE: The squid. He’s a mile off.

LASH: How the hell could I smell a squid a mile away?

ORANGE: Mammals.

[2]

Agent BLACK: I’ll stick with the experience and Darwin factors.

Agent ORANGE: (Mammals). When Freakshow is melting your neural synapses together, let me know how much inspiration and comfort those give you.

BLACK: I will try to remember to do that, sir.

ORANGE: (Wiseass).

This recurring remark has benefits beyond reminding readers that Orange isn’t human. Sometimes I’ll ask my reviewers questions like “do you remember a passage that shows how Agent Orange (or nonhumans generally) get along with humans?” They almost always pick a “mammals” passage. I think the word “mammals” is a pretty good cue that the reader is supposed to make associations there.

Since I’ve introduced the “mammals” lines, readers have fared much better on open-ended questions like “how would you characterize human-nonhuman relationships in Superhero Nation? I’m looking for words like “awkward,” “well-intentioned,” “strange” and “friendly”—at least, that’s what I meant to convey. Before I used mammal lines, most readers had no clue and the rest mentioned discrimination. That was certainly puzzling, given that the only recurring nonhuman character is a ranking government official that’s friendly with his co-workers.

Now, I see a lot more answers that use words like “strained,” “symbiotic,” different perspectives, etc.

Big picture, “mammals” helps characterize Orange. It reminds us that he’s not a human and that his relations with humans are mostly positive but kind of outsider-looking-in (I like “symbiotic”).

*I experimented with him saying “humans” but that came off much more sinister and lacked the whimsy and exasperation I was looking for. Reviewers overwhelmingly agreed that “mammals” was friendlier. One said that “humans rings with contempt. It sounds like a slur.” Another agreed that mammals was less threatening because it paralleled racism less. By using “mammals” instead of “humans,” Orange implicitly contrasts himself as a reptile rather than a dragon. “I don’t think he’s suggesting reptiles are categorically superior to mammals, but I think using ‘humans’ does suggest a categorical assertion about the superiority of his species [dragons].”

I’m only done with part 1 of this, but it’s pretty late here. I’ll complete this later.

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Nov 27 2007

Black Superheroes and Writing Fiction About Racism

ABC did a story called Why Black Superheroes Succeed– and Fail. That’s interesting for whites writing black characters (or vice versa) or those wondering why some characters are popular and others aren’t.

I think black superheroes tend to fail because they get typecast as persecuted heroes. Even the article confuses two very separate ideas.

  1. The article’s first sentence: “Would Spider-Man be the box-office juggernaut he is today if he had been created as an African-American character?” All other things being equal, would a successful hero become unsuccessful if he is made black?
  2. The article’s second sentence: “What if Peter Parker had had to deal with the problems of being black in America in addition to adjusting to his powers when he was first introduced in 1962?” Would a successful hero become unsuccessful if white-on-black persecution were inserted into his plotline?

These two questions are very different!

The second implicitly assumes that a black hero has to face white-on-black persecution, which probably makes less sense now than it did in 1962. And, regardless of whether it is plausible that every black is persecuted by whites, persecution stories are usually depressing (particularly when the persecution is based on real-life events, rather than hating mutants or Muggles). Making the hero the victim of persecution changes the tone of the plot far more than just making him black.

Do black heroes have to be persecuted? I don’t think so. Most young people, especially, haven’t lived with the intense and visible racism of the 1960s, but the comics industry doesn’t seem to have caught on to that. Plot elements that were commonplace (or at least plausible) fifty years ago, like racial violence and particularly caustic racist remarks, often seem outlandishly cynical now.

If you do focus on racism, I recommend using elements of racism that are likelier to resonate with your readers circa 2007. People might step away in hallways and elevators or sit at different tables in cafeterias—I think that most readers would agree that’s how racism manifests right now rather than, say, burning crosses and even racial slurs. More provocatively, someone might suggest that a minority has gotten where he is because of affirmative action or that affirmative action hires as a whole are less qualified than other employees. Bank guards might get antsy. Etc. (For some more manifestations of modern racism, please see the footnotes).

The point is that modern racism has become subconscious—I suspect that most racists genuinely believe that they aren’t— and that portraying racism as in-your-face, 1960s slurs will likely feel out of touch and preachy to your readers.

When I watched Crash, I laughed so hard when a car crash caused people to immediately start screaming slurs. Wouldn’t you, uhh, want to get their insurance information first? NO CUZ KKKALIFORNIA IZ RACIST. Crash wants to Make A Point and comes off as totally cartoonish.

Freedom Writers portrays racial balkanization much more plausibly. I wonder how prevalent such racial balkanization is across the country. I’m inclined to say it’s pretty limited, but I live in a very white area so I don’t really know.

If you feel the need to include intense racism in your work—something that will seriously affect the tone and marketability of your piece—Freedom Writers offers a pretty good model. It treats racism more seriously.

  1. FW is set in a school district with some really poor areas. Meeting basic, everyday needs is a struggle.
  2. Gangs and ghettos form as an attempt to form communities to meet those needs.
  3. Intense, Hobbesian struggles and racism arise as the communities clash.

FW suggests that racism arises from economics*. That offers FW’s world a sort of grim, perverse logic. FW’s world is deep—you see where the racism came from and why it is so damn hard to overcome. Readers understand economic motives and how much money matters, especially if you have very little. Readers won’t sympathize with race-based gangs, but they will appreciate that tolerance is a harder choice than they thought. That raises the stakes and makes the heroes larger-than-life.

In Crash, racism just sprouted from nowhere and persists despite economic concerns. Insulting someone rather than getting their insurance information is irrational. Furthermore, the story offers no explanation why the characters would think it’s rational. Why are characters intolerant? Because they’re emotional, maybe. That seems flimsy and unsatisfying. It also gives the story an arbitrary feel– the characters couldn’t overcome racism at the story’s start, so how are they able to at the end? It would feel much more logical if we knew why racism was a problem at the start.

Footnotes

*Although some sociologists do agree with Freedom Writers that racism is primarily rooted in economics, they’re in the minority. But that doesn’t matter– Freedom Writers feels coherent and plausible anyway.  99% of your audience has no idea what most sociologists think, so it’s the feeling that matters.

More modern racism

For the purposes of helping you write, I’ll broadly define racism as anything that might create discomfort or division along racial lines.

1) Affirmative action. I actually already mentioned this before, but I think it’s particularly useful because blacks and whites often strongly disagree not only about AA but about which statements/opinions about AA are socially acceptable. For example, in one class a white student discussing AA made the (not extremely controversial?) assertion that race influences faculty hiring decisions. This offended the black professor, who may have thought that the white was insinuating he was less qualified. The professor asked, “do you think I was hired because I’m black?” The white was taken aback by that point-black, personal question about what he probably perceived to be an impersonal, general statement. He said that he thinks that the professor’s being black was a factor.

As the author, you could paint this a few ways. Maybe the student is wrong to treat the issue impersonally, maybe the professor was being oversensitive, or that there’s just a gap in understanding between the white and the black that doesn’t suggest anything negative about either.

2) Whites saying “sup” to black peers. In terms of awkward hilarity, this is one of my favorites. Whites often feel pressured to act differently with blacks. You might chalk this up to insensitivity and/or oversensitivity. Saying “sup” probably isn’t sinister, but it may create tension because the black knows that the white is acting differently because he’s talking to a black. In a related example (one I can hopefully offer without making a political point), Hillary Clinton once adopted a painfully bad drawl when speaking before a black audience.

3) Subways, trains and buses. I’ve noticed that people (including nonwhites) strongly prefer to sit by people of the same race. Visual media, like comic books, have some fantastic opportunities for some grim humor by showing a black (or white?) sitting alone in a crowded bus like he has leprosy or something. I should add that I’ve never seen anyone change seats to specifically move away from someone of a different race.

4) The assumption that whites and blacks have substantially different skills, traits or tastes. Real life isn’t as bad as The Office, but I think that whites occasionally (implicitly) assume that blacks are hipper or predisposed to stereotypically black forms of entertainment. I was forced to witness a hilarious conversation between a white BET enthusiast and a black that has tastes somewhat more milquetoast than mine. White sups flew.

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Nov 24 2007

Getting into Notre Dame

 

This article builds on “Why Notre Dame? What’s it like?

 

This article will cover some ways for you to distinguish yourself (on the application and otherwise). It also features a way to make your college visit a substantial boost to your application by networking with faculty.

 

Getting into ND

 

In the personal statement and essays, it’s usually pretty obvious who wants to go to this university and who just selected it because it was in US News and World Report. That’s probably true to some extent for all universities, so I’d really recommend visiting at least a few of the schools at the top of your list so that you get a better feel for the campuses and cultures.

 

At Notre Dame, students often try to show that they know the campus by writing an essay that refers to the sense of community and football fever that permeate the campus. These essays frequently refer to Rudy, the quintessential Notre Dame football story. It’s really, really hard to write a Rudy essay that sticks out from all the rest.

 

I don’t know what your academic interests and future plans are. I certainly wouldn’t want you to write a dishonest essay/statement! But, if your plans might conceivably involve going to a Ph. D. program and eventually becoming a professor, then Notre Dame wants you bad. One of the ways universities compare themselves is how many of their students go on to get Ph. Ds and Notre Dame scores a woeful five percent. Even Northwestern, my most reviled adversary, trounces us.

 

A good essay usually features you and Notre Dame. You might write an essay saying that you want to become a professor someday (because of whyever that would make sense for you), so you want to go to Notre Dame because it’s the best place to make that happen.

 

Notre Dame is pushing hard to give students chances to explore their intellectual horizons. These are some of the opportunities available to ND students that you might find it useful to reference in an admissions essay to demonstrate that you’ve actually considered why ND makes sense for you.

Research/creative opportunities

  1. The Undergraduate Research Opportunities Program; it awards grants to undergrad students interested in working with a faculty member to conduct research or a creative endeavor together.

    1. For example, I got a UROP grant to write half of Superhero Nation with an English professor that helped me storyboard and edit. And I’m not an English major!

    2. Notre Dame has done a nice job of tailoring these to student interests rather than academic department politics.

  2. A political science undergrad co-authored one of my professor’s papers.

  3. A horde of political science students have banded together to create their own political research journal, Beyond Politics, to introduce political science research to a much broader campus community. (Good luck, guys!)

  4. Grad courses

    1. I’ve heard that it’s generally easy for undergrad upperclassmen to take grad courses in their major. I’m a political science major and I’ve found that it’s really easy to take PS grad courses.

    2. Grad courses are really effing hard.

    3. If you’re interested in grad school, I’d recommend taking at least one, so that you know what the workload will be like. They’re also hugely useful for your applications to grad school. The recommendation letters could also prove extremely useful.
  5. Notre Dame lets undergrads take directed readings with professors. That’s an interesting way to pursue a particular interest in a specific field with a professor/advisor.

So that all is one broad strategy—showing that you satisfy what the university wants (students that will go on to get Ph. Ds).

More Application Strategies

By the point in the application cycle you’re probably reading this, a lot of your application is essentially locked into place. You probably already have 4-6 semesters of high school grades and your SAT/ACT scores will probably not rise more than 50-100 points if you take it repeatedly. Your extracurricular achievements will probably not drastically improve—adding a lot of activities junior year usually looks flaky and it is virtually impossible to do anything in a year that would impress college admissions staffers.

 

So what can you do at this point to make your application stronger, besides rewriting your essays over and over?

 

Your single best option is a campus visit. It takes you 2-3 school days (or a weekend, but that won’t work as well) and the benefits can be enormous. (I know that many students can’t afford to invest a plane ticket in a prospective school, so I’ll offer some suggestions along the way about how you might be able to replicate many of the benefits of the campus visit with electronic legwork).

 

The conventional (less effective) approach to a campus visit

    1. Do the tour

    2. Visit the most prominent places on campus

    3. Visit the admissions office

    4. Speak with students

 

That isn’t bad, per se. It’s certainly better than staying at home. But doing the tour and knowing what the stadium looks like probably won’t improve your application much. (If you speak with admissions staffers, they will note that in your file. That suggests commitment, so it certainly won’t hurt).

 

But I’d feel pretty comfortable predicting that the following approach is likely to substantially increase a marginal student’s competitiveness in the applicant pool at Notre Dame.

 

Campus visits done right

Prepwork

  1. Two weeks in advance, get a course catalog or look online to see which courses will be open during the days you’ll be on campus. (This is one reason that weekend visits are not very productive).

  2. Email the professors of all the courses you’re interested in looking at. Something like “Dear Professor X, I’m a prospective Notre Dame student and I’ll be on campus on the 28th and I was wondering if it would be possible to sit in on your International Security course.”

    1. Some of the professors—probably at least half—will email you back and say that’s OK. Promptly email them back: thank them and ask if there are any recent, small assignments that the class has done. Say that you really, really want to get a feel for what the class is like.

    2. At least one professor will suggest something small like a 1-4 page paper. Look online for what office hours that professor (or professors) has. You will want to meet with him (them) personally during your visit, after attending their class. If they do not have office hours that work for you, try to schedule appointments.

    3. Do the paper(s). Don’t be pretentious and/or reach for a thesaurus. Treat the paper(s) like a high school assignment that is unusually important to your grade. Talking with an English mentor and someone who’s knowledgeable in the course content might be appropriate.

The Visit

  1. Forget the tour. Go to as many classes as you can. If there’s any way you feel you can contribute to class, like answering a general question from the teacher, do so. Understandably, you’re at a huge disadvantage because it’s your first time in the class.

  2. Turn in your paper(s).

  3. Speak with the paper professor(s) after class. Emphasize how much you enjoyed their class (try to mention at least one detail that reinforce how enthusiastic you are) and arrange to meet with them personally by the end of the visit during office hours.

  4. See them again in office hours or whenever you scheduled your appointment. Make The Pitch.

 

The Pitch

  1. Ask the professor(s) to write you a super-short letter of recommendation based on your participation in the class and the assignment you’ve written.

    1. “Hi, I’m Brady McKinerney. I’m an applicant to Notre Dame. I really enjoyed your History of Democracy course and I’d love to actually take one of your courses next year. I was wondering if you could write a short letter of recommendation for me.”

  2. PROFESSORIAL OBJECTION ONE: “I don’t really know you all that well.”

    1. “I understand completely. I know you’ve only had me in class for a day and only have one assignment from me. But I’d really appreciate if you’d be willing to offer even a qualified assessment of my academic ability—I think that would boost my chances of admissions a lot. I’d be really grateful.”

  3. PROFESSORIAL OBJECTION TWO: “I’m not sure I can fit it into my schedule.”

    1. “I certainly wouldn’t want to impose on you. The dedication for applications is in three weeks [or whatever], and I don’t anticipate that it would take more than half an hour of your time.”

    2. Remember to send him a hand-written thank-you card for agreeing to do the recommendation. That will also serve as a subtle reminder in case he had forgotten.

  4. PROFESSORIAL OBJECTION THREE: “I’ve never written this kind of recommendation before.”

    1. This is probably more of a matter of comfort than reluctance. He just isn’t used to this kind of recommendation. They’re very rare.

    2. Suggest that his recommendation mention how you two met and how you participated in his class, both by participating and with your paper. Even a mild statement like “his paper was pretty good” will mean a lot because it came from a professor who obviously knows what is expected of Notre Dame students.

    3. Normally, a high school teacher or advisor writes a letter of recommendation that’s about a page long—and you’ve known the teacher for at least a semester. If a ND professor is willing to write even five sentences about how eager you were to participate and how obviously passionate you are, that could be enormously effective. If you are academically competitive, at your best you can outperform the average Notre Dame student in a class he doesn’t care much about.

 

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Nov 21 2007

Where are the happy superheroes?

I recently wrote a scene where Agents Orange and Black discussed how the government might profile the alternate identities of superheroes. Black focused on relationship troubles and Orange goes for characteristics like being close to people that have been kidnapped more than once.

I think I missed two important characteristics: cheerfulness (specifically the lack of it) and extraordinary and seemingly inexplicable job performance.

Job Performance

No matter how “ordinary” superheroes pretend to be, they always end up having spectacularly successful alternate identities. They won’t just be a mild-mannered journalist, they’ll be a Pulitzer-quality mild-mannered journalist. Even freelance photographers, the homeless bums of the media world, will be so eminent that they publically tell their boss they want twice the money. Industrialists will invariably build world-shaping conglomerates. Let’s not even talk about super-scientists. (Well, actually, I will talk about them, in the chapters with Jacob Mallow and Dr. Berkeley).

If I were in charge of the OSI, I’d *definitely* have a watchlist of the 500-1000 most productive and influential members of American society, with a focus on top performers in the scientific, media, academic and business communities. We can rule out the political/governmental/judicial sphere, but definitely not pro bono civil rights attorneys looking to make the world a better place. That’s obviously too many people to run surveillance on, but it should seem highly suspicious if any of these individuals is involved in anything supercrime-related. Who misses one board meeting too many? Who has cranked out one Nobel-worthy advancement after another? Of course, that works for government-friendly scientists as well.. .

The OSI’s WWII-era predecessor did a comically bad job attempting to cover up the species of Dr. Joe “Slizard,” who showed that an atomic bomb was theoretically possible. Of course, in WWII keeping the identities (and species) of your scientists was critical because roughly a third of the nation’s lab assistants were fanatically hardened Nazi assassins. The real Slizard was saved on several occasions because a Nazi threw himself at a paid actor that played Slizard at public functions.

Cheerfulness, a lack of

Ever since the end of the Silver Age of comic books, most superheroes seem to have been pathologically unhappy. This unhappiness often stems from personal tragedy, government/social persecution, or the realization that you’re a tool who only get published to make shots at Vietnam veterans.

On the whole, superheroes often demonstrate a marked inability to cope with loss and trauma without becoming 1) totally withdrawn/asocial 2) pathologically violent 3) internally conflicted. It’s probably a good thing that American servicemen have proven much more resilient than Captain America; beating the Nazis and subsequent foes would have been quite tricky if everyone went to pieces as soon a friend died. NOOOOOO, BUCKY!

Speaking of post-traumatic stress disorder, Andrew Sullivan and Blackfive, the Paratrooper of Love, go at it over how best to help the traumatized deal with PSTD.

In terms of OSI target identification, I think that I’d place a special emphasis on people that are…

  1. Cynical– though many heroes try to hide it with quips, pretty much every superhero is cynical and/or grim
  2. Unable to find happiness in everyday affairs; perpetually depressed
  3. Noticeably asocial– have you seen the latest Batman movie?
  4. Short on intimate, deep relationships.

Spiderman is the crucial exception to most of these, but even he can get emo when Venom is involved. This rubs against Rule 27 of Comic Books: He who is the most well-adjusted is the most ass-kickarific, with the corollary “with great power comes great instability.”

But, generally, I think that a psychiatrist would have some success identifying potential targets of concern. Just another reason that the hero-in-hiding should stay away from the counseling services of the Bedlam Clinic.

Superhero Nation specifically

I don’t think that many of my characters are deeply unhappy except perhaps Jacob Mallow. I’m inclined to think that angst and superheroicness are mutually exclusive. And angsty supervillains are damn unsatisfying and lack the charisma to really move the audience and plotline. So even Paingod is pretty optimistic, in a villainously libertarian kind of way.

12 responses so far

Nov 18 2007

The Validity of Diversity-Based Reviews

Many comic book fans expect superhero stories to have a diverse cast. For example, Superhero Nation stars a black superhero and a reptile. (One of our running jokes is that black superheroes are extremely rare and always the first to die). I think that diversity can definitely add something to a novel.

Some reviewers believe that the opposite is also true, that a lack of a diversity hurts a novel. For example, this review of Soon I Will Be Invincible criticizes SIWBI because its cast is too white and straight.

A more serious drawback is the lack of ethnic diversity among the heroes. There are a few comically ethnic villains, but all the heroes appear to be inhuman Other (catmen! Aliens!), specifically white American, or undescribed. This lack of description easily lends itself to “writing in” people of colour, but since white is normally the default for superheroes, readers would have to work against their usual assumptions to do so. It’s also a very heteronormative world. Sexuality likewise isn’t visible in every character, but when it appears, it’s invariably straight sex.

This criticism is well-intentioned but ultimately counterproductive to the goal of authentic-feeling minority characters, I think. Though the industry as a whole probably has a moral obligation to include more minorities on egalitarian grounds, expecting that from individual works will likely encourage writers to insert cartoonish, stereotypical and usually token minority characters. Finally, I believe that diversity-based criticism forces authors to pick between characters that are “too black” or “not black enough”. Let me illustrate that claim with a scene between two black characters, Lash and John.

Even the conversation’s first line creates a sensitivity paradox. When Lash introduces himself to John, should he say something generic like “Hey, man” or something more stereotypically black like “Sup, m’nigg?”

If I choose something stereotypically black, readers will complain that I’m stereotyping blacks. “Blacks don’t really talk that way.” That may be true. I am not black and live in a monolithically white/Asian community, so I don’t really have much experience to evaluate that claim. My main source of information about blacks is media caricatures. Relying on those seems like a recipe for disaster.

I think that many whites would be inclined to think that “Sup, m’nigg!” is implausible for a black character and would find the work weaker on that basis. Do you? If you said yes, I’d appreciate if you could critically evaluate why you think that line is implausible. I’ll give you a minute to do that…

Hopefully, you said something along the lines of the following justifications. 1) “I’m black, and we don’t talk that way.” 2) “Although I’m not black, the blacks I talk with regularly don’t sound like that.” These criticisms are strong because the reader has the experience to challenge my portrayal*.

(*An aside: can any single person’s experiences with blacks, even a black’s experiences, suggest that a black speaking otherwise is innately implausible? Probably not. But let’s accept for our purposes that individual experiences are valid enough).

Someone that’s familiar with black people has the experience to challenge my portrayal of blacks. But I suspect that most comic book readers are upper-middle-class whites that don’t really know many (any?) blacks. I’m interested to see how such a person might argue that my representation is implausible. “I don’t have any evidence to support this, but it just seems implausible that blacks would use a line like sup, m’nigg!” Many would probably look to the back of the book to see if I was black or not and then conclude that I was clueless.

The quote is actually quite realistic; a black professor suggested it to me. That I even have to justify myself suggests how complicated this process is for white authors. I feel uninformed readers will readily disregard any research I do to create an authentic black character. But they would not do so if I were black. I think that those two premises strongly suggest that (many? some?) readers implicitly expect me to stick to white characters.

It’s hard but possible for anyone to create an authentic character of a different racial background. But I’ve concluded that it is essentially impossible for a white author to satisfy an audience with black characters (authentic or otherwise). I think the “sup, m’nigg!” example demonstrates that most of the audience presumes that I, a white person, am not credible when it comes to creating a black character. If that is true, I’d say that the audience doesn’t want a black character from me.

Returning to the conversation between Lash and John, the alternative to something like “sup, m’nigg!” is something less stereotypically black. Readers will complain that I’ve inserted token characters to add superficial diversity. They will likely add that “blacks don’t really talk that way,” a conclusion that might not be supported by any personal experience.

No matter what I do, by including a black character it seems that I have guaranteed that diversity-concerned critics will be upset.

KPhoebe at Girls Read Comics counterargues:

…when writing, you shouldn’t be “seeking to satisfy diversity critics”, but keeping in mind that white, straight guy points of view are a cultural norm, not a reflection of reality. It’s not about satisfying people who criticise a lack of diversity so that they won’t be mean about your work, but an ethical choice to reflect a diverse world. As you point out, it requires extra research and effort, and you’re still almost guaranteed to offend someone, but that’s not an ethically worthy excuse not to make the effort.

Perhaps I conceive of the author’s role differently. I consider the primary goal of a fantasy author to be producing the most captivating and satisfying story possible. Other considerations can follow (like commentary, philosophy and political judgments), but a story that fails to immerse its readers has failed.

How does identifying characters as minorities affect how immersed readers will be? I suspect that it wouldn’t help in any way, at least in any way that I can think of. In fact, I am virtually certain that it will lead some readers to question my authorial credibility, which is a total failure of immersion. “Blacks don’t talk that way!” KPhoebe anticipated that point, saying that “reflecting a diverse world… [is] almost guaranteed to offend someone, but that’s not an ethically worthy excuse not to make the effort.”

Perhaps this is insensitive and/or crude, but I don’t think that reflecting reality is (or should be) a major concern of most fantasy writers. Isn’t the point to rely on whatever aspects of reality you need to tell a story and then fabricate the rest? If you don’t need the element of race to tell your story– and most stories are not about race*– then you probably shouldn’t include it. I don’t think that it’s fair to expect authors to pay a fairly high cost in credibility, time and effort for something that is extraneous to their story.

(*An aside: if you’re interested in writing fiction about racism and/or racial tension, I have some suggestions).

I have concluded (above) that using minority characters virtually guarantees that some readers will think that I’m:

  1. Racially insensitive, maybe even a racist. If I portray Lash negatively in virtually any way, people seem to assume that I’m trying to pass a judgment on all blacks.

  2. Clueless and/or a bad writer.

The alternative to racially identifying characters–leaving it all ambiguous—is much stronger.

  1. Readers will generally interpret unidentified characters in a way that is easiest for them. Returning to the original critique, it’s probably true that most white readers will envision most of the characters as white. But I think that it’s unfair to base your reading experience on what you think other readers are doing.

  2. Listing character ethnicities, particularly for the protagonist, is likely to alienate some portion of your audience.

  3. It’s extremely awkward for a book to mention a character’s race. “I saw Lash, the African-American superhero, sitting there.” “Senor Swagger, you set the bar for all Hispanic superheroes. Eres increible, hombre.” If race is not relevant to your plot, a line mentioning the race of a character will almost always stick out and jar your readers.

Mentioning race is probably warranted if you want to explicitly tackle themes like alienation, persecution and of course racism. But, if you were willing to implicitly address those issues, you have alternatives that are far less costly.

I’d argue that one such alternative is the use of characters that are different in a fantastical way, like mutants and non-humans. If humans persecute mutants in your story, it can be an allegory about racism, heterosexism, etc. The above reviewer didn’t like this option much. “…all the heroes appear to be inhuman Other (catmen! Aliens!)” she said.

I think that using fantastical characters is stronger for several reasons.

First, no one is ideologically attached to preconceptions about how an alien or a mutant cat will act. If my mutant cat acts dumb, no one will assume I’m a closeted mutant-cat hater. In contrast, readers are (understandably) more attached to preconceptions of how they think real minorities will or will not act. Failing to satisfy those expectations is dangerous.

Second, hardly any readers will assume that alien/mutant characters are meant to reflect on real-life groups unless the author directly makes the connection, like mutants representing Holocaust victims in X-Men. But even when we’re supposed to connect a real-life minority with a fantastical group, we cut the author more slack with his portrayal of the fantastical group. For example, X-Men’s portrayal of a bloc of mutants as vicious terrorists is obviously not meant to say anything about Holocaust victims!

If you’re telling a persecution story, using real-life groups may isolate groups of your readers. Let’s say you’re writing a story about gays facing discrimination. Many of your readers will feel that the discrimination is hopelessly wrong and backwards, but other readers will probably feel that gay relations are immoral or unpleasantly gross. (If your audience is similar to the US electorate as a whole, there is probably even some overlap between the groups). A straight-vs-gay story is virtually guaranteed to upset at least one of the groups. Most gay-themed comic books (Green Lantern, etc.) have “solved” this problem by just cutting out the second group from their target audience. That’s very parochial, both from an ideological and sales perspective.

If you’re writing something to change your audience’s mind about something like homophobia, it probably matters that the people who disagree with you are not going to read it. So you’re preaching to the choir. By contrast, a mutant-vs-human story is less likely to draw in outside baggage, like the audience’s preexisting beliefs about homosexuality. It will also probably be more enjoyable. Most people want entertainment rather than moral guidance when they buy a book. If offering moral guidance is something you’d like to do, using fantastic allegory (like mutants) is a wise marketing move.

The thrust of the arguments I’ve made so far is that using minority characters is pretty much a lose-lose proposition for white male authors– many readers will deem that your characters are too black, not black enough, or both. So I’d like to pivot to a question I get a lot: why have Lash be black?

That’s a good question. I think the author’s comfort level is critical and, at least when I started this novel, I felt pretty confident that I could do justice to a black protagonist. Right now, I’m not sure. My readers overwhelmingly think that Agent Orange, a reptile that works for Homeland Security, is a much better written and more believable character than Lash, the black superhero. In contrast, reviews consistently criticize Lash for being bland, poorly characterized and indistinct.

I think that I generally have done a better job with Agent Orange than Lash because writing a black character is vastly more sensitive and more disruptive to my creative process than a reptilian agent. When I attribute wacky statements (“mammals!”) and bizarre attitudes to Agent Orange, readers generally think it’s funny rather than a sinister insinuation about the federal government or, uhh, extraterrestrial lizards. In contrast, readers give me much less leeway with Lash. One review said I “caricatured Lash as a stock angry black male.”

From most perspectives, I believe that portraying Lash as black has cost me enormously, so much so that I’m actually considering rewriting the first thirty-thousand words to make Agent Orange the main character. Consider that for a second. It seems like it would be easier to write and sell a novel starring a paranoid and frequently delusional G-Rex than to proceed with a black lead. In fact, the prevailing view among our contributors is that we should eliminate him entirely or kill him several chapters into the book, but I don’t think that the situation is that desperate yet. (And, as team leader, I figure that the wait-and-sees have it by a vote of 1.5 to 3.5).

UPDATE: The leader of the anti-Lash faction of our writing staff convinced me to let him write a web-comic based around Agent Orange and a third character (someone who “wouldn’t be a collection of tropes tied together by an ethnicity,” he said). I think that the resulting Agent Black is an interesting and consistent character. This bodes poorly for Lash.

Please feel free to comment and/or criticize! I’d really like to know what you’re thinking.


ADDENDUM 1: A valid diversity critique?

The author of SIWBI, at least according to Wikipedia, said that he had intended to make Feral (his mutant cat) gay but he didn’t feel that was necessary because he’s such a minor character*.

I’m notoriously insensitive. In fact, insensitivity (and sexiness) are my defining traits. But even I’m inclined to think that making the token gay character an animal would have been gratuitously offensive.

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Nov 18 2007

Don’t mess with the Marines on this one

A Marine typist vs. the Chicago Manual of Style:

MARINE:  About two spaces after a period.  As a U.S. Marine, i know that what’s right is right and you are wrong.  I declare it once and for all aesthetically more appealing to have two spaces after a period.

CHICAGO MANUAL:  As a U.S. Marine, you’re probably an expert at something, but I’m afraid it’s not this. [sic]Status quo. [sic]

I think XHTML turns properly formatted periods (with two spaces after) into single-spaced periods.  That looks HIDEOUS, which is especially problematic for writers that upload large blocks of text, like novel chapters and lengthy reviews.  Whenever I edit a Word Press post, I have to go back and make sure that I’ve replaced the double-spaces so that it’s readable.

I think it’s pretty funny that we don’t put any spaces after periods in abbreviations.  Something like “he’s a U.  S.  M.  C.  drill instructor” would be painful.

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Nov 14 2007

But will it have mutated crocodiles?

Published by B. Mac under Commentary, News, Parody

Texas mayors want to widen the Rio Grande to serve as something like a moat against illegal immigrants.  A giant moat is clearly a forward-thinking way of handling the problem.  But, more importantly, it will give us a great opportunity to take a stand against generations of anti-lizard exclusion from government service.

  1. We clearly need some hostile predators in the water and few options are more appealing and classic than crocodiles, preferably mutated ones.
  2. Our traditional aquatic allies, dolphins, are in a pitched competition with manatees and seaweed to be the Weakest Aquatic Deterrent Ever.  Relying on a dolphin defense would be like depending on a French military buffer… but at least the French are armed.
  3. We’ve already got dogs (and a mine-sensing dolphin, I think) buried in Arlington. So recruiting crocodiles is just a matter of expanding existing diversity programs.  I’m sure someone in HR knows a few candidates.

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Nov 10 2007

Captain America LIVES!… unfortunately

CPT America will be featured in a Veteran’s Day comic sold at military base stores.

The Army and Air Force Exchange Service asked Marvel’s VP for business development to include Captain America and he “agreed because no other character better symbolizes the heroism and patriotism of the American soldier,” the VP said.

That’s funny, kind of. I’d be kind of insulted… well, really insulted if someone said I were as patriotic as Captain Anti-America. Sadly, The Hood (a Marvel anti-hero that trafficks in drugs and blood diamonds and accidentally kills a cop) makes a far stronger case for being patriotic.  He gets extra points for a hilarious reference to Guiliani Time.  

In Marvel’s comics for servicemen, there’s a big two-page spread that puts America in a romantic pose in front of the American flag that wouldn’t have been ridiculous, say, decades ago, when Captain America actually supported the American military.

Captain America, the “Patriot”

Posing CPT America in front of an American flag is horribly two-faced.

  1. Well, he’s a traitor and/or rebel.  He couldn’t bring himself to be as enthusiastic about fighting terrorists and registering superheroes as the government and people expected, which is fair.  Retiring would have been entirely acceptable. Instead he took it upon himself to militarily prevent the government from doing so, which is quite solidly treasonous.
  2. Even before he rebelled in Civil War, his plotlines almost always featured the US government as a nefarious and sinister actor.  The details are blurry to me, but for example he beat the crap out of a sadistic and villainous Navy captain.
  3. He’s never been very enthusiastic about either fighting terrorists or, frankly, America.  National Review argues that CPT America’s New Deal comics show that he is a terrorist sympathizer.  I wouldn’t go that far, but his recurring criticisms of the Dresden firebombing are pretty unrealistically severe for a WWII veteran.  Real soldiers–particularly ones that fought the Nazis, I’d imagine– aren’t that squeamish.  My impression is that servicemen overwhelmingly believe that the WWII bombing raids were justified on the basis of shortening the war and reducing casualties on both sides.  It seems a lot like Marvel’s writers have a certain set of views and they use CPT America as a mouthpiece to voice them, no matter how wildly implausible it would be for a WWII-era soldier to have them.  It would probably be more appropriate, I think, to have a younger America replacement make the revisionist case that the Dresden bombing is wrong;  I think that having the original America justify the bombing is probably truer to the source material, at least Captain America circa 1945. 
  4. There is a major disconnect between the civic values of America’s servicemen and Captain America. America doesn’t seem to mind very much attacking Americans whenever he thinks it’s his duty to do so, which is unsettlingly often.  

Perhaps I should rest assured that “AMERICA SUPPORTS YOU”!  The comics are selling well, I guess, so maybe I’m looking at this too cynically.  I wonder who would admit to buying a comic book on a military base ;-) .  I’ll have to ask around at Parris Island this summer.   

On the other hand, Spiderman is pretty kickass.  I’d be OK with his support any time.  Even Wolverine and the Fantastic Four seem to know how it is. 

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Nov 09 2007

Only a Bumbling Person Can Stop a Supervillain

A supervillain is easily identifiable because power is sexy.  That’s why we always get the best women (no one really wants to date a mild-mannered reporter or an inept freelance-photographer).  But superheroes are also easy to identify if you know what to look for: the bumbling factor.  The more bumbling someone is, the more superpowers he’s waiting to unleash. For example, the last time my henchmen attempted to break into a presidential convention, they got absolutely shellacked by Tucker Carlson. If you have ever wondered whether someone that looks that bumbling could only get on TV because he was really a superhero, you’re not alone.

Tucker Carlson, Superhero

There’s really no way to know how many of my plots have been spoiled by Carlson and Alan Colmes, but I’d feel pretty confident saying that they’re the main barrier between me and global domination.

Hannity/Colmes

I’d give you two guesses whether it’s Hannity or Colmes that’s the bane of supercriminals everywhere. Remember, people that look bumbling are dangerous. And anyone that looks as bumbling as Colmes can strangle your best assassins with his mind.  Interestingly, Sean Hannity is also a superhero, but any supervillain that fears a conservative diversity hero should reconsider his line of work.

Way to keep a secret identity, dumbass

Unsurprisingly, the talk radio guy doesn’t know how important it is to keep his appearance secret.

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Nov 03 2007

Ack, good game

Published by B. Mac under Commentary, Football, News, Uncategorized

The Notre Dame-Navy game was painful but exciting.  Navy won by 2 in triple overtime, snapping a losing streak that dates back to 1963.

Three key plays:

  1. Notre Dame’s offense fumbled, resulting in a Navy defensive TD.
  2. ND is down seven and there are six minutes left in the fourth quarter. It’s third-and-28.  Quarterback Sharpley sneaks up for fourteen yards.  On fourth-and-14, Sharpley is hit as he’s throwing the ball.  Notre Dame catches the ball, anyway, for a first down.  Notre Dame goes on to tie the game on the drive.
  3. Notre Dame is 25-30 yards away from the endzone.  It’s fourth-and-eight.  There are 45 seconds left in the game and the score is tied.  Notre Dame goes for… a first down!?!  At the time, this play seemed absolutely inexplicable to me. We end up missing the first down.  Admittedly, we probably would have missed a 40-yard field goal, too.  But a successful FG would almost certainly have won the game.  A first down would not guarantee a score– you’d still have to make a FG or TD.

There were a few positive points.

  • Notre Dame’s running game had been absolutely abysmal… possibly the worst in the country, averaging 34 yards a game.  Eldridge alone ran for 120 yards this game.  Although much of the improvement can be contributed to a soft Navy defense, it does appear that ND’s offense is improving on many fronts.
  • Our punt return unit improved considerably.
  • The defense was not particularly productive but didn’t give up many enormous plays.
  • The offense is playing somewhat more carefully.  It still gave up a fumbled touchdown, but that’s a lot cleaner than some of our previous outings.  We also protected Sharpley fairly well, although Navy has never been sack-heavy.

In other Notre Dame news, Notre Dame alum Ryan Shay died during the New York City marathon today.  But I wouldn’t want to give the impression that athletes are more important… Bill Anderson, the father of several ND alumni and a Scoutmaster, passed away a month ago today.

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Nov 02 2007

The Shape of Things to Come

Some of the things on my to-do list.  

 

PARODYING COMIC BOOK VIOLENCE

  1. Someone being eaten
  2. Death by plant
  3. Death by fire extinguisher
  4. Death by ceiling
  5. Death by squid
  6. Death by refrigerator 
  7. Death by frog and meteor showers

PARODYING ALTERNATE IDENTITY-INDUCED STUPIDITY 

  1. POLICE: “Well, Mary Jane Watson’s been kidnapped at least three times in the past ten years, generally by criminals associated with Spiderman.  But there’s no reason to suspect a connection…”
  2. EMPLOYERS: “My star employee puts in fewer hours than everyone else and runs off a lot more.  He must just love being productive… by himself.”  
  3. JOURNALISTS: Glasses.  Enough said. 
  4. POLICE DOGS: fortunately, they are curiously unable to identify superhero scents at crime scenes and then track them back to either the source or hangouts.

PARODYING USE OF WOMEN IN COMIC BOOKS

  1. Women virtually absent
  2. Any woman introduced must be paralleled by the man she will end up falling in love with 
  3. Feminists complain about objectification despite wearing less clothing than most four-year-olds and OBVIOUSLY getting implants
  4. Women must be hopelessly, hopelessly clueless compared to male peers

PARODYING ALIENS IN COMIC BOOKS

  1. EMPIRE STATE CONNECTION:  The Search for Extraterrestrial Intelligence uses the Empire State Building as a beacon to contact alien life.  That’s why aliens that crash-land on Earth have a remarkable tendency to make landfall within 25 miles of it.  
  2. GOVERNMENT COVERUP:  The government will always spend considerable amounts of money and manpower covering up the presence of aliens and will kill anyone that gets in the way.  The conspiracy is so deep that none of the participants know why the government needs to conceal the existence of aliens.
  3. CONVERGENT EVOLUTION:  Humans are really genetically competitive!  
    • 100% of alien species have a human body structure (two arms, two legs, walking upright, etc.)
    • 90% of aliens have fundamentally human psychologies (similar thought processes, senses, cultures, desires).  And the remaining ten percent are invariably villains opposed by human-like species. 
    • 75% of aliens look exactly like humans (or shape-shift) and lack any characteristics that would rule out an alternate identity easily identify them to humans.   (How frustrating would it be to look overwhelmingly like a human but smell overwhelmingly different?)
    • ALIENS, DARWIN’S GOLDEN CHILDREN:  Sorry, guys… aliens outclass us in every conceivable way.  Every alien species beats us in strength, resilience, flight, senses and technology.   Aliens aren’t necessarily smarter than humans, but no aliens are notably dumber than humans.  In short, humans have no advantages compared to aliens, even in traits like speaking human languages.  We don’t even have a distinct edge at seeming human. 
  1. VESTIGIAL LIMBS:  Even species that can fly effortlessly retain their two legs.  Among species that fly, legs are considerably more prevalent than wings.  Even species that able to fly will have two legs.
  2. Unlike human behaviors, 100% of alien behaviors are attributable to their species.  For example, if France randomly attacked Germany, it wouldn’t follow that “humans are really aggressive.”  However, any alien aggression towards humans indisputably proves that the alien species is implacably hostile and needs to be stopped. 
    • Per Independence Day, War of the Worlds, E.T., Perfect Dark…  in peacetime, humans will capture and exploit alien prisoners.  When aliens and humans fight, humans never take POWs… because the aliens are savages! 

Note: Superhero Nation does play on these expectations, but the joke’s on the reader.  I surveyed 30 people that read chapters 1-3.  

  • 26 agreed with the statement “Agent Orange can’t be trusted.”  “Why do you think that?”  3 said because he probably lied to Lash in Best Investigator.  17 went with “because his species is hostile to humans.”  6: don’t know.  (I allowed for that option because I didn’t want respondents to feel like they HAD to assess Orange based on too little information). 
  • “Why do you think Paingod and Agent Orange are upset with each other?”  5: because of political differences.  8: because of personal differences.  11: “because members of their species interact differently.” 
  • “Why do you think Lash is upset with Fox News?”  15: because of political differences.  13: because of personal differences.  1: “because of the human condition.”  (I really struggled to come up with a parallel to ‘because members of their species interact differently’).  It surprised me that anyone selected the “human condition.”  On further investigation, it turns out that he was a fan of Augustine.  Sigh.  I need to weed out Philosophy majors from reader surveys.   
  • “Which one of these do you think best describes Agent Black?”  6:  “An American doing a patriotic and moral service to his people.”  13: “Someone making the best of a morally difficult situation.”  5: “Generally more a part of the problem than the solution.”  1: “A traitor that needs to be dealt with.”  (5 unsures).  (Other questions revealed that self-identified conservatives tended to go with the first two categories and liberals with the last two).   
  • “Which one of these do you think best describes Agent Orange?”  2: “An American doing a patriotic and moral service to his people.”  4: “Someone making the best of a morally difficult situation.”  8: “Generally more a part of the problem than the solution.”  4: “A traitor that needs to be dealt with.”  (12 unsures).  The ideological split was less clear here.  Conservatives made up most of the two extremes and liberals generally went for the third choice or weren’t sure. 
  • “It is possible that someone who is born into drastically different conditions that I was could be meaningfully American.”  Virtually unanimous agreement (26 strong agreements, 2 weak agreements, 1 weak disagree, 1 don’t know). 
  • “It is possible that someone who acts or thinks drastically differently than I do could be meaningfully American.”  This was more contentious but a majority still agreed.  (12 strong agrees, 7 weak agrees, 4 weak disagrees, 4 strong disagrees, 3 don’t knows).  Compared to the previous question, populists moved the most (and also, to some extent, conservatives).   
  • Looking back at the question, “which of these do you think best describes Agent Orange?,” readers generally thought less of Orange than (the human) Black. 
  • So Agent Orange was generally judged much less sympathetically.  That could be because Agent Orange just is less sympathetic and that my readers aren’t discriminating against aliens… the results would flip if I made Agent Black the alien and Agent Orange the human and kept everything the same.   Or people are subconsciously discriminating against Orange because he’s not human.  I don’t have enough information to determine which it is, yet, but it puzzles me that anyone would describe Orange as a “traitor that needs to be dealt with” without factoring in him being an alien.  I’m vaguely sure I didn’t put in anything that would suggest that… well, I did write a possibly sinister line about Agent Orange reworking the world, but I think readers would be more inclined to judge that the line would be idealistic, rather than creepy, if it were spoken by a human.   

Methodology 

I used a few criteria to eliminate potential poll responders.  They had to answer three multiple choice questions correctly.  Additionally, I only gave the quiz to Americans because I want to examine the American political culture.  (Sorry, everyone else… I’m sure you have your own political scientists).  

  1. “What state is the setting of the first three chapters?”  (NY)
  2. “Which species does Agent Black belong to?  Which species does Lash belong to?”  [correct answer: both are human.]
  3. “Which one of these best describes the physical appearance of Agent Orange?”  [the correct answer was the only one that sounded remotely reptilian.]  

The first question was pretty basic.  Even if you didn’t specifically remember that the answer is New York, you might have recalled that Lash works on Wall Street, that Agent Black is the “Manhattan Mangler,” the “Empire State Strikes Back,” or the mention of mutated animals living in the Queens sewers.

The second question mattered because I needed to know whether my readers were reacting differently to alien characters because they are alien.  Obviously, if you don’t remember who is human who isn’t, then your answers wouldn’t help as much.  (Sorry!)

The final question served mainly to identify readers that would remember enough specifics about the book to justify their opinions later. 

Over 60% of respondents answered the three questions correctly. 

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Oct 25 2007

Book Review, Empire of Ivory

This article will review Empire of Ivory (the fourth book of the Temeraire series) and focus on what beginning novelists should take away from it to improve their own skill.

Continue Reading »

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Oct 24 2007

Time to Get Democrazy!

On November 6, San Francisco will have the opportunity to vote Captain Democracy in its mayoral election.  Democracy is so ridiculously bold that his opponents have already written their concession speeches.  Like Kenny the Clown and Chicken John ever had a chance

As far as I can tell, Democracy is qualified to be Mayor because his family is military.  Kind of scant… I bet Kenny the Clown has at least done a USO tour.  However, I give Democracy the edge because it takes a special kind of man to run a campaign out of a Wordpress blog.  Damn straight!

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Oct 24 2007

Pun Explanations

Hello.  A few of my readers asked me about the chapter titles.  Did I mean ____ as a pun on ____? The answer is probably yes.  I’ll go through a few…

Gotta Kill ‘Em All! is a dark play on Pokemon’s slogan, “Gotta Catch ‘Em All.”  The popular children’s cartoon series, Hegemon, plays a prominent role in this chapter.  A related pun…  in politics, a hegemon is a completely dominant nation.  Since the end of the Cold War, “the hegemon” has always referred to the United States.  After all, what story about superheroes could be complete without a superpower?

How Many F’s are there in Katastrofy? (Win a Pulitzer in 20 Minutes a Day!) is a play on the latest Superman movie, where a supposedly Pulitzer-calibre journalist (Lois Lane) wonders how many F’s are in “catastrophe.”  Katastrophy is the name of the Hegemon that’s clearly based on Mewtwo (he’s in the header).  For reasons that I will hopefully be able to reveal by the end of 2007, the real-world incarnation of said character decides to go by “Catastrophe” because you’d have to be a complete idiot to spell it “Katastrofy.”

National Catastrophe is a phrase.  In a book that already has a character named Catastrophe and Nation in the title, how could I resist?

Dr.  Berkeley’s name is actually a reference to George Berkeley, an 18th century philosopher who claimed that anything we perceive is necessarily real.  (Mirages and The Matrix are both perceivable things that probably aren’t real).  The more obvious Berkeley association features a certain university in California, but that wasn’t my main objective.

What Do We Do About Berkeley? This time the reference actually IS to the university.  Governor Ronald Reagan (R-CA) had been advised by his gubernatorial staff not to hit on the counterculture of UC-Berkeley.  Reagan responded: “Look, I don’t care if I’m [campaigning] in the mountains, the desert, the biggest cities of this state, the first question [I get is]: ‘What are you going to do about Berkeley?’ And each time the question itself would get applause.”  I amended the phrase to “What do we do…”  rather than “What are you going to do…”  because the title is already a bit long.

Forget Who’s Watching the Watch-Man…  Don’t Leave Yourself Alone with Him is a play on the phrase “but who watches the watchman,” and of course the comic book series The Watchmen, but most prominently Syler from Heroes.  You definitely wouldn’t want to find yourself alone with THAT watch-man.

The Empire State Strikes Back is an obvious play on Star Wars…  not too tricky.

Gods and Supermen at Yale is a reference to God and Man at Yale, conservative William Buckley’s seminal work on the relationship between faith and scholarship.  In the context of Superhero Nation, the “Gods” are researchers…  well, I shouldn’t spoil a chapter I haven’t written, right?

The Crisis of Infinite OSIs is a play on DC Comic’s seminal series, The Crisis on Infinite Earths.  Really, really devoted students of US government might know there is a separate Office of Special Investigations within the Department of Homeland Security, the Department of Justice, the Air Force, and the legislative Government Accountability Office.

It Takes a Child to Raze a Village  the original is liberal Hillary Clinton’s quote, “it takes a village to raise a child.”  I can’t say any more without hopelessly spoiling the chapter.  Suffice it to say that I hope you won’t miss Greenwich.  (Heh.  A red herring, I assure you).

The First Draft of History is a reference to the quote that “journalism is the first draft of history.” 

Hegemonic Instability Theory.  Maybe you’ve heard of “hegemonic stability theory,” the theory that particularly strong nations contribute to world peace.  Well, mental instability appears to be more relevant to the plot (and creation) of this novel, so I thought that was more appropriate.   It’s also a play on the Hegemon angle, if you’ve been paying attention.   (Additionally, Orson Scott Card wrote a book called “Shadow of the Hegemon,” which  I might turn into something like “Shadowing the Hegemon”)

The Last Oorah.  Oorah” is a Marine concept…  hell, a way of life! Its origin probably derives from “heard, understood and acknowledged” (HUA), a general expression of enthusiasm (ahem…  anything and everything but no“).  At one point, I had the chapter called The Last Huah because I wasn’t sure whether the character that dies is a Marine or an [Army] soldier.

The pun is that there’s a novel called The Last Hurrah, which is also a stage in Star Fox 64.  (Wow, I am such a nerd).

A few of the chapters (Agents of Change, Agents of Destruction, etc.) play on the double meaning of “agent” as a federal employee (IRS agent, OSI agent) and a causative factor.  The Free Agent plays on a sports-term for someone who currently has no employer.

Yep, that’s most of it.  I should add– well, it should be obvious that– a title that has to be explained is probably not working.  So hopefully titles like A Free Agent or What Are We Going to do about Berkeley? work even if the reader isn’t familiar with the inside joke.  If they don’t, then the author has needlessly alienated a lot of his readers.  I think the titles would be effective even if the reader didn’t know.

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Oct 23 2007

Political Ad-Libbing: Five Minutes to a Winning Campaign!

Have you noticed that attack ads sound pretty similar? They’re all made from the same script. To create a political advertisement, you just need to plug in…

  • One opposed political candidate

  • Two positive interest groups

  • One positive adjective

  • Three negative adjectives

  • Two negative interest groups

  • One supervillain

I’ve got some suggestions for you, but you can pick your own. After picking your words, plug them into the Script at the bottom of the page.

Word-Banks

Opposed political candidates (1)

  • Pick your favorite. It’ll work on anyone.

Positive interest groups (2)

Positive adjectives (1)

  • Daring

  • Sexy

  • Vigorous

  • Punctual

Negative adjectives (3)

  • Bible-thumping

  • Atheist

  • Anti-puppy

  • Tax-and-spend

  • Tax-cut-and-spend

  • Mutant-loving

  • Puppy-eating (don’t play the fool with me. In Pinnochio, there’s a puppy that follows the “protagonist” and then the puppy suddenly disappears. What happened to him? Kibbles and bits).

Negative interest groups (2)

  • Illuminati

  • Massachusetts

  • Big Tobacco

  • Big Media

  • Big Toilet Paper [not to be confused with Big Media]

  • Texas

  • The New York Money People [“but my best friends are Jewish!”]

  • Seventh-Day Adventists

  • Mutant haters

  • Mutant sympathizers

  • Pirates
  • Captain America

Supervillains (1)

  • Magneto

  • Spock (“Spock’s not a supervillain!” You need to pay more attention, biatch).

  • Rush Limbaugh

  • Lex Luthor

  • a Teletubby

  • Hillary Clinton

  • Barney the Dinosaur

 

The Script

Dear Voter,

Hello. Even as we speak, (political candidate) is plotting to destroy America, even our cherished (positive interest group #1)s. Any (positive adjective #1) American can see that (political candidate) is only running because he wants to sell out our (positive interest group #2) to advance the (negative adjective #1) agenda of (negative interest group #1). Because he’s (negative adjective #2).

If you are wavering on the issue of whether (political candidate) is a (negative adjective #3) pawn of (negative interest group #2), ask yourself: can America survive a President that looks so much like (supervillain)?

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Oct 18 2007

This Saturday, I’m gonna FLIP…

Published by B. Mac under Commentary, Football

…if Notre Dame defeats #11 ranked USC.  In fact, the win would affect my mental state so greatly that it might affect my website.  Suffice it to say that the website redesign would be GLORIOUS.

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Oct 18 2007

How do I parody this?

Published by B. Mac under Commentary, News

Yahoo News: “As violence falls in Iraq, cemetery workers feel the pinch.”  You’re heart-broken, I’m sure.

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Oct 12 2007

Chapter 4: Everybody Dies

Chapter 4: Everybody Dies

Six years before

Jacob Mallow was a bright young man, the interviewer decided.  His eyes were wide and always searching, so he looked lost, but he would probably contribute to some graduate program in bioengineering… just not this one.  The interviewer glanced at Jacob’s folder and knew he wouldn’t get in.  His test scores and grades were as exceptional as those of any plausible candidate.  Hell, he hadn’t even heard of the St.  Louis college Jacob had attended.

On the off-chance that Jacob had some previously undisclosed quality, the interviewer lobbed him a few softball questions.  Maybe he was a major donor’s son.  Probably not, given that wreck of a suit.  When asked why he wanted to become a bioengineer, Jacob said “I want to help people.” The interviewer had heard that response almost fifteen times that day, but usually it came with superhuman tales of compassion and service.  The interviewer’s stomach grumbled.  This was already eating into his lunch break.

When prompted, Jacob mentioned a project to grow vegetables for inner-city dwellers he had been involved with.  Strictly speaking, “involved with” wasn’t as accurate as “run alone and worked like a full-time job,” but he hated sounding boastful.

The interviewer wasn’t even sure that this alleged service project had actually existed.  He didn’t have any reason to specifically suspect that, but psychological studies have shown that two-thirds of applicants to top graduate programs lied on their applications… they usually said that competing honestly would be unfair because so many lied.

When asked what he liked doing, Jacob said he enjoyed writing and painting and problem-solving.  Jacob thought that it might sound good to say that he might eventually figure out a better way to grow crops in the heavily polluted farmlands surrounding the shattered neighborhoods of East St.  Louis that he had grown up in, but he demurred.  That prediction was presumptuous; he didn’t know if he would graduate, let alone what kind of bioengineer he would be and whether his research would yield significant results.  He had been Missouri’s State Scholar in high school, having earned a perfect ‘five’ on sixteen college-level tests, but he had, embarrassingly, only accomplished that by begging a bookstore owner to give him the Barron’s Guides for courses vastly beyond the capability of his crumbling high school.  Besides, the three books he had consulted on graduate school interviews said that referring to high school accomplishments screams of desperation.

After wasting eight minutes trying to squeeze answers from the painfully humble and shy Jacob, the interviewer had already mentally written his assessment.  Jacob really was interested in people, but his hands shook so much he looked epileptic.  His back was pressed against his seat and he seemed to squirm a little whenever asked about his qualifications, particularly what he did for service activities.  The interviewer had four more prospects today.  He just didn’t have time for this.

The admissions committee for the same university glanced through the interviewer’s assessment.  Phrases like “meek,” “might not contribute much to intellectual environment (ready for academics here??)” stuck out, but it was “NO HOOK” that was scrawled at the bottom, underlined twice.  A hook is a compelling reason an applicant should be admitted.

After two minutes of conferring, the admissions committee rejected Jacob Mallow.  He had done research on the shifting demographics of poor farming communities, but it didn’t sound scientific.  Next!

By comparison, it took a jury 46 minutes to convict Charles Manson.

In all, eight schools concluded Jacob would excel… somewhere else.  MIT, Penn, Harvard, Georgetown, Washington University, etc.  Only the University of South Carolina at Surf City said yes.  Jacob didn’t know that it was ranked forty-second on US News and World Report’s list of top postgraduate bioengineering programs, but science recruiters did.  They had all heard the joke that USCSC had only ranked that high because US News figured it would sell more copies if at least one school in the city of five million people was in the top fifty.  It might not have been a joke.

Jacob had heard a lot about Surf City.  Strange things happened there that just didn’t happen in the Midwest.  People sometimes put on capes and went berserk, things like that.

In any case he was dimly aware that living in Surf City would entail exotic risks.  East St.  Louis was unsafe in a more banal way.  The city had a life expectancy roughly twenty years below the national average, fully ten years worse than Gary, though ten better than Mogadishu.  It was the no-man’s-land where destitute slums loaded with drug-dealers and prostitutes and gangs met dusty, dead farmlands.  Jacob had survived by being a totally valueless target in a slum where several pizza-boys got killed each year for the change on a twenty.  But Jacob rarely had any money and looked so mousy that his presence on gang territory–more or less all of East St.  Louis– usually warranted jeers or warning shots rather than, say, a stabbing.

There were, however, disadvantages to having no money.  Food stamps had helped, and he got cheap chicken from his job at Lenny’s Chicken Shack, but the flavor of refried chicken gradually induced him to crave produce.  But even imported fruits had been beyond his means.  Originally he had grown up in the far reaches of the county, what had once been real farming country, but the best land available for cultivation here was the burnt-out shell of what might have once been a factory.  His makeshift vegetable garden was probably the only completely drug-free plot for miles around.

Most inner-city dwellers don’t know much about international trade and agro-economics, but every kid on the corner knew the market value of a kilogram of marijuana, which can be grown in the space of half a pound of corn.  Farmers usually get four dollars for a bushel of corn, 56 pounds.  Even farmers could do the math from there.

As enticing as another summer of inner-city farming and the Chicken Shack had been, he tried finding a job over the summer in Surf City.  He had a college degree– admittedly, one hardly worth the paper it was printed on.  He figured he could find something better than $5.25 an hour and whatever chicken was left at the end of the night.  But the degree would only be worth anything if there were white-collar jobs.  In East St.  Louis, that meant running meth labs.

He first tried looking away from USCSC.  He assumed that the school would be mostly vacant over the summer.  Unfortunately, it wasn’t just the University that shut down.  His job search was an unsuccessful routine.

1) Ride subway to public library after work ($1.45 each way)

2) Print resume ($.10 each)

3) Google Surf City companies

4) Mail applications ($.45 each)

5) Speak with recruiters ($.5/minute)

6) No job offer: back to step 1.

The recruiters proved eerily curt and unproductive.  This conversation with a Wendy’s manager was typical.

“Hello, this is Jacob Mallow.  I was wondering if the night manager position might still be available.”

Jacob heard the manager sifting through papers over the phone.  “Mallow… Mallow… there.  Sure, we’ll hire you as night manager.  Can you start in September?”

“I was kind of hoping for something a bit sooner, maybe something by late May, if that’s possible?”

“We, uhh, won’t have any openings until September.  We, uhh, don’t get much summer business.  Yeah.” The manager sounded edgy, maybe thrown off when Jacob mentioned May, so he didn’t push the issue.

He was offered several jobs, some paying an unthinkable $9.60 per hour, but all started in September.  He speculated that Surf City was a college town that just shut down during summer.  Whatever the reason, it only mattered that there were no jobs, not why.

As the ordeal of another three months of serving chicken from behind two layers of twice-proven bulletproof plexiglass appeared increasingly inevitable, Jacob turned to the University, his last resort.  He didn’t know what summer jobs a university might offer, but buildings presumably got cleaned and being a janitor in a fairly wealthy area would be bearable.

He called the Career Center and spoke to a staffer who mentioned offhandedly that his summer vacation would start in three days.  Jacob said that he was looking for work.

“Sure thing.  The market is pretty hot now.  Many jobs will open up in late September, maybe early November.” The staffer sounded rushed.  Jacob speculated that he was thinking about his summer vacation.

“Do you suppose there are any openings right now?”

“No.  Surf City doesn’t have many people over the summer.” The staffer’s response was immediate.  He couldn’t have looked in his computer or made any calls or sifted through listings, anything.  His tone was cold and final.

“Are you sure? Do you think you could maybe check again?” Jacob felt very awkward imposing on him, but getting out of East St.  Louis meant that much.  Even beyond the smoke-filled, ashy air and extremely irregular garbage service, the city just felt dirty.  There was a grimy film over everything.  The smog didn’t help, either.

“Fine.” The staffer sounded annoyed, as though Jacob had asked him to double-check whether the sun is hot.

Jacob heard around ten seconds of petulant typing and then a “Hot freaking damn…” After a few more seconds, the staffer said “Say, do you know anything about farming? We’ve got an experimental field that needs someone to tend to it over the summer.  ‘Pay negotiable.’ ”

Jacob wanted to rip his phone out of the socket and throw it through his already broken television.  He could get out of St.  Louis, work in a real city, away from the Chicken Shack… as a college-educated farmer.  His father—one of many failed farmers—must be spinning in his grave.

“I know a bit, probably not as much as an agricultural engineer, though.”

“My guess is that this job probably won’t be too hard, at least mentally.  Here, let me give you Professor Michelle Polono’s number; she runs the plot.  Bye.”

With that, the staffer rather abruptly hung up.  Jacob didn’t know how to find an application or where to send it, but he did have the number, so he called Polono.

“Hello, I was wondering where I could find an application for the farming position.”

“Application? For the summer job on the experimental plot?”

He hadn’t been too excited about farming, but when he heard “summer job” his blood started really pumping.  He was close, so close to escaping.

“Yes.  The summer job.”

“There isn’t an application.” Jacob cursed silently.  He assumed that the opening had been closed, that Surf City would have to wait.  Down the street he heard three gunshots and a siren.  He wished he had talked to the University sooner.

“Oh, uhh, that’s too bad.  I was really hoping to get the job.”

“The job’s still open, but I don’t take applications.”

“You don’t?” asked Jacob.

“Can you use a ruler and write passably in English?”

“Assuredly.” He kicked himself for using that ostentatious word—it sounded really stupid, in hindsight—but he hadn’t been sure that Professor Polono would have been sure his English was good enough if he just said “Yes.”

“Then, if you can use a hoe and other hand-tools, the job is yours.  Assuming you’ll be in Surf City until September.”

“Thank you.” Jacob’s voice was weak; it was only then he realized that he had no way to get to Surf City.  He had essentially no savings, certainly not enough for a plane ticket, but couldn’t bring himself to mention that because then Professor Polono would think he was hiring a hobo or something…

Professor Polono abruptly asked, “What salary were you looking for?” That question unnerved Jacob, who had been kind of expecting the Professor to lay out an ultimatum “offer” like “the position pays $7.50.”

Jacob saw an opportunity to press for more money.  “Eight would be fine, but I’d really like to maybe get an advance.”

“Well, I’ll have to legally contract you to stay on for the duration, but sure.  Four thousand tomorrow, four thousand at summer’s end.”

Jacob nearly dropped the phone.

“Four thousand dollars?”

The Professor sounded annoyed.  “Right.  Your advance.  Half of your pay.” Jacob had been expecting twelve weeks at eight dollars an hour, $3840.  His expected pay had doubled because of a misassumption that he wasn’t about to correct.  The advance would easily cover the University housing deposit.

The next morning, it was Tuesday.  He went to his tenement’s mailroom on the way to the Chicken Shack.  It was early, but people with money– Colombian drug dealers working for the creatively named ‘The Colombian– ate at the Chicken Shack every Tuesday morning and talked about whatever dealers talk about.  It was understood that the store would be open early or bad things might happen.  The Colombian and his dealers weren’t the only ones awake at eight.  A few people were checking their mail or walking through the adjoining hallway.

Jacob was astonished to find that Polono’s letter had actually arrived overnight.  The envelope had a gaggle of stamps reading URGENT and PRIORITY and GOVERNMENT MAIL and ESPECIALLY URGENT PRIORITY.

Jacob opened the letter.  The check didn’t say $4000.  Only $3500.  He realized that even 87.5% still grossly outstripped his current salary.  His arms suddenly felt tired and he found it hard to hold up the check, so he pocketed it.  The next piece of paper in the envelope appeared to be a contract.

“I, __(sign your name here)__, do contract with Michelle Polono (hereafter the Contractor) to satisfactorily maintain the 3-A Tomorrow Plot for the period of three (3) months.  I will be financially liable for any damages I cause to the University’s resources and/or facilities.  The remainder of my payment, four thousand dollars ($4000), is contingent on my successful rendition of duties, as is the payment already made ($4000)…”

Jacob looked at the check again.  It still said $3500.

“I disclaim any right to pursue civil action against the University and Contractor for damages incurred by risks associated with the inhabitation of Surf City during the duration of this contract.  These risks include but are not limited to: supernatural crime, terrorism, acts of God, loss/gain of limbs, and species change/mutation…”

“I, __(sign your name here)__, am mentally fit to enter into this contract, under neither coercion nor mental domination.  Under the penalty of law, I disclaim any right to withdraw from this contract prior to the Contractor discharging me of my duties or the contract’s natural expiration.” That sounded particularly sinister.  As far as he could tell, he was signing his life away to adequately farm a plot he hadn’t ever seen, in a city where the risk of supercrime, terrorism and “species change/mutation” was significant enough to include in contracts.  Suddenly the Chicken Shack sounded fairly attractive.

He stuffed the contract back in the envelope.  For a moment, he thought he might have seen a flash of green in the envelope.  He decided to consider the job later, after work.  There _were_ risks to staying in East St.  Louis, but he knew which alleys to avoid and how to stay low enough to avoid troub–

“Drop the cash, fucker, or I’m taking your head off.”

Jacob felt what was almost certainly the cold point of a mugger’s knife against the back of his neck.  He didn’t have any cash but he didn’t want to say that.  So he dropped everything he was holding, the envelope with his contract.  There were brisk footsteps behind him, a guy or two running from the mailroom.  He couldn’t exactly blame them—being a witness to a likely stabbing was an occupational hazard.

“Get against the wall and don’t move.”´

Jacob silently did so.  He heard the mugger ripping the envelope to shreds.

“Who’s your supplier.”

“My supplier?”

“The drugs, bitch.  Who are you moving for?”

Jacob heard a second voice a bit farther back.

“C, the hell you doin’?”

“This bitch is selling on our turf.  Was selling.”

“Daaamn.  You sure, man? He don’t look like a seller.  A Chicken Shack seller, maybe.  I could go for some Chicken Shack.”

Jacob wanted to say that, yes, he was dressed up in a horrendously stupid-looking green apron because he did work at the Chicken Shack.

“He got two Franklins in the mail, cash.  Sure as fuck wasn’t from no Chicken Shack.”

Jacob wanted to scream at himself for missing two hundred cash in the envelope, money even a bystander had seen.  He thought back to the flash of green in the envelope.  Damn.  The first gangster, the concisely named ‘C’, had said he found $200 but there must have been $500 cash in the envelope.  So he has pocketed the last $300.

Jacob considered a few different possibilities.  Explaining that he had been paid so much to farm could only lead to the assumption he was farming drugs.  That could only end with a slow and messy death in the mailroom.

Escape was not an option.  Two gangsters stood between him and the exit.  He was trapped in the mailroom.  Even in broad daylight, the police were damn slow, even assuming that someone would call the cops for a stranger.  The police would arrive late, find nothing, and then knock at the caller’s door, which was as likely to get the caller killed as spraypainting his door with “COP-CALLER HERE.” So Jacob was very much alone.

He had to come up with some reason to get them to want to not kill him.  His mind drifted towards dark possibilities, like getting the second one to kill C for stealing his money, but they were in a gang together and he wasn’t willing to bet his life that anyone could talk that smoothly.

A hand grabbed Jacob’s neck, banged his head against the wall, and then threw him onto the ground.

Now it was the second gangster talking.

“Let’s hear it.  Where’s the cash from?”

Jacob tried talking.  His head felt warm and sticky with blood.  Am I really going to die here? His eyes desperately swept the ground—he saw scraps of his envelope lying around.  GOVERNMENT MAIL… ESPECIALLY URGENT.

He wasn’t very lucid.  GOVERNMENT.  ESPECIALLY.  GOVERNMENT.  ESPECIALLY.  His mind homed in on three letters of ESPECIALLY.

“The CIA.  My contract’s right there.” He was willing to bet his life that the gangsters couldn’t understand anything in the contract.  Thankfully, like all legal contracts, it was incomprehensible by design.  C read maybe a line before throwing it away.

Sometimes it was whispered that the CIA was somehow controlling the inner-city drug trade.  He didn’t really know much—anything, really— about any drug players, but the CIA theory still seemed so ridiculous that staking his life on its believability almost made him blush.

He thought about grabbing the GOVERNMENT MAIL scrap of the envelope and saying that it really was kind of plausible, at least as plausible as anything that had happened since he had woken up.  But he just stared at the second gangster.  His face was soaked with blood and hurting like he ran a bike into a car.  Maybe he looked more serious and less nerdy.

“The CIA hired you to move its dope? Where’s your supply?”

Clearly, Jacob hadn’t thought this all the way through.  His legs wanted to run.  No.  Think.  There is a solution here.

“No, I wasn’t paid to sell drugs.  I’ve been paid to kill someone.”

C roared with laughter at the supposed assassin in the Chicken Shack uniform.

“Who, Ronald McDonald?”

At that moment, Jacob realized that his story had come together.

“The Colombian.  His security is looking for armed men, not a slow-acting poison in his fried chicken.” That seemed too charitable to the Chicken Shack.  If anything, its food was a fast-acting poison.

The gangsters just stared at each other.  Jacob forced himself to keep pushing them towards the conclusion that he was going to kill a rival gang boss.  He wanted to sit down, breath.

“When I kill the Colombian, your gang will have less competition.  You can even keep my two hundred as a sign of good faith.” It was more a sign that the gangster had the money and that Jacob had absolutely no way to take it back, but C smiled thinly.  He looked pleased, possibly because Jacob had “confirmed” that the envelope had only held $200, so his pocketed $300 was safe from his gang.  Unfortunately, C probably needed more dental work than $300 could buy.

“Well, bitch.” When C said “well,” it sounded a lot more like “whale.” “If you’re being straight about capping the Colombian, then damn.  Damn.  If you’re just fronting, get iced trying because his crew will kill you a lot faster than we will.  See you tonight, I bet.” C bent down and picked up a scrap of the envelope and held it close enough that Jacob could clearly see his address, before C pocketed it.  C threw a nod at his friend and then they left.

Jacob didn’t doubt that they would kill him that night.  Attempting to kill the Colombian would also get him killed.  That left one alternative, a somewhat less sure but certainly more interesting death in Surf City.  It couldn’t possibly be as bad as this, right? I couldn’t even pay the Professor back if I back out now. 

Jacob walked to the nearest subway station without returning to his room.  Nothing there was worth getting East-sided for.  And, if word got out that he mattered, hanging around would get him killed.  Even CIA hitmen had to kill or be killed.  He laughed.

He didn’t even change out of his sweat-drenched clothes.  He just tossed his Chicken Shack apron to a hobo splayed across a bench.  As he did so, the thought hit him that the hobo would have it stolen by someone even more desperate for clothing.  At that point, Jacob didn’t care.

Jacob used a comfortable downtown bank with complimentary coffee and new leather seats.  Although the $100 minimum balance was harrowing, Jacob had long ago decided that the measurably better interest rate and the immeasurably lower chance of being shot outside were worth it.

He didn’t usually read body language well, but only a blind man could have missed the security guards gesturing to each other as he approached the teller’s window.  One fingered his holster.  It’s like they can smell desperation.  As he took a breath, he caught a whiff of his bloody clothes, which did fairly reek of salty perspiration and rusty blood.  Well… maybe they can.

When Jacob got to the teller, he said, “Hello.  I’m making to look a withdrawal.” The teller had been edgy before, almost like he was going to hit the deck.  Jacob’s malapropism only contributed to the teller’s suspicion that his bullet-proof glass would soon be tested.  Jacob was about to correct himself when the teller, with a pale and sweaty face, pointed at Jacob’s check.  “You mean you’re cashing a check?”

Jacob scratched his head.  He didn’t quite understand why the distinction between making a withdrawal and cashing a check mattered.  He was aware that something was wrong—the guards now stood within ten feet.  Even the other customers noticed, quietly leaving the bank.

“Yeah, cash a check, that’s it.  $3500.”

The teller and guards considered the warning-signs of an impending armed robbery.  A poor person, bloody and sweaty and obviously nervous as hell, walks into a bank without a clear idea of what he’s there to do and tries to take out a large sum of money.

“You’d like $3500 in cash?”

The teller’s question prompted Jacob to consider how ridiculous his imprecisely worded request had been.  No one in St.  Louis imagined carrying that much cash.

“No, uhh.  I just need enough for a plane ticket to Surf City.  I’ll deposit the rest.”

The teller exhaled what Jacob didn’t understand was a sigh of relief.  Someone trying to deposit money is, by definition, not much of a bank robber.  The teller still wasn’t completely certain that he would get through the day without seeing someone—possibly himself, but probably a guard or customer—get shot.  Banks have been robbed for less than the price of a plane ticket.

“If I could make a suggestion, sir…” the teller trailed off.

“Sure.”

“Airlines heavily screen people that buy tickets with cash.  Would you like a debit card instead? Your flight will go more smoothly.”

Jacob had dreamed about a debit card for a long time.  They were much safer than cash.  The pen he had been fidgeting with in his other hand clattered to the ground.  He bent down to pick it up.  From the angle of one of the three guards, it looked like Jacob had entered into a position from which he was going to draw a weapon without the guards seeing.  The teller saw the guard draw his pistol and frantically waved his hands and shook his head.  The guard didn’t fire.  After a few seconds where nothing much happened, the guard holstered his weapon again.

Jacob retrieved his pen and stood up again.

“But your debit cards charge fees if my account drops below $500.” For a very poor person, this fear was certainly reasonable, but it could have not seemed that way to a teller whose only knowledge of Jacob Mallow’s financial situation was that he had a $3500 check with him.

“We have a special introductory deal.  Our debit cards assign no penalties for the first year.”

“Wow, great.  I’ll deposit the entire check.”

The teller then proceeded to ask questions—how do you spell Mallow? What is your address?—that the customer would normally have answered by leaving the line and filling out a small packet.

“Please type in your PIN number, something you will remember.”

Jacob started with 46… humans have 46 chromosomes, easy enough.  He let his fingers wander and they punched in 00.  He wasn’t sure what that meant.  It looked like an infinity sign, a sideways eight.  That cheered him more than the relatively obvious biological reality that .00% of humans survived.  Everyone dies, it’s only a matter of how long they put off the inevitable.  That cold thought gave him unpleasant tremors.  He convinced himself that infinity better represented a debit card with such a large account.

“A debit card, damn.  This must be my lucky day.”

_This must be my lucky day._ As Jacob left the bank, clutching his debit card as though he was afraid it might fly away, that was what the teller and bank guards were thinking, too.

At the airport, Jacob was greeted with two confused-looking blinks from a ticket clerk.  “You want to schedule a flight to Surf City?”

The clerk explained that United Airlines was not liable for “supernatural crime, terrorism, acts of God, loss/gain of limbs, and species change/mutation” en route to Surf City.  It sounded suspiciously like his work contract.

“Do people often change species on your flights?” Jacob asked.

“No, I guess that usually happens on the ground.  But we have to read off the full list of federal guidelines.”

After signing away his life again, Jacob paid $300 (two months of groceries) for a same-day flight.

Jacob made only one stop before getting on the plane, to get a jacket that didn’t scream ‘hobo.’ He gritted his teeth as the cashier swiped his debit card for $49.99.

Jacob then wandered toward his gate.  The passengers were all stocky and overwhelmingly burly, many in military camoflague.  Behaviorally speaking, they were like other passengers, sitting down, talking or reading, but this felt eerie.  The readers pored through phonebook-sized binders.

Jacob peered at a binder from behind a soldier’s shoulder.  He saw only snippets of text: JOHN “FLASHBURN” STOKER.  FUGITIVE.  STATUS TARGET– SHOOT ON SIGHT.  Two pictures dominated the page, the first a mugshot of a man with a harried and possibly maniacal look in his eyes.  The nightly news usually showed a few mugshots, but the inmates were always beaten, defeated and grimacing.  This inmate had a cold, knowing smile.  Stoker looked like he knew he would leave prison early and definitely not for good behavior.

The second photo showed a man in goofy tights spraying fire out of his hands at something obscured by the smoke.  Someone, probably...  Jacob hadn’t really ever had reason to be afraid of supervillains before—they hadn’t killed anyone he had met, unlike gangsters with guns or knives or power drills.  In fact, before he saw the photos, he might have giggled if anyone had been afraid of some guy in ridiculously colored tights.  Now, he wasn’t laughing.

“Sir, are you on United Flight 236 to Surf City? Sir?”

Jacob’s head jerked to the sound.  A flight attendant was speaking.

When Jacob first tried to speak, his throat was dry.  His words didn’t come out right.  “Y… yes.” He flashed his ticket.

“We’re boarding now.  This way.”

Jacob stumbled to his seat and fell asleep next to two soldiers arguing heatedly about how many supervillains would be a fair match for Captain Carnage.

Jacob woke up some time later.  Outside the plane’s thick windows, he could see a city, probably Surf City, under the setting sun.  It looked looked frighteningly like a mowed lawn.  For maybe a mile or two in every direction, the buildings were equally tall.  Only one building, one that almost glowed, soared above the city.  It appeared to have spotlights on the roof that painted the buildings around it in almost an umbrella of light.

A brisk voice came over the intercom.  “This is your captain speaking.  We are now making our final approach to Captain Crash International Airport.  Please brace yourselves.”

Jacob had anticipated that a clear-weather landing, even at night, would be tame.  But the only “tame” aspect of a Crash landing is that the jet’s wings don’t snap off as it attempts turns better suited for jet fighters dodging missiles.

The plane suddenly jerked to the side and Jacob’s head bounced off the window.  Then the plane snapped onto the runway and he jolted upwards, discovering that airlines really do expect passengers to have their tray-tables up and seat-belts on.  Then gravity hit him back into the seat.  The plane coasted to a stop.

“Welcome to Surf City,” said the pilot.

As Jacob searched for any pieces of himself that might have fallen off in the landing, he heard a soldier say to another, “Well, three months in Surf City beats nine overseas, right?” Everyone within earshot immediately burst into laughter, which didn’t comfort Jacob at all.

The airport was packed with people looking to make outgoing flights.  He waited at the cab station, next to a sign saying “WELCOME TO SURF CITY– WHERE ANYTHING IS POSSIBLE.”

Fortunately, there weren’t any lines for taxis leaving the airport.  And, since all the traffic was headed to the airport, the ride to his dorm took only ten minutes.

His dorm room was spectacular.  The light fixtures worked and the taps gave water that was remarkably not orange.  The windows weren’t broken, the paint was fresh, the floors were clean, the walls had not been riddled with bulletholes.  The dormitory’s public computers weren’t locked down with bolts or cables.  That’s crazy.  How do they keep people from stealing the computers? At the mailroom, not only did he doubt that he would be instantly mugged immediately after flashing money, but there would be several routes of escape.

The neighborhood was residential, quite posh.  Homes had clean bricks and nice landscaping.  The air was markedly easy to breath and the raw, sour smell of sewage was conspicuously absent.  He even saw a few swimming pools, an unusual investment in an area where no one seemed to stay through the summer.  The only evidence he hadn’t walked into Beverly Hills was that the lawns looked like they hadn’t been mowed recently.  Because the inhabitants have already left, probably.

Jacob met with Professor Polono at the greenhouse the following morning.  It was a few hundred feet on each edge.  The climate inside fluctuated from from unbearably cold to boiling hot with additional variables like winds that kicked loose soil in his face.

“Hello, Jacob.  The Drug Enforcement Agency has contracted me to develop a chemical can kill drugs and not overly disrupt non-narcotic vegetation, particularly in Afghanistan.  This plot is going to test non-narcotic survival.  Obviously, we want to simulate Afghani farming.  That’s where you come in.  My summer vacation starts in two days and even that’s cutting it close.”

Polono spent the two days explaining and demonstrating Afghani farming measures, how to measure the plants’ survival and progress, and how to avoid the periodic chemical sprays that came from the sprinklers at the greenhouse’s ceiling.

“Please review the spraying schedule.  Theoretically the chemicals are safe for human contact, but they haven’t been proven to meet FDA requirements yet.  Got all that?”

Jacob nodded.  The task itself was mindnumbingly simple, like assembling the Pyramids from a vast pile of stones.  If the greenhouse’s climate was comparable to Afghanistan’s, it was amazing that anyone survived there, let alone farmed.

When the workday ended, the Professor handed him a disposable cell-phone.  “Keep it with you.” She didn’t elaborate, so Jacob assumed that cell-phones were just part of Surf City living, “living” being the operative word.

“Professor, if I could ask you something…”

“Certainly.”

“How dangerous are Surf City summers?”

She shrugged.  “Particularly in areas with high fatality rates, men tend to be especially prone to death, given that they’re disproportionately engaged in high-risk behavior and more likely than women to loiter than to run from danger.  Well, the Beach Boys’ assessment that Surf City had two girls for every guy wasn’t so outlandish, at least excluding summer.  The people that choose to stay in Surf City over the summer—or, for that matter, enter the military or put on a cape– are usually male.”

Her discourse didn’t really answer Jacob’s question, at least not as well as “Keep your head down and you might survive” would have.  She seemed biologically incapable of conciseness.

The Professor left town that night for Gary.  After work, Jacob looked for dinner.  The city was beautiful.  Jacob could almost see why people wanted to live here, at least nine months a year.  The cars, most leaving the city, were carefully painted and well-maintained.  The skyscrapers gleamed and the coast breezes were far more pleasant than the Afghani deathstorms he braved eight hours a day.  And being mugged was astronomically unlikely.  Soldiers patrolled or stood at corners at least every two blocks.  All smiled with their hands on their assault rifles.  When he wasn’t concentrating too much about the guns or the supervillains that might be lurking around every corner, the gently warm sunlight lulled him into a fantastic sense of optimism and hopefulness.  Maybe anything was possible in Surf City, even affording $7.85 burgers.

The next day, the greenhouse’s climate moved from the “Afghanistan” to the “hell” setting.  The howling winds kicked incredible amounts of loose soil and dust into the air.  His glasses weren’t nearly big enough to shield his eyes from the flying soil.  When he rubbed his eyes, his hands came away red.  At first he panicked, thinking that the dust had drawn blood, but the soil had just been a distinctly unearthly reddish-brown.  Jacob decided to put off farming until tonight, which would give him half a day to enjoy the heavenly weather outside.

That night, the greenhouse’s climate had dropped below freezing, but mercifully the wind had settled.  He watered row by row until he needed to rest in the clearing where he kept his tools.  A rock stood out of place.  He grabbed a hoe.  He only got ten away from the clearing before his foot snagged on something that felt like a weed.  He tumbled to the ground.  The moonlight was pretty dim; he looked closer.  Definitely not a weed.  It was… the grape vines? What are they doing here? Then the vines grabbed his left arm, only narrowly missing the right, too.  The vines squeezed like boa constrictors.  He could almost feel his arteries failing to force blood to critical organs.  He recalled that a prolonged lack of oxygen can cause serious brain damage after thirty seconds.

Surf Citizens, at least the ones that survive, learn quickly to keep their heads down.  Failing that, like anyone else, they will instinctively flee or fight.  Jacob realized that his plants were killing him.  His arm grasped a hoe.  He wanted to survive and nothing else mattered.

Jacob chopped downwards, hacking blindly away at the vines strangling his body.  The hoe made satisfying slicing sounds as it coaught vines against the clayish soil.  He was lying on his back and couldn’t quite see where he was hacking away.  After a minute he grasped that the pressure on his waist and arms had loosened.  He sat up.  Ragged scraps of grape vines lay scattered about like bullets after a turf battle.  His right pant-leg was torn and the leg had been diced in a few places.  Judging from the straight incisions, it looked like he had struck himself in the brawl.  The leg needed medical attention, but it would work for now.

Escape.  He saw, looming nefariously in the distance, the olive trees.  They didn’t have vines or other reaching limbs, but they had uprooted themselves.  Jacob had a gut feeling that the odds of slipping past them were not favorable, especially given that there were forty feet of crops between him and the nearest exit.

He tried his cell-phone.  “Emergency service only,” it told him.  That was a cruel joke.  911 calls didn’t work, either.  He made two diagnoses.  1) He got what he had paid for.  2) His greenhouse was not the only place going crazy tonight.

He sat in the clearing, a tolerable fifteen feet away from any plants.  None nearby looked visibly agitated.  He surmised that plants, even within the same species, won’t identically react to the same stimulus.  Maybe they hadn’t been affected as much.  He wouldn’t bet his life on that, though.  “10:43 pm,” his cell-phone said.  11:57 pm.  1:24 am.  He tried to stay awake.  Sleeping here would probably mean that his main contributions to science would be as a dissection aid.  2:47 am.  4:11 am.  That was the last number he saw.

He felt something tugging on him.  Something green.  He woke up in horror, finding that weeds, weeds out of a LSD-fuelled nightmare, had shot out of the clearing’s soil and coiled around his arms and torso.  His lower body was free; he tried bringing his knees to his chest.  He thought that might alter his posture enough that he could maybe loosen the vines, but no dice.  He couldn’t reach his hoe or spade.  Arms were no good.  He tried to roll, back then forth, trying to break free.  That actually only made the weeds’ grip tighter, more choking, harder to think.  He only hadn’t been crushed already, he grimly imagined, because he was wearing so many layers to stay warm.  He had a mental image of the pressure causing his eyes to pop out, but he didn’t think that was medically likely to happen.  Actually, his lungs would collapse and he’d drown in his own fluids.  The vines wrapped around his face and he was shrouded in darkness.

He heard a shattering sound and figured that it was his spine.  But it didn’t hurt much more badly than it did just before.  Then there was an enormous thud and a spraying sound and he felt wetness on his face.  The pressure loosened again and he was able to roll away from the withered, dead vines.

Shards of glass littered the ground.  He turned, seeing someone else in the clearing standing stiffly, a hulking menace dressed all in black.  The stranger had an oversized spraying contraption that ended with a hose and nozzle dripping yellow goo.

Jacob saw a large, jagged break in the ceiling glass.  The stranger must have leapt twelve feet from the ceiling.

“Greetings.  I’m Agent Orange.  I’m from the government and here to be assistatory.”

Jacob spat, not because he wanted to be rude or uncordial, but because the liquid tasted horribly like rotten eggs.  His face smelled of the same.  He rubbed his nose and his hand came away coated with the sticky, yellow gunk that the agent had doused him with to kill the weeds.

“What did you spray on me?”

“Officially, nothing.  A military-grade de-weedifier.”

Jacob shuddered.  There was no telling how many showers he would need to scrub it off.

“Is that safe?”

“FDA studies have proven… inconclusive,” Agent Orange said.  “Perhaps you could reveal an extraction point.”

Jacob pointed at the trees, now clumped so tightly by the exit that they obscured the door completely.  They might have congregated there, by the irrigation canals.  _Or they’re intelligent enough to understand the door’s significance._ He shuddered.

Agent Orange lumbered through the field, spraying defoliant like it was Febreeze in a locker room.

He cut a wide path of yellowness, leaving plants cowering on the ground before the moonlight.  Jacob stepped on an unripened egg plant and what oozed out was a sickly white.

“Is that really necessary? The plants on this side seem normal.  The plants attacked me before I could water this side.”

“All area vegetation will be exterminated.  What I spray now is immaterial.”

Jacob blanched.  If he had to surrender his pay at the end of the summer because a supervillain set the plants off and then the government killed them all, he… just couldn’t.  He had already burned two thousand dollars on his dormitory, plane ticket, and mugging survival fees.

“How am I going to feed myself…” he murmured to himself.

“From what I observed, it appeared that _you_ were about to feed _them._ There.” He pointed at the trees, now within fifteen feet only dotted with legumes, and stopped.  He put his hand to his ear and started speaking to someone else.

Jacob was angry enough that he didn’t mention that Orange’s backpack had a gash at the bottom that was now leaking defoliant all over the back of his suit.  _Hah.  That’ll show him._

“Kino, we’ve got some hostile trees by the door.  If you brought them down, what kind of structural damage are we looking at?”

The agent stopped talking to Kino, whoever that was.

“Don’t be obtuse.  Of course the walls are glass.  Breaking out that way will facilitate a plant escape.”

Jacob’s eavesdropping was interrupted by some rustling among the crops.  Agent Orange’s weapon had a limited range.  Many plants had survived beyond ten feet.

“Negative.  Hostiles too near the aquifer to deploy chemicals.  Would adversely affect general welfare.  Though the plants may be highly combustible or explosive, the probable damage to this facility is relatively inconsequential.”

The rustling picked up.  There was movement just beyond Jacob’s vision.  He edged towards Agent Orange.

“Hey, uhh, Mr.  Orange.  Plants are coming.”

Agent Orange didn’t turn.

“Well, my orders preclude that.  This place is maximally fifty million dollars.  Losses I could live with.”

“Negative.  All other resources deployed.  Create the extraction point and I can attend to the Botanical Gardens.”

Jacob grabbed at Agent Orange’s sleeve.  It was uncomfortably bold, but he wasn’t about to let himself be ripped by plants while the agent talked.  “Orange.  Turn the hell around!” The agent spun and clapped both hands on Jacob’s shoulders.  “I know.  The plants.  I heard you.  They’ll creep up on us, I’ll spray them all.  We’ll leave when my associate makes an extraction point that won’t upset his bosses.”

Agent Orange spoke more naturally when agitated, Jacob noticed.

An army of monsters with barbed leaves burst from behind innocuous cornstalks.  _Click.  Click._ Jacob realized after a moment that the agent was out of ammunition.  Jacob turned, trying to move, but lost his footing in the moist soil.  He flinched, waiting for the plants to strike, but… nothing.

The agent had stormed a few feet ahead.

“Get going.  Back,” he barked at Jacob.  The agent grabbed his ear as the first vines of a now unrecognizable species whipped around his legs.  “Kino.  Snafu here.  Burn the trees!”

Jacob scrambled to his feet and edged away, transfixed by the spectacle.  Tides of plants crashed against the agent, submerging him beneath green waves.

“Torch them.  Can’t explain dammit.  Do it.”

The agent’s hand shot out of the pile, tossing plants around.  His fingers were a silver blur glowing in the moonlight.  His gloves had been badly torn.  No, those aren’t fingers… they’re claws.  Shreds of vines and thorns and stems rained everywhere.  It looked like a bomb had exploded in a rose garden.

Then a bomb did explode behind Jacob.  No, not a bomb, but a tremendous explosion that threw him face-first into the mud.  Showers of glass rained over and past him, but his fingers didn’t feel significant bleeding or lacerations along his back.  His shirt had been singed in only a few places, where burning pellets of wood had hit him.

Jacob turned around.  The air was smokier, harder to breath in that direction.  A man wearing what resembled an all-red spacesuit stepped through the shattered remains of the door and wall.  He had a backpack like Agent Orange’s, but his nozzle had a tiny lick of flame, so it was presumably a flamethrower.  Probably a good idea, the flamethrower.  Anyone wearing something that stupid in St.  Louis would be shot otherwise.

“Kino?” asked Jacob.

“Department of Agriculture Special Agent Carl Kino, you got it!”

It was far too late to ask why the Department of Agriculture had Special Agents with flamethrowers.  Jacob’s plot had been annihilated.  He was probably out of a job and would have to give back the money and… he saw an apple on the ground that had somehow miraculously withstood the explosion in remarkably good condition.  He kicked it, splattering it against a smoldering tree trunk.

The door was open.  The wall was open.  But Jacob waited.  Getting killed on the way to a hospital would defeat the purpose of escaping alive.  He saw the agents bickering, but they didn’t notice him.

“A calculated risk.  Destroying the trees and risking the building was the surest way to keep the civilian alive.” said Orange.

“What about my wife and kids? What should I tell them if I get fired because you wanted to blow a building to save some schmuck?”

“That you would rather have saved a person than glass.  Assuming that is factual.”

Kino stormed off, muttering “gross malfeasance” and “reckless endangerment” and whatever else he could file a report about later.  Agent Orange put his gloved hand to a tree’s flaming hulk.  Jacob crept behind him.  He wanted to avoid disrupting the agent more than conceal himself.  The agent had stooped over a strange fluid pouring from the tree shells.

The agent poured a few drops on smoldering embers that then flared up mightily.

“As I suspected.  Combustability.” The agent had his back to Jacob the entire time, but his voice was loud enough that he could have only been speaking to him.  How did he know?

“Can I take some of that sap?” asked Jacob.

The agent stiffened.  “A moment.” The agent took off his other glove—also revealing a green, reptilian hand with clawed fingers– and scratched his hand, drawing a bright blue blood he then flicked onto the tree sap.

The agent murmured.  “Self-combustion… to make a suicide bomber, maybe? What a waste.”

He gestured at another tree, one he hadn’t touched with his blood, and spoke to Jacob.  “Nothing useful there.  But it’s your time.”

“What about that sap,” asked Jacob, pointing at the mixture of sap and the agent’s bright blood.  The sight gave him goosebumps.  The unbloody sap interested Jacob.  It could probably explain how Gangrene’s formula had transformed the plants.  But the agent’s blood excited him.  He wasn’t sure what it could do.  Maybe that was why.  But he did know that: 1) the agent was not normal.  He had claws, of course, but he was fundamentally different.  Recklessly humanitarian, for one.

2) The agent’s blood had given him insight into Gangrene’s plants.  That incited some deep, primordial disappointment in the scientist.  He had spent years struggling to memorize chemical equations, fighting through freakishly hard scientific texts, deciphering cheap microscope readouts and this guy was born with science in his blood?

3) Most importantly, the agent’s murmurings suggested that the blood could transform people.  So the blood was more than an advanced form of reverse-engineering equipment.  He had to have it.

“You want my blood? It’s government property…”

“I’m working on a DEA grant.  Was working.” Jacob gestured at the battlefield.

Jacob saw the agent hastily examine him.  The agent’s urgency made Jacob smile.  He felt flush with something, a buoyant inevitability.

“Take my blood.  But do not ingest it.” The agent waved a gloved hand at the bloody mixture and it arrayed into a solid.  Then he crouched and launched himself through a wall opening.

Now alone, Jacob eyed the cube hungrily.  He looked, he knew that his life’s work lay before him.  As he grasped the cube, it shuddered.

Jacob hobbled to the hospital across campus.  He probably hadn’t contracted any infections overnight, but this would help him avoid amputation to beat gangrene (the medical phenomenon, not the supervillain).  A few soldiers stood guard at the door, armed with flamethrowers.  Their faces were bruised and their uniforms were torn.  They had done some weed-whacking tonight.  They had smiles, more grim than exuberant.

The hospital was cold and clean, except for some scorch marks and upturned pots in the lobby.  A nurse glanced at Jacob’s leg as soon as he got in the waiting area.  He understood disaster triage, the division of patients into three groups: those that would live without treatment, those that needed care to survive, and those that would die anyway.  Judging from the rows of stretchers and patients with various fruits and vegetables sticking from their bodies, it looked like he would be waiting.

After around an hour, the nurse came back.  She had an inexplicably cheerful smile.

“You seem awfully happy,” said Jacob.

She shrugged.  “I’m alive.  You’re alive.  Why wouldn’t we be happy?”

“I’m going to lose my job.  I’ll have to return money that’s already gone.  Who knows how much the doctor will cost…”

She gently interrupted him.  “You’re only human, right?”

Only human, he thought.  Maybe that was the problem.

The chapter is over but the story continues!  You can READ CHAPTER 5 HERE.   

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Oct 12 2007

If this is the first draft of history, I hope we have damn fine editors

Retired Lieutenant General Ricardo Sanchez gave a speech on the military-media relationship. Hilarity ensued. Here’s an excerpt…

I ALSO REFUSED TO TALK TO THE EUROPEAN STARS AND STRIPES FOR THE LAST TWO YEARS OF MY COMMAND IN GERMANY FOR THEIR EXTREME BIAS AND SINGLE MINDED FOCUS ON ABU GHARAIB.

LET ME REVIEW SOME OF THE DESCRIPTIVE PHRASES THAT HAVE BEEN USED BY SOME OF YOU THAT HAVE MADE MY PERSONAL INTERFACES WITH THE PRESS CORPS DIFFICULT:

“DICTATORIAL AND SOMEWHAT DENSE”, “NOT A STRATEGIC THOUGHT”, LIAR, “DOES NOT GET IT” AND THE MOST INEXPERIENCED LTG…

ALMOST INVARIABLY, MY PERCEPTION IS THAT THE SENSATIONALISTIC VALUE OF THESE ASSESSMENTS IS WHAT PROVIDED THE EDGE THAT YOU [incompetent journalists] SEEK FOR SELF AGRANDIZEMENT OR TO ADVANCE YOUR INDIVIDUAL QUEST FOR GETTING ON THE FRONT PAGE WITH YOUR STORIES! AS I UNDERSTAND IT, YOUR MEASURE OF WORTH IS HOW MANY FRONT PAGE STORIES YOU HAVE WRITTEN AND UNFORTUNATELY SOME OF YOU WILL COMPROMISE YOUR INTEGRITY AND DISPLAY QUESTIONABLE ETHICS AS YOU SEEK TO KEEP AMERICA INFORMED.

Incidentally, the European Stars and Stripes’ website has a front-page writeup of the speech. This is how they described it:

Ex-Iraq commander Sanchez: War ‘a nightmare with no end in sight’
The former top commander of U.S. troops in Iraq slammed the handling of the war and gave a bleak assessment of the current situation in Iraq. “There is no question that America is living a nightmare with no end in sight,” said retired Lt. Gen. Ricardo Sanchez. “From a catastrophically flawed, unrealistically optimistic war plan, to the administration’s latest surge strategy, this administration has failed to employ and synchronize the political, economic and military power,” Sanchez added.

To be fair, Sanchez did say all of those things, but clearly the scope of his speech went well beyond Iraq policy. In top-to-bottom order, he criticizes the media, both political parties, the Bush administration, Washington, the national intelligence community specifically, and the UN. I suspect that the EUSS take on this speech will be pretty typical.

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Oct 07 2007

“We Believed”

Published by B. Mac under Commentary, Football, News, Sports

Another team very close to my heart has pulled off an upset, though one that was probably a bit more unexpected than Notre Dame thwomping UCLA. Stanford upset #2-ranked USC at its LA Coliseum, ending a 35 game USC home win-streak.

The game roughly paralleled the ND victory. The Trojans put up 459 yards to just 235 for Stanford.

Like UCLA, Stanford wasn’t playing with its starting QB (because of a seizure).

The game came down to an early extra-point attempt by USC’s Buehler being coldly denied by Pannel Egboh.

USC was only up 9-0 at halftime and was booed off the field.

USC led 16-7 going into the 4th.

The Trojans had 459 yards of total offense, compared to 235 for Stanford. That was pretty similar to UCLA vs. Notre Dame, but again turnovers proved critical.

Details of how Stanford got up 24-23 are scarce, but you can see this Youtube video showing the last sixty seconds with some mildly annoying commentary by a drunken Stanford fan.

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Oct 06 2007

THANK YOU JESUS

Published by B. Mac under Commentary, Football, Uncategorized

Early on, ND forced the UCLA starting quarterback out of the game with a knee injury.

Brandon Walker just tied the game 6-6 with a field-goal that hit the goalpost and went through.

By the way, the oddsmakers had us losing this game by 22.5 points. I had projected a somewhat smaller loss, somewhere between 10 and 14, based mostly on a much better performance against Purdue than anywhere else.

Our special teams are foaming-at-the-mouth rabid this game. A punt put the ball on the ten yard line and special teams kept UCLA from moving the ball very much. NEXT play. UCLA moves the ball 3 yards and then, maybe fumbles the ball. They’re challenging the play now. My impression is that it’s a ND ball. Not that I’m biased or anything. :)

YES! ND has it. 31 yards to go.

Aww. Too bad. ND ended up punting, but it’s on their 2 yard line.

GOAL! Another interception. We are real close. Again!

TOUCHDOWN BABY! Clausen goes for the goal! 13-6 after the extra point.

GOAL GOAL GOAL! Another fumble for them, we turn it into another touchdown. 20-6 after the point.

Aww. They just scored a touchdown on a monster pass play. Wait, no. Flag called at the 45, on the offense. :)

End score: 20-6. They ended up doubling our offensive output (300 total yards to 150) but gave up something outlandish like 6 turnovers.

Claussen had a really slow game, 17 of 27 passes for 84 yards, with no aerial touchdowns and no interceptions.

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Oct 06 2007

Cruel Fate

Published by B. Mac under Commentary, Football, Uncategorized

At around 10 pm, I did a Google search for ‘UCLA Notre Dame.’ Look at the one starting No. 10. Suffice it to say that for a few moments I thought we had won.

UPDATE: We did!  Score.  A google search for “Notre Dame UCLA Football.”

Yeah, screw you, Google.

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Sep 30 2007

New Chapter

I’ve added Manhattan Mangler; it is now the first chapter. Best Investigator and Only Human are now chapters 2 and 3. Within a week, I anticipate having Best Investigator split up into roughly four chapters. Within another week, I’ll also split up Only Human.

I also have to revise Best Investigator because some of the exposition at the beginning of it is redundant with the new Manhattan Mangler chapter. I look forward to that.

I’ve also revamped some of my more popular writing guides, particularly my sections on writing better titles, writing from a male perspective and improving chapter structure.

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Sep 22 2007

Notre Dame-MSU Football

Published by B. Mac under Commentary, Football

It’s almost halftime and the score is 17-14, MSU. Notre Dame is performing much better on both sides of the ball. We’re currently at a third-and-17, not exactly promising, but the situation is much rarer today than in our past outings.  Our two offensive touchdowns are the first for us this season.

UPDATE: MSU just made two monster third down conversions, including a third-and-17. That drive ended in an MSU touchdown. 24-14 MSU.

4th and 1, Notre Dame goes for it but the runner is quickly tripled for a loss of yards.   Darn.  I would have gone for it, too.

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Sep 22 2007

Art Imitates Stupidity; Evaluating Airport Security Weapons Selection

Published by B. Mac under Commentary, Guns, News

An MIT student is “lucky to be alive” after wearing a shirt with wiring and circuits that looked like a suicide vest in Boston’s Logan International Airport.

Logan is pretty serious about security. It was the origin of two of the flights hijacked on 9-11 and is in Boston, which suffered the Aqua Teen Hunger Force bomb scare fairly recently. At least she didn’t show off her art at Ben Gurion

Incidentally, I’ve been to Logan before for academic conferences and Model UN*. The guards definitely had submachine guns, seemingly an unusual weapon for airport security. They have all the accuracy of a mortar, which is particularly problematic in a civilian-heavy environment like an airport.

I was under the impression that the main advantages of a SMG over a rifle were…

1. Easier to conceal under clothing

2. Portable/lightweight

3. Easier to draw quickly?

4. Easier to handle at really close range

5. Can be dual-wielded? (I’m really reaching here).

6. Price? (Ditto).

Ease of concealment doesn’t exactly help the uniformed security I saw. I also assume that wielding two SMGs is also off the table because the increased rate of fire and decreased accuracy would unduly endanger civilians.

The weight difference doesn’t matter that much, either. The M-16 is pretty light at 9 pounds, roughly twice as heavy as an unloaded MP5.

My impression is that– if both weapons were holstered or strapped– drawing an SMG would be slightly faster than a rifle. I’m not sure on this, but I vaguely remember the security guards having their guns drawn. If that were the case, then draw-speed wouldn’t matter.

Even if they did have their weapons holstered, draw-speed probably matters much less than accuracy. If the guards have their weapons holstered, the airport’s strategic environment virtually guarantees that the terrorist(s) will shoot first. The guard has to look out for many more potential threats than the terrorist does. It doesn’t seem like an SMG guard would fare much better than a rifle guard in terms of initiative.

However, the rifle seems conspicuously more useful in a hostage crisis or any situation involving long-range shots. If a policeman had to shoot at a terrorist with a human shield, a rifle is more accurate and somewhat more likely to be lethal. And I think that long-range accuracy is critical in an airport that is probably open and sprawling.

I mentioned price before, kind of jokingly. The M-16’s unit replacement cost is listed at $600. Compared to the cost of training and employing the policeman, the difference between $600 and a cheaper weapon couldn’t matter.

Am I missing something? This is going to drive me crazy. Must… control urge… to call Logan security… and inquire about armament selection policy.

*I mentioned a Model United Nations conference before. One of the topics I discussed was the international trafficking of small arms (anything small enough to be carried by hand). Go figure.

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Aug 31 2007

The Iraq-Comic Book Connection, Part Two

Published by B. Mac under Art, Comedy, Commentary, News

The Washington Post described a meeting between two Congressmen, Jim Moran (D-Va.) and John Porter (R-Nev.), and the Iraqi national security advisor.

the three were trying to discuss the state of Iraqi security forces with [the NSA], but the large, flat-panel television set facing the official proved to be a distraction. [The NSA] was watching children’s cartoons.

When Moran asked him to turn it off, [he] protested with a laugh and said, “But this is my favorite television show,” Moran recalled.

Porter confirmed the incident, although he tried to paint the scene in the best light, noting that at least they had electricity.

It would be easy to criticize the NSA for prioritizing cartoons over two Congressmen. All things considered, it was probably a shrewd assessment. At least cartoons end.

That must be horribly awkward for both Congressmen. The Democrat has to act multilateral with an ally that obviously isn’t interested; the Republican has to make it look like supporting Maliki’s government advances US interests.

To commemorate this fine moment of US-Iraqi relations, I’ve slapped something together.

Showing US Taxpayers Who’s Boss

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Apr 08 2007

Writing Authentic Male Characters

This article will help female authors avoid some common pitfalls of writing male characters, perspectives and narrators.

Common Problems

The most obvious problem is relying on unrealistic stereotypes. Readers of both sexes loathe muscle-bound cavemen and sobby, helpless women. Don’t insult your readers’ intelligence.

Less obviously, many female authors shun stereotypes that are realistic. I’ll say much more about some realistic stereotypes later, but men do talk less about their feelings than women, particularly with other men.

Third, the author might not appreciate the differences between male and female perceptions. This is really crucial. Women writing male characters tend to linger on descriptions of scenery and what the character sees or feels. Generally speaking, male readers feel that it’s creepy when men describe something at length. Let me demonstrate.

One female classmate wrote a scene with a male narrator and his male roommate. The first characteristic the narrator mentioned about his roommate was his eye-color. That feels creepy because it suggests a level of closeness uncomfortable to most US guys. Later, the narrator focused on other weird details, like how buff the roommate was. It sounded like he ogling his roommate. The roommate says “stop staring at me” and the narrator asks “can I help it if I have such a sexy rommate?” The author meant that to sound sarcastic. But male readers assumed that the narrator really was gay. Try to keep your readers on your page.

Men are also more likely to offer details that are directly plot-relevant. For example, a male author wrote a story where a male narrator describes the passengers on the bus at some length. The narrator mentions some unusual details, like their ethnicities and the quality of their clothing. Virtually every male reader at the workshop readily concluded that the guy sounded creepy and sinister. The narrator turned out to be a terrorist. The guys weren’t surprised, but many female readers thought that it came out of nowhere because they thought that details like “I was sitting next to a suited white and a Hispanic in a coat” were just scenery.

Real males and females generally have different styles of tone, language, nonverbal communication and preferred subjects of conversation. Especially at younger ages, males and female sound very different. I’m reluctant to use myself as a baseline male, but I know that I talk a lot of smack– that is, when I’m playing something like bowling or fantasy football, I let my friends know how guilty I feel about their certain destruction.

In terms of subjects of conversation, I think that men are generally less likely to talk about people outside the conversation than most women. Men are also less likely to talk about their social status (how others view them). Men react to social status, of course, but I feel it’s something that they generally talk about less. They may be quietly resentful that someone less qualified got the corner office, for example.

This next one is a cheap stereotype, but I think it has enough validity to mention: sports! Many, many men are diehard fans of at least one team, usually from their college or hometown. I think that watching sports serves three main purposes for men: 1) it’s a nice way to socialize with other guys and 2) I love competing with my friends through March Madness pools and fantasy sports, even though I’m thoroughly unathletic, and 3) many men live vicariously through their teams, particularly college teams. Men really care that their school wins– a national championship says something! (What, exactly, is less clear). In fact, it’s hard for me to get through a job interview without a male consoling me about the plights of Notre Dame’s football program. (Don’t worry, Irish faithful! We’ll have a winning season next year).

I think that women generally appreciate that sports are important to men, but I think that women authors sometimes have problems with sports scenes because some women are unable to hide their contempt of the ritual. I think most men (and at least one woman!) are similarly contemptuous of Grey’s Anatomy and other luridly sexed-up dramas. If you treat either football or Grey’s Anatomy as an inherently frivolous activity that has no bearing on anything that matters, you may be missing the point. Of course they’re frivolous. But they are serious as far as men/women take them seriously and use them as socialization tools.

I’d also like to mention a quick psychological difference between men and women. Men more often think of things in absolute, rigid terms like weight and other measurements. Directions from men tend to sound like “turn left on Oak Street after driving a mile down Winchester.” Women are more likely to use landmarks, like “turn left at the orange house”.

Now I’d like to talk about stereotypes in general. Stereotypes are a major part of believability. For example, any Marine could be a pacifist, but everyone knows that Marines generally aren’t. Likewise, you can break any gender stereotype, but it gets harder with each character. If all of your guys act like women, that will probably bother readers.

Because everyone knows at least some males, we all have expectations (stereotypes) about what a male character should be like. So I would encourage any woman writing a novel or story about a male character to be bold. Don’t be afraid to show men acting or thinking differently than females… we’re not just women with short hair! The worst case scenario is that your guys are too stereotypically male, which is easy to fix. Beta reviewers can point that out for you. It’s much harder for a beta reviewer to circle a passage and say “this is too timid– I think this guy should be more masculine here.” So I urge you to paint in bold strokes , rather than worrying about offending men or looking unknowledgable.

ADDENDUM: Male Dialogue: Functional Conversation

I mentioned above that it would be unusual for a guy to describe another man in terms of his eye-color because that suggests intimacy. Generally, guys avoid physical descriptions unless they are directly relevant to the conversation. “Dunking on John is hard because he’s so damn tall.” Usually, men describe other guys in terms of what they do, even if what they do isn’t directly relevant to the conversation. I overheard this on campus.

Female: Is John a nice guy?

Male: I think so. He’s in my physics class.

Is John being in the guy’s physics class really relevant to whether John is nice? Probably not (although the guy might have seen John doing something polite in class, like holding the door for someone). I think that it’s better to interpret the physics detail as a functional definition of John: “I know John as my physics classmate.” The subtext is that he doesn’t feel very confident about his ability to assess whether John is nice. (NOTE: Perhaps even more so than women, men are dreadfully hesitant to use the phrase “I don’t know”).

My impression is that women are somewhat more likely than men to define people in terms of relationships, even if the relationship isn’t entirely relevant to the thrust of the conversation. For example, both of my parents hate Tom Brady. This is how they explained themselves.

Dad: Tom Brady learned real bad sportsmanship from Michigan. No real athlete would run up the score so much.

Mom: He’s treated his loved ones awfully. The mother of his children doesn’t want anything to do with him!

The functional-relational distinction gets blurry here. It would be far too simple to say that “women only think about relationships and men only care about impersonal considerations.” For example, Dad implicitly draws on his own relationship with Michigan and Mom’s objection relates to what Brady has done, been an ass to his family. But I think the distinction is somewhat useful because Mom focuses on actions in the context of Brady’s relationships and Dad focuses on his Michigan relationship in the context of an impersonal goal, like sportsmanship and chivalry.

Good luck! If you found this article helpful, you’d probably enjoy our other articles on writing. our other articles on writing here. If you would like beta-reviewing assistance, please drop us a line at SuperheroNation-at-gmail.com . Our waiting list is generally around a week.

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