Here’s another fascinating little video about robots. It’s not just humanoid robots that the cybernetics companies are developing, quite apart from the machines that aren’t intended to resemble people, like the industrial robotic arms. They’ve also been developing robot animals. Boston Robotics did it with their ‘Big Dog’ robots, which were intended as carriers for the American army. The project eventually failed because the noise from the machines’ electric motors would have been too loud for the stealth needed on combat missions. The machines, however, do strongly resemble dogs. Festo Robotics have taken this further and developed robotic versions of various animals, as this video from Inventions World on YouTube shows. The machines are a flying fox; jellyfish; a wheelbot, that can curl up and roll along before uncurling itself to walk on crab-like feet, somewhat like the robots that Obi Wan Kenobi and his teacher first encounter aboard the Trade Federation’s craft in the first Star Wars prequel, the Phantom Menace; a bird; butterflies; and a kangaroo. Well, actually the last one is more like a wallaby. It’s not as large as an Australian kangaroo. But this one clearly has some intelligence, as the video shows a young woman telling it turn round and move to a different place by pointing. I think she’s able to control it through a device wrapped around one of her arms.
These are amazing machines, beautiful and graceful. I wonder what a whole ecology of such robots would be like. There have been attempts to depict such an environment. There was a short-lived strip in 2000 AD, ‘Metalzoic’, set in the far future when humanity had been ousted as the dominant creature on Earth by robots with the ability to reproduce. There was thus a whole ecology of robot animals, and the strip followed the adventures of a group of robot cave people as they sought out the God-Beast, a robot mammoth which contained the master programme controlling this mechanical world. And a few years before that, Valiant ran a story in their ‘Spider’ strip, in which the brooding genius and his minions were forced into fighting another evil genius, who had created his own synthetic robotic environment on his secret island. ‘The Spider’ was a British strip that had zilch to do with Marvel’s Spiderman. According to the Bronze Age of Blogs, now sadly closed down, ‘The Spider’ was a criminal mastermind, who had decided to fight other criminals because they were too stupid or otherwise beneath him. You wouldn’t know it from reading the strip, as until art robot Kevin O’Neil introduced it in 2000 AD, artists, writers and letterers weren’t credited in British comics, but the writer on the strip was Joe Siegel, one of the co-creators of Superman! These machines would also have delighted the Futurists, although I fear they had a darker, more violent purpose for them. One of their manifestoes called for the creation of biomechanical animals to train boys in war. I’d rather have such creatures made for the sheer delight of their invention and their graceful beauty. The bird in particular reminds me of one of the characters in M. John Harrison’s science fantasy novel, The Pastel City, who makes robot birds. As a result, his castle is surround by flocks of them. Perhaps as the technology advances we might expect similar robots along with the other robotic toys now available.
More comics stuff, and a rather longer video than usual at 1hr 9minutes, but the subject deserves it. Steve Ditko is one of the great, legendary figures of American comics. He’s probably best known for creating Spiderman and the occult hero Dr. Strange with Stan ‘the Man’ Lee for Marvel. But as this video shows, Ditko worked for many other American comics companies – DC, Charlton, Dale and EC among them as well as self-publishing his personal works. In the video, the Kayfabers Ed Piskor and Jim Rugg go through the volume Ditko Unleashed: An American Hero, which accompanied an exhibition of the great man’s work. The book’s bilingual in English and Spanish, which suggests that the exhibition may have been in Spain. The volume not only describes Ditko’s career, but gives plentiful illustrations of his art.
Ditko, like Kirby, came from a blue-collar, working class background. He went into art school to study cartooning, as he wanted to be a comics artist. His career was uneven, working for a number of different publishers and in a variety of different genres – monster, science fiction, horror as well as the superheroes for which is he is best known. He also worked with some of the great names in American comics. At times he inked the awesome Jack Kirby, at other times he was inked by Frank Miller, the artist and writer chiefly responsible for turning Daredevil into one of Marvel’s leading heroes. I think he may also have been inked by John Byrne, one of the major artists behind the New X-Men. He was admired by many of these new artists. The epic Jim Starlin, in one edition of his Warlock comic, ‘One Thousand Clowns’, dedicated it to Ditko for showing us a new reality. Starlin’s art was rather more naturalistic, but he also used the same floating paths and mystic portals in his work. He also went through several hard times in his career. At one point he moved away to New York to recover from tuberculosis, then, as in Britain, a major killer. There were also years when he struggled, as many others did, to get work. He also worked on a number of merchandising tie-ins, like Micronauts and Rom: the SpaceKnight, which were intended to promote toy figures. I read the comics, which were excellent without having any interest in buying the toys, which might indicate they were too successful. Like the adverts for Cinzano Bianco wine with Leonard Rossiter and Joan Collins. Everyone enjoyed them and they’re still fondly remembered by peeps of a certain vintage, but the people watching the ads couldn’t remember the brand of booze and so didn’t buy it. Ditko, like Kirby, broke off from Marvel for a time, before he returned, working on the above tie-ins along with the robotic superhero Machine Man.
Ditko, Politics and Morality
Unlike Stan Lee, who was a liberal, Ditko was very Conservative, a follower of Objectivism, the philosophy of supercapitalist ideologue Ayn Rand. He also had very black and white views on morality, which were expressed in his personal creations, Mr. A and The Question. He believed that heroes should be heroes, their morals pure and uncompromised. True to his ideals, he turned down work when the characters he was being asked to depict didn’t live up to them. A few years ago Jonathan Ross made a documentary for BBC 4 or one of the other channels searching for Ditko. One of those interviewed was Brit comics titan Alan Moore, who described meeting Ditko at Ditko’s home. He says that Ditko had a very narrow, inflexible view of morality, telling Moore, like one of his characters, that there were only two ways, a right way and a wrong way. Ditko’s politics are very definitely not mine, and I’m very much aware that in the real world, things are very often never a case of black and white but more shades or grey and motives can be less pure than we’d like. But after the comics industry went through a phase in which they tried to make their heroes darker – Batman: The Killing Joke is one of the foremost – and it was difficult telling the heroes from the villains, it’s refreshing to have someone who believes in old fashioned heroics.
The Kayfabers believe that if he were working today, Ditko would be cancelled or at least severely annoy and alienate 50 per cent of his audience. I think the first is certainly true. There has always been a left-wing message in American comics and an awareness of social issues. In the late 1960s into the 1970s both Marvel and DC tackled issues like racism and the rise of the feminist movement. As a response to the latter, Marvel created the Valkyrie, original a woman scientist who revolted against the patriarchy after having the credit for her discoveries stolen by her male colleagues. The Hulk comic also questioned American militarism, while Captain America, in disgust at Watergate and the contemporary corruption of American politics, renounced his patriotic monicker to become Nomad. Of course it wasn’t long before he rediscovered his faith in the rightness of the American way and put his uniform back on. However, Lee has also said in an interview that he was careful not to make the message too shrill so that it alienated readers that didn’t share his politics. Now many Conservative and moderate left comics creators and fans believe that in many strips, the political message has become too overt at the expense of traditional qualities like plotting, characterisation, dialogue and sheer fantasy. This was the motive behind Comicsgate a few years ago, when a number of comics creators, like Ethan van Sciver, broke away from the main comics companies of DC and Marvel to set up on their own.
Heroism and Its Absence in Modern Genre Film and Literature
One of the problems Az of Heels vs. Babyface and The Critical Drinker is that many of today’s pop culture heroes actually don’t act like heroes. For example, in one episode of Batwoman reviewed by Az, he comments critically on the way Batwoman treats the villain, a woman who has murdered several innocents. When Batwoman confronts her, she tells Batwoman that she’s killed so many people out of rage at her persecution as a lesbian. As a result, Batwoman, a lesbian herself, lets her go. This is simply immoral. The persecution of otherwise perfectly decent people because they’re attracted to the opposite sex is wrong, but it doesn’t justify the murder of innocents. Whatever political views real policemen and women have, they still have to act impartially and arrest those, who break the law and especially those who commit terrible crimes like mass murder.
The Critical Drinker put up a whole video about the failure of contemporary SF heroes to live up to the standards of true heroism with the latest Star Trek iterations as a case in point. He contrasted these were the high standards of professionalism demanded of the captain and crew in the classic Star Trek: The Next Generation. In that series, the characters knew the importance of duty and respecting the command hierarchy even if they disagreed with it. At the same time, Picard and the other senior officers demanded and got the best from their crew. Several of the episodes involved leading characters learning the difficulties of command. There is one episode where one of the characters is training for promotion. Part this training involves trying to find ways to prevent a warp core breach that will destroy the Enterprise. The problem is insolvable until nearly every option has been tried except the one the prospective leader has been consciously trying to avoid: they have to send Jordi into the warp core to fix it, a command which will result in his death. But it’s unavoidable, and both characters know their duty is to their ship. The would-be commander has to give the order, which Jordi calmly accepts. And a hard lesson is learned. Instead, the crew of the new Trek franchises are grossly unprofessional. They bicker over there personal relationships in front of a superior officer, react badly to the stressful conditions they should, as crew aboard a quasi-military spacecraft, be trained to deal with and try to undermine their superior officers. Case in point: one sequence where Kirk and Spock attempt to beat the living daylights out of each other. Yeah, I’m aware that it happened in an episode or two of the original Trek, like the classic ‘Amok Time’, but there were extenuating circumstances. I like Star Trek and have got a couple of the recent Trek films on DVD. But I think the Drinker has a point, even if it comes from a jaundiced, booze-soaked mind. I think we need a few more heroes who are genuinely heroic in the old fashioned sense, even if the social views they hold may be those of the left.
Stylistic Strong Points
But Ditko’s own career also had its contradictions. At one point he was working on BDSM/ fetish comics, and there were certainly questions raised about the spectacular and surreal effects in several of his strips. Many of his characters, like Dr Strange, enter strange realms in which roads float apparently in mid-air, and doors and portals appear leading to elsewhere, like the mobile holes in many a cartoon strip. Strange shoots beams of light and conjures up strange geometrical figures in his incantations. These effects resemble the entoptic imagery seen when people start to hallucinate after using mind-altering drugs. Which led to the obvious question: was Ditko also on ’em. Ditko was too straitlaced to use recreational chemicals, and answered ‘No’. It all came from within, from his own unaided imagination. Which says to me that Ditko had an awesome imagination on his own, and that the really great, creative people don’t need drugs.
I can’t say that I was ever a fan of Ditko, as his artistic style with Marvel seemed rather too simple. I really admired those artists who were rather less stylised and more detailed and naturalistic. Nevertheless, this video shows that Ditko was a master of his art. The Kayfabers point out that he’s great at cityscapes and portraying fluid action sequences in which the characters are constantly in motion. In some of the strips, Ditko also used colour washes to enhance his line art, and the result is stunning. There are also a couple of strips where Ditko’s inkers were beginning to use computers to add inks and colour to his pencils, which are also very striking.
The Kayfabers also think that some of the pictures come from the private collections of people who acquired them less than legally. There is a black market in comics art, and Ditko was a victim along with many others. They won’t name names, of course, because they don’t want to get writs from m’learned friends. But they also state they’re just glad that someone, somewhere has preserved these pictures that would otherwise have been lost. Ditko also suffered into inadvertently giving people his autograph, thus cheating himself of money. He didn’t give autographs. However, if someone wrote to him asking for his autograph, they’d get a polite reply for Ditko saying ‘No’. Which he’d sign. People cottoned on to this, and exploited it.
Comics and Other Genre Artists True Artistic Innovators Deserving Academic Respect
The Kayfabers also lament that Ditko and that other American comics legend, Jack Kirby, weren’t more articulate. If they had been able to use the kind of language critics and intellectuals use about art, they could easily have been up there with Warhol and the Factory. But they were working artists, who had to grind out their strips to make a buck, and so didn’t have time to mix with people in art galleries. I completely agree. It’s been my opinion for a very long time that the truly great, innovative art exploring new visions, directions and tools is that of the space, science fiction and fantasy artists, including book illustrators and comics artists. And there are others who feel the same. I can remember watching one video about comics, in which one of the speakers said he felt angry seeing the work of artists hung in art galleries, who had based their work on comic artists. He felt that the original comics artists should have got the money and their work hung instead. Way back in the ’90s I tried to get one of the art magazines to accept an article in which I argued this point, and showed the stylistic similarities between respect fine artists like H.R. Giger and those of the Soviet austere school and such comics greats as Kirby and the British master of aliens, robots and the grotesque, Kevin O’Neil. Unfortunately, it was turned down because it would have been too expensive to run. But the point remains. And it'[s shown in Ditko’s art. There’s a panel in which the exhibition shows a clear influence on one of Ditko’s weird geometrical designs in a portal in Dr. Strange with a painting from the Russian avant-garde artist Vassily Kandinsky. The two debate whether there is a genuine influence there, before concluding that their probably is. I can easily believe it. Many comics artists have their own heroes and influences in fine art as well as other great illustrators of the past. Way back at the comics festival UKCAC ’90 I remember going to a talk by Charles Vess, who talked about the great artists and illustrators he admired. I can well believe that Ditko absorbed and incorporated ideas from fine art as well as cartooning and illustration, and that his own work pushed these ideas forward into new directions.
The book goes up to 2016, nearly the end of Ditko’s life. He died only a few years ago. Wossy in his quest to find the great man managed to track him down to an advertising agency in the Big Apple. Ditko agreed to meet Woss and the other host, but it all had to be off-camera. The programme concluded with Wossy stating that when they met Ditko he was very sweet, gave them lots of copies of his work, but they couldn’t repeat what he said to them. And so walked off into the New York crowd.
Well, RIP Steve Ditko, one of the greats of American founders. The book and the video by the Kayfabers are a great overview of one of the creators of some of the most iconic modern American superheroes.
Zelo Street yesterday put up a post about the shameless grovelling panegyric Spectator journalist and Tory advocate of eugenics, Toby Young, gave to our new, rich and privileged Prime Minister, Boris Alexander de Pfeffel Johnson on the Victoria Derbyshire show and on Quillette. This last included the lines
“I first set eyes on Boris Johnson in the autumn of 1983 when we went up to Oxford at the same time … With his huge mop of blond hair, his tie askew and his shirt escaping from his trousers, he looked like an overgrown schoolboy. Yet with his imposing physical build, his thick neck and his broad, Germanic forehead, there was also something of Nietzsche’s Übermensch about him”.
To which the sage of Crewe simply added, ‘ Oh, just fuck off Tobes. I mean … just fuck off.’ Which is coarse, but exactly describes what very many people must have felt reading it.
This did not mean an individual with special, superhuman powers like Superman or the other, similar comic book heroes like Spiderman, the Hulk and so on. Rather, it meant the new, superior human ideal, who had rejected both the slave morality of Christianity, and the master morality of the aristocracy. This was someone, who fully lived up to the challenge of living in a world where God was dead, a universe that was now devoid of transcendent meaning. This was a person – the word Nietzsche used was ubermensch, which literally means Overhuman – who had moved beyond notions of good and evil, and lived according to his or her own notions of morality.
Nietzsche was an ardent individualist, who categorically rejected the idea of a common morality shared by all , as put forward by the Enlightenment philosopher, Immanuel Kant. Nietzsche wrote
A word against Kant as moralist. A virtue has to be our invention, our more personal defence and necessity, in any other sense it is merely a danger … ‘virtue’, ‘duty’, ‘good in itself’; impersonal and universal – phantoms, expressions of decline, of the final exhaustion of life, of Konigsbergian Chinadom. The profoundest laws of preservation and growth demand the reverse of this; that each one of us should devise his own virtue, his own categorical imperative.
The British philosopher Mary Midgley attacked this in her book, The Myths We Live By (London: Routledge 2011), writing
This, he said, would naturally lead any enlightened person in the modern age to live alone, despising his contemporaries and rejecting claims by others on fellowship or compassion, feelings that he regarded as shameful weaknesses. Nietzsche advertised this ideal strongly as a virile one, and buttressed it by a great deal of spiteful misogyny in the style of Rousseau and Schopenhauer. he did not, apparently, see that solitude might as easily be a refuge for weakness as an assertion of strength, nor that childish boasting about one’s own superiority makes this interpretation rather likely. (p. 135).
From this you can see that Boris does have Nietzschean qualities, and this isn’t a complement. He is amoral, self-centred, and, at least political, without compassion, as shown in his and his party’s dedicated loathing on the poor, the disabled, and the less privileged. He also very strongly reminds me of another remark by Nietzsche, hailing the new ‘blond beasts’: ‘Will without intelligence! How beautiful! How free!’
Nietzsche intended his superman to be a heroic figure with the ancient ‘tragic sense of life’, trying to live fully and create meaning in a cold, uncaring, meaningless cosmos. Johnson himself is a odious buffoon, whose incompetence matches his vaunting ambition. There’s nothing heroic or grand about him, and the clownish exterior with which he seeks to ingratiate himself with the public as nothing but a harmless character is nothing but a mask, a sham.
He’s a malign, selfish clown in a malign, greedy, selfish, conscienceless party. And his presence in No. 10 is a catastrophe that shames this country.
Yesterday’s I, for Monday, 22nd July 2019, carried a profile on page 3 of the ‘inventor and daredevil’, Franky Zapata by reporter David Woods. Zapata’s a former jet ski champion and French military reservist, who intends to attempt to cross the Channel this Thursday on a jet-powered hoverboard he’s invented. He’s doing it to mark the 110th anniversary of French aviator Louis Bleriot’s historic flight from France to England. Apparently, Zapata will fly from Sangatte near Calais to St. Margaret’s Bay near Dover.
He could only afford to make his vehicle after receiving a grant for £1.1 million from the French defence and procurement agency last December. The board has five mini turbo engines and can run independently for ten minutes, reaching a speed of 118 mph. Zapata has said, however, that he intends to cruise at 86.9 mp.
Zapata demonstrated the craft’s abilities at the Bastille day celebration last week, where he flew around the Champs Elysees waving a gun around in front of Macron and other European leaders. But he’s rather more pessimistic about his chances with this flight. He told the paper Le Parisien that he’s only got a thirty per cent chance of succeeding in this flight, saying that he only used 3 per cent of the board’s capabilities when he last used, but will need to use 99 per cent of them for this flight.
The French maritime officials have said that the Channel is extremely dangerous because of the sheer volume of shipping. They have insisted that Zapata informs search and rescue teams before he takes off. This means that he will only be able to refuel once instead of twice, as he originally planned. This makes the flight, according to him, 10 times more difficult.
I hope he’s able to make the flight and complete it successfully without killing himself. Louis Bleriot’s flight across the Channel is one of the great landmarks in the history of aviation, and hopefully, this will be too. People have been fascinated by flight and inventing flying machines since Daedalus and his son, Icarus, in ancient Greek myth. There are any number of people now building their own, often rickety and highly unwieldy flying machines, many of which use propellers driven by electric motors. I hope Zapata succeeds, and inspires even more hobbyists to create their own machines. Just as I hope his flight isn’t as disastrous as Icarus’. He flew too close to the sun, so that the wax holding his wings together melted and fell out of the air and crashed.
But looking at Zapata and his hoverboard also reminds me of another figure, this time from Marvel Comics. It doesn’t look that much different from the device Spiderman’s old enemy, the Green Goblin, used to fly around on. All it needs is a pair of bat wings. Here it is with the Goblin himself from the cover of Stan Lee’s Bring on the Bad Guys: Origins of the Marvel Comics Villains (New York: Simon & Schuster 1976), as drawn by the great Marvel artist, John Romita. So it seems that this is once again a case of life imitating art, and Stan ‘the Man’ Lee, Jolly Jack Kirby and the rest of the Marvel madhouse got their first.
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