This is awesome. I found this fascinating little video on the YouTube channel of the Roswell Flight Test Crew, whose name seems to suggest that they’re a group into weird aviation technology, just like whatever it was that came down on Mac Brazel’s ranch in Roswell in 1947. In this video they’re at the UAV expo in Florida, talking to Tomas Pribanec, the CEO of a new start-up company, Undefined Technology. Pribanic and his team have created a drone that flies without any propellers, or indeed, it seems, wings or any conventional aircraft parts. It looks a bit like a Borg cube that’s been made out of wire. The machine flies using electricity to attract and repel the ions, the charged particles already present in the atmosphere. At the moment it can only fly for 15 minutes carrying a 2 pound payload, but it has the advantage of being silent. This has made it attractive to a number of other companies, according to Pribanic. Ion engines, which create thrust by generating charged particles, are already used in spacecraft, but it’s unusual to see the principle used on Earth. The blurb for the video on the Roswell Crew’s YouTube page runs
’22 Sept 2021 • In this episode, the Roswell Flight Test Crew speaks with Tomas Pribanic, the founder and CEO of Undefined Technology, based in south Florida. The company has built a prototype drone of approximately the same dimensions and configuration as a conventional multirotor – but without propellers. Instead, it uses charged ions that exist in the atmosphere and attracts or repels those ions as needed to develop thrust and maneuver. The prototype is five-foot square, capable of flying up to 15 minutes while carrying a two-pound payload. Owing to the lack of propellers, the aircraft is virtually silent in flight, making it a good candidate for cargo delivery and other missions in the urban environment where noise can be an issue.’
I think the technology has been around for a little while as there are a number of videos also on YouTube showing people, who’ve built their own. There was also a piece of news a year or so ago about a research group, who had incorporated it into a plane to demonstrate that it could be used to create more fuel efficient aircraft. They took their inspiration from Star Trek’s shuttlecraft and the way they flew without any moving parts.
This is next level technology very much like something out of science fiction, and I look forward to it being developed further.
One of the things I’ve been doing over the Christmas season is watching videos of the old Science Fiction series Space: Above and Beyond on Guy With Beer’s channel on YouTube. Created by X-Files’ writers Glenn Morgan and James Wong, the show followed the adventures of a flight of American space marines fighting a future war between humanity and race of aliens known as the Chigs. Humanity was moving out into the Galaxy and was unaware of intelligent alien life, until the Chigs launched an unprovoked attack on two human colonies. The series heroes were the Wild Cards, whose members included an Asian-American, Paul Wang, a Black female engineer, Damphousse, whose father was the chief engineer in a nuclear power plant; Nathan West, an aspiring colonist for one of the attacked planets. West had been due to go there as a member of a colonising party with his girlfriend, but had lost his place due to an affirmative action programme that gave it instead to a group of in-vitros. These were artificially gestated humans developed to serve as slave labour and an unfree police force. Although now free, they were subject to massive prejudice and widespread discrimination. One of the other members of the Wild Cards, Cooper Hawkes, was one. He had escaped from the In Vitro facility after being told he was due to be killed because his natural born officers regarded him as a failure. He had been arrested by the cops simply for depending himself after a group of natural born humans tried to lynch him simply for getting a job on their building site. The judge at his trial sentenced him to join the marines. Leading the squadron was another woman, ‘Queen’ Vansen. The squadron was based on the space naval vessel, the Saratoga, commanded by Commodore Ross, a Black man, while their immediate commander, Colonel McQueen, was another in vitro. This followed the general pattern of Science Fiction of the time. Like Star Trek, it looked forward to men and women of different races working together in harmony and equality, where they were simply accepted without comment. The issues of racism, prejudice and discrimination was dealt with through the In-Vitros. Behind the scenes was the Aerotech Corporation, the space conglomerate leading the colonisation missions, which may have known far more about the Chigs than they let on. As does a blind American politico aspiring to be chief of the UN. She’s leading a peace initiative to the Chigs and their allies, the AIs, androids created as a police force, who rebelled after someone typed a virus into the computer system governing them with the message, ‘Take a chance’. When she is about to award West with a medal for protecting her against an assassination attempt, he asks if her if the rumours are true and that they knew the Chigs were out there. She says nothing more, but drops the medal on the floor and turns away from him.
The Chigs, a nickname because in their space armour they resemble Chiggers, burrowing tropical flees, remain a mystery until the very end of the series. They remain constantly hidden in their armour. Any attempt to remove it results in them dissolving into a green goo. There are hints of what they look like – the odd clawed, three fingered hand and arm is seen, but their faces are not revealed until the last two programmes when their envoy finally comes aboard the Saratoga to discuss peace terms and finally removes his mask to reveal his true alien features. They’re methane breathers, who come to a moon of their world to incubate their eggs in a special brood chamber. Allied to them are the AIs, who found sanctuary with them after escaping Earth following their defeat by the humans. These run the prisoner of war and forced labour camps, torturing their prisoners and attacking and stealing fuel and vital minerals from mining worldlets in the Oort Cloud. Both the Chigs and the AIs are utterly ruthless, killing without mercy, including the wounded.
The series only lasted for one season of 23 episodes, which seemed to be the lot of the vast majority of SF shows that weren’t Star Trek, although Farscape managed to go for four, plus the three part miniseries, The Peacekeeper Wars, and Babylon Five lasted five seasons. At the time I wondered if it was inspired by the success of the film StarshipTroopers directed by Paul Verhoeven. Based on the book by Robert Heinlein, this was about a future war between a militarised humanity and the Bugs, a race of intelligent alien insects. In this future society, only those who had done their military service had the right to vote and enter politics, a view which Heinlein himself held. Verhoeven subverted this by satirically portraying them as Nazis, based on his experience of growing up in the occupied Netherlands. Heinlein also really did believe that war was ennobling experience. But I also wonder if it was partly inspired by Joe Haldeman’s The Forever War, about a thousand-year war between humanity and another alien race, the Taureans, which sees one of the recruits, who hasn’t aged thanks to relativistic time dilation, returning to a vastly changed society in which he has no place. It was SF’s treatment of the alienation and maltreatment by the armed forces many squaddies experienced in Vietnam. Space: Above and Beyond, by contrast had no explicit message about war either pro or contra. Rather it was about about a people doing their best to defend their country and planet against a ruthless, genocidal enemy. During this they see their friends die. Paul Wang, initially very religious, loses his faith due to what he has seen and done. There is the constant danger of hospitalisation and permanent trauma from PTSD. And Wang is tortured into making a propaganda video by the AIs, a tactic used by America’s enemies.
The series’ Christmas show had a rather more positive storyline in keeping with the season. It was clearly inspired by the Christmas truce between Brits and Germans at the start of the First World War, as it showed in contemporary footage in a historical flashback. The Wild Cards are sent out on sortie in one of the space Armoured Personnel Carriers. They are discovered and attacked by a Chig squadron, which abandons them for dead. Their ship is disabled and left drifting in space. The radio is damaged so that they can hear the Saratoga looking for them, but not respond. And to cap it all there’s a comet headed right at them.
They are saved when messages in garbled English started coming in for them in Morse code. These messages tell them how to repair their spacecraft enough so that they can put themselves in orbit around the comet instead of getting smashed by it. They’ve been drifting further into Chig territory, but the comet will take them away from it and back to the human lines. It looks like the person sending these messages was not human, Which means he was a Chig.
The programme ended with a written message from the cast and crew of Space: Above and Beyond wishing everyone peace during the holiday season. I thought the series had a lot of potential and was disappointed when it ended. At the time it had the same figures the X-Files had when it started, and there were rumours that it was cancelled so the X-Files could get Morgan and Wong back, but this was denied. My favourite episode was ‘Who Monitors the Birds?’, telling the story of how Hawkes escaped from the in-vitro facility. He had been marked as a failure because he observed birds flying, and had asked the commanding officer training them to be killers, ‘Who monitors the birds?’ When the officer replies, ‘I( do’, he asks, ‘But who monitors you?’ Hawkes is sent on a highly secret mission to assassinate a senior chig general. This goes wrong and his partner is killed. he therefore has to roam the planet fighting to get to the extraction point. During his journey he runs into a Chig trooper, and is about to shoot him when he sees him watching a flying, bird or bat-like creature. Hawkes pauses long enough for the Chig squaddie to move on. He later runs into the same alien again running away from a Chig patrol. They’re about to shoot each other, but put down their guns momentarily to swap dog tags and go their separate ways. Hawkes nevertheless has to shoot him during their next encounter, which naturally upsets him. Punctuating his adventures is a strange woman, appearing as a corpse with grey skin and the marks of decay. She has designs on his body and tries to thrust her attentions on him. At other times she grabs his head to show him the Chig patrols coming for him. And after he pushes her away, she vanishes into thin air. She’s silent or inaudible throughout, except at her final appearance when she says ‘Till next time then’. She is never explained, and you’re left wondering if she’s an hallucination, another alien or what. At the end of the story, Hawkes rips up the contract he was offered, in which he would gain his freedom on killing the alien general. I think it works as a stand-alone story, and is in its way a classic of SF TV, like many episodes of Dr. Who and Star Trek.
Although it was made well over 20 years ago, the series’ seasonal message still remains relevant at this Christmas season. We need peace now as much as ever, with Iran and Israel seemingly gearing up to attack each others’ nuclear facilities, tensions rising with China and with Russia over Ukraine.
May we look forward to peace this year and an easing of tensions, as programmes like Space: Above and Beyond have wished at this season.
I hope I’m not boring you with all this, but I thought I should post this video by James Lindsay up as well. It follows his first video attacking Queer Theory and its deliberate grooming of schoolchildren through pornography and grossly inappropriate topics being taught in sex education. Lindsay argued, citing the postmodernists and Marxist writers themselves, that Queen Theory really isn’t about genuinely helping gay, bi and trans children and adults come to terms with their sexuality and find acceptance in society, so that they can lead normal, functioning, happy lives alongside straight people. Rather, it is all about increasing their alienation and making them even more angry and transgressive in order to turn them into a revolutionary mass which will overthrow capitalism instead of the working class. This follows closely Georg Lukacz’s sex education programme in Hungary, which was explicitly designed to use sexual liberation to alienate children from their parents and conventional capitalist society. This was then taken up by the Frankfurt school and played a very strong role in the sexual liberation movements of the 1960s. Lindsay backs up the arguments in his previous video by going through a Queer Theory paper, written by Hanna Dyer, a woman at Carlton University in Canada, that explicitly states this.
Queer Theory’s Rejection of Gay Rights
Early on in the paper, Dyer denounces the recent legislation granting gay people equal rights. Lindsay is not homophobic, even though his attacks on Queer and Critical Theory and calls for those promoting it to be put in gaol make him sound like a very right-wing Conservative. I don’t know what his political views are. He may be a man of the right, but he makes it clear that all parents should come together to combat what is being taught in schools in Social Emotional Learning and Comprehensive Sex Education regardless of politics, race, sexuality and religion. All that should matter is the class ‘parent’. Lindsay states that gay acceptance has been of immense benefit to society. But Dyer attacks it because such liberal legislation will help reconcile gays with the capitalist society they wish to overthrow. This continues throughout her wretched article. Later on she attacks Dan Savage’s video on YouTube, ‘It Gets Better’. Savage is gay, and with another man, produced a video to reassure gay children that even though they’re bullied and have an awful time at school, it gets better when you grow up. People are more accepting. I think this often depends on your particular place in society. Working class culture could be traditionally extremely homophobic, and there is a vicious homophobia prevalent in some parts of Black culture. But in general middle class culture has become very accepting to the point where one YouTuber described how a Conservative friend had completely accepted gay equality. Savage produced his video in response to the high rate of suicide amongst gay kids. He wanted to stop it by showing that ‘It Gets Better’. He released the video on YouTube because he felt schools would resist its message. According to Lindsay, Savage is actually ‘super liberal’. But to Dyer he’s an evil White man – she doesn’t call him a scholar or researcher, just ‘White man’ in order to show how evil he is. Apart from his race, she sees him as a servant of capitalism, trying to stop the revolutionary potential of the gay masses by incorporating them into neoliberalism and promoting upward mobility.
Now I strongly believe that the sooner we dump neoliberalism the better. It is doing immense damage to ordinary working people of whatever, race, creed, sexuality or religion. But there is absolutely nothing wrong with trying to reassure vulnerable gay children that they can still a place as an accepted member of society, who should be able to look forward to the same job opportunities as the rest of us and have the same aspirations to social advancement. And I’d say that attacking a video that genuinely tries to stop gay kids committing suicide is actually evil.
The Attack on Childhood Innocence in orderto Promote Radically Alienated Gay Identities
The paper goes on to attack the whole notion of childhood innocence. She hates the idea that children are asexual and proto-heterosexual. Lindsay states that here she comes into conflict with biological fact. Most people across society all over the world are heterosexual. Only a minority are gay. This is aside from any moral considerations that see heterosexuality as more moral than homosexuality. He makes it clear that he supports the teaching that ‘Some people are gay. Get over it’, as Stonewall once said in an advertising programme. Lindsay has said in his previous video that Queer Theorists really don’t like that common sense attitude. Moreover, they see gender and sexuality as identities without essence, social roles people perform rather than are. Therefore they seek to groom children for their role as queer revolutionaries by breaking down barriers and having them sexually experiment. This include the binary oppositions male/female, adult/child. And around the 1hr 14 minute mark, Dyer says this explicitly. Which clearly opens the way to grooming by paedophiles. Lindsay states that children have a very strong belief in these opposition and that he believes them to be biologically innate. He also makes the point that paedophile relationships massively damage the young victims psychologically. A very high number schizoid people have the condition due to childhood abuse. But Dyer seems also to be offended by the biological fact that most people are heterosexual. She wants to changes that, and queer not just gay children, but children as a whole. This is very much how the attacks on heteronormativity have seemed to me, and I’m glad that Lindsay has come to the same conclusion I have.
Later on, she attacks the whole notion of reproductive sex because gay people, who naturally cannot have children through gay sex, cannot achieve the same level of privilege as straight ‘breeders’ in a society that privileges heterosexual reproduction. But this is a revolt against biology, as it is through heterosexual reproductive sex that the human race is perpetuated. Ah, but so too are the mechanisms of capitalist control and repression. Instead the goal should be hedonistic, non-reproductive sex, which she explicitly connects with the death urge through Marcuse and other Marxist thinkers. This is just plain nihilism. Thinking about it, it makes me wonder if Pope John Paul II had a point when he described Enlightenment society as a ‘cult of death’. I think he was wrong about the Enlightenment, but certainly right about these pernicious postmodernist ideologies.
Childhood Innocence Blamed for Racismand Genocide
Naturally, race gets drawn into it in order to produce the broad, intersectional coalition of races and sexualities that postmodernists hope to create as an oppositional front against capitalism. Childhood innocence should be challenged, because it chiefly affects White children. Black children are less innocent, and stereotypically more streetwise. Lindsay says it’s rubbish. Here I think he’s wrong. I think the stereotype is that Black children are tougher, more worldly-wise, and more ‘street’. but that doesn’t mean that their parents don’t want to preserve and guard their innocence just as much as Whites. And apparently childhood innocence is also genocidal. Whites want to preserve their kids more than those of other races, and this is somehow ties in with one of the genuine mass-murderers of the US Indian Wars. This was the general responsible for the Sand Creek massacre, who wanted not only adult indigenous Americans killed, but also to be physically mutilated and their children murdered as well in order ‘to stop lice breeding’. It’s an absolutely horrific attitude and atrocity, but as Lindsay points out, just ’cause someone was an idiot in the past doesn’t mean that everybody who believes in childhood innocence is. She also brings social class into her argument about gay acceptance and queer children, although Lindsay states these are actually non-issues. He also points out that at the centre of all this is are repeated attacks on conventional ideas of childhood development, which stresses that children go through certain stages and that the material they’re given should be age appropriate. Like the books in school libraries that are graded according to suitability for different ages of reader. Dyer talks about getting Queer Theory to influence ideas of childhood pedagogy along with Critical Race Theory. But this isn’t about helping gay children. It’s all about destabilising children’s personalities, to make them angry and disaffected, to make them Marxist revolutionaries determined to destroy western civilisation.
Alex Jones Right about Queer Theory and Transhumanism
At times Lindsay sounds like the mad conspiracy theorist Alex Jones. He says at one point that if he goes on reading it, he’ll end up screaming about Satan like the bonkers Texan libertarian. Well, Jones talked a lot of conspiracist nonsense about ‘the globalists’, which is very close to the wretched anti-Semitic conspiracy theories. He also falsely accused decent people of being child abusers for the Democrat party, claimed Barack Obama was the antichrist, Hillary Clinton of being possessed by alien demons, a practicing witch and a robot from the waist down, and other nonsense. Like NASA was running a child slave labour based on Mars. Which nobody knew about, least of all NASA, as they took the time to deny it, not least because it would cost $16 billion just to send six people to Mars let alone the legions of kids Jones, or rather, one of his guests, claimed.
But it seems Jones had a point. I’ll admit I had a laugh when Jones ranted about feminism and gay rights being a transhumanist cult to turn us all into sexless cyborgs. But Lindsay says that transhumanism is one offshoot of Critical Theory. The World Economic Forum is made up of transhumanists, who all want to link us to the Net through biological implants so that we will live at least part of the time in Virtual reality. We will own nothing and we will be happy.
This sounds like Star Trek’s Borg to me. In ‘Q Who?’, the Star Trek The Next Generation episode which introduced them, Q transports the Enterprise to system J17, where they encounter and are attacked by a Borg cube that has just finished assimilating a planet. As one of them beams aboard, Q says to Picard, ‘Look at it, Jean-Luc. It’s not a he, it’s not a she… it’s an augmented humanoid.’ But one of the heads of the big American tech corporations is a transwoman and transhumanist, and wrote a paper promoting transhumanism as a feminist project to go beyond gender. And there certainly was a lot of talk about genderless future cyborgs when transhumanism was being discussed back in the ’90s. ‘We are Postmodern Borg. Resistance to Critical Theory is futile. You will be assimilated’.
Destroying State Education Not the Solution
Throughout the video, Lindsay angrily stops his analysis of the text to remind his readers that this is being done by groomers in the sex education now being taught in American schools. This means your children. And this is primarily state schools though some private schools are also involved. He loudly urges people to take their children out of these schools. I see his point. There’s a video by anti-trans ideology activists Kellie-Jay Minshull, in which she goes through some of the material recommended for schools by Stonewall. And it is about sexualising children. One of these is a game in which children put together various body parts and have to guess what sex act may be possible with them. This really is inappropriate. Yes, children should be taught about the changes happening to their bodies and their emerging sexuality in adolescence. And I quite agree that at an appropriate age, children should be taught that some people are gay but should be accepted like anybody else. But this doesn’t do that. It is about breaking down barriers, barriers which are there for a reason. There is an organisation, the Safe Schools Alliance, for parents worried about this form of indoctrination. He also points out that the ideas are very similar to Herbert Marcuse’s proposals for Marxism to take over university education.
But the solution isn’t to pull kids out of state education, as the Conservative right wants. I think the American public school system was founded by Thomas Jefferson, who realised that for America to work as a functioning democracy it needed an educated public. Absolutely. If you destroy public education, you get back to the conditions of 19th century Britain before it was made compulsory. Education was definitely not free, and only the rich could afford to send their children to the public (elite private) and the grammar schools. Working class children could go instead to dame schools, usually run by an elderly woman, hence their name, where educational standards could be very low. Many children couldn’t send their children to school, and so illiteracy rates were much, much higher. Proper state education has made the British public much more educated and informed, though sometimes you wonder.
What needs to be done is for parents instead to fight this indoctrination as hard as they can, so that their children get a proper education and not just indoctrination, whether from the extreme left or the extreme right.
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.
Some fascinating and optimistic news for peeps looking for real warp drives a la Star Trek. Trek Culture is a Star Trek fan site, but in this video host Sean Ferrick talks about a possible scientific breakthrough for the development of a real warp drive. Dr. Harold G. ‘Sonny’ White, a scientist at the Limitless Space Institute, observed the formation of a real warp bubble while researching Casimir cavitation. The warp bubble was on the nanoscale, so very, very small indeed. Nevertheless, his paper has been passed by peer review, and Dr. White hopes to follow this up with an experiment with a microscopically small sphere of a few micromillimeters which produce a similarly small cylindrical warp bubble around it.
Real scientific interest in warp drives began with the 1994 paper by the Mexican physicist Dr Marcel Alcubierre, but this was also widely discounted because it would have needed an extreme amount of energy plus a very exotic form of matter. If I remember correctly, the exotic matter involved may be one in which the force of gravity repulses rather than attracts. Since then scientists have been working to refine his theories. One recent physicist has suggested that it may be possible to create a warp field using a mass ten times the size of Jupiter, which is many times smaller than the masses needed to create such a bubble in Alcubierre’s original calculations. It’s still far beyond any practical application or construction, at least with present technology, but there are hopes that further work will cut the masses needed down still further until warp drives hopefully become possible. I think the Casimir force is a force that squeezes the vacuum energy – the virtual particles zipping into and out of existence at the level of the cosmic foam – out of any empty space at the nano level when two plates are set up sufficiently near each other. Years ago in the 1990s one of the British science programmes reported that it would be possible to use the effect to create a metre-sized wormhole. The drawback was that the plates used would have to be the size of Jupiter. It looks like White was researching similar effects when he discovered the formation of a real warp bubble.
While this is very optimistic, Ferrick stresses that it will be a very long time before we see the creation of a real warp drive. This is so far off that it’s Science Fiction. This is correct. There are problems scaling this such effects up from the nano to the macro scale. Wormholes are believe to form and disappear constantly at the level of the cosmic foam at the smallest level of reality. One method of FTL travel that has been proposed is to create such a wormhole and then enlarge it. However, wormholes are unstable, and so its mouth would have to be kept open with the gravity-repulsing exotic matter. I don’t think anyone know how to make it, nor do I think scientists know how you could realistically enlarge such as wormhole so that it becomes a practical method of interstellar travel. Nevertheless, Ferrick states that a line has been crossed, albeit a microscopically small one, towards making warp drives like those in StarTrek a reality.
This is fascinating news, and even if the creation of a real warp drive is decades off, I hope this will lead to their creation. As Captain Picard used to say in Star Trek: The Next Generation, ‘Number One, make it so!’
And just to remind everyone what has helped to inspire many people’s dreams of space exploration, here’s the titles of the original series:
Mind you, I think if they ever create a real warp drive and test it in space, it’ll be hit by a solar flare, opening up a wormhole that will cast the spaceship and its astronaut into a far distant corner of the universe. He’ll be taken on board a living spaceship, full of escaped prisoners, and pursued by an insane military general, while just trying to find a way home.
Sorry. Wrong series – that’s Farscape.
Star Trek has helped to inspire millions not just with its vision of humanity expanding out among the stars to explore strange new worlds, and find new life forms and new civilisations, but also through its idealistic view of future society. It’s a world where racism and sexism have been banished, there is no starvation or want, and people work to better themselves, not because they need to. The late, great comedian Bill Hicks also looked forward to a similar human future. He used to end his gigs with ‘the Vision’, in which he pointed out that the if the world spent what it does on guns and armaments on peaceful activities, we could solve world hunger. Not one person would starve. And we could colonise space, in peace, forever.
Amen to that. RIP Gene Roddenberry and Bill Hicks – great visionaries andentertainers.
Last week there was a bit of controversy between William Shatner and Prince William. As the man behind Captain Kirk went with a party of others to the High Frontier aboard Jeff Bezos’ SpaceX, the prince declared that such space tourism was a waste and a threat to the environment. I think here the prince was thinking about the extremely rich and their private jets, and the damage that the carbon emissions from mass aircraft travel are doing to the environment. I respect the prince’s commitment to the environment and the Earthshot prize he launched last night, but believe that on this issue he’s profoundly wrong.
If space tourism was only about letting extremely right people go into space aboard highly polluting spacecraft, as it seems the prince believes, then I’d certainly be inclined to agree with him. But it isn’t. Way back at the beginning of this century I gave a paper at a British Interplanetary Society symposium on the popular commercialisation of space. Many of the papers were about space tourism. The one that real down a real storm, far better than my own, was from a young chap who suggested that space was the ideal venue for sports that would be impossible on Earth. Because of the complete absence of gravity, you could play something like Harry Potter’s Quidditch for real.
The hope with space tourism is that it will help open up the High Frontier to further space commercialisation. This includes lowering launch costs so that eventually they’ll become affordable and people will be able to move into space to live and work, building true communities up there. And with that comes the hope that industry will move there as well, thus relieving some of the environmental pressures down here on Earth. Gerard O’Neill, who put forward concrete plans and designs for these colonies, believed that this would be one of the benefits of space colonisation and industrialisation. For one thing, the industrialisation of space may be able to provide clean, green energy instead of the carbon emitting fossil fuel power stations that we now use. Solar energy is abundant in space, and it has been suggested that this could be collected using vast solar arrays, which would then beam the power to Earth as microwaves.
The late, great SF writer Arthur C. Clarke was a very strong advocate of space colonisation and industrialisation. An optimist about humanity’s future in space and the benefits of high technology, Clarke not only argued for it but also tried to help make it a reality. Space and other forms of high technology offer considerable benefits to the Developing World, which is one of the reasons India has invested relatively large amounts in its space programme. And so has Clarke’s adopted country of Sri Lanka, with the assistance of the Space Prophet himself. I found this passage describing the work of such a centre, named after Clarke, in Sri Lanka in Brian Aldiss’ and David Wingrove’s history of Science Fiction, Trillion Year Spree.
“Clarke is, moreover, actively engaged in bringing about that better world of which he writes. From his base in Colombo, Sri Lanka, he has become directly (and financially) involved in a scheme to transfer modern high-technology to the developing countries of the Third World.
The Arthur C. Clarke Centre for Modern Technologies, sited at the University of Moratuwa, outside Colombo, embraces numerous high-tech disciplines, including computers and alternate energy sources, with plans to expand into the areas of robotics and space technologies. The main emphasis, however, is on developing a cheap communications system tailored to the agricultural needs of the Third World.
Such a project harnesses expensive space technologies in a way which answers those critics who have argued that it is immoral to waste funds on the romantic gesture of spaceflight when problems of poverty, illness and hunger remain in the world. That advanced technology would eventually benefit all of Mankind has always been Clarke’s belief-perhaps naive, but visionaries often function more effectively for a touch of naivety about them. One has to admire this benevolent, aspiring side of Clarke; it is the other side of the coin to L Ron Hubbard.” (P. 402, my emphasis).
It has never been a simple case of space exploration going ahead at the expense of human suffering here on Earth. Space tourism, at present confined to the extremely wealth like Shatner, is part of a wider campaign to open up the High Frontier so that humanity as a whole will benefit.
And the late comedian Bill Hicks also used to look forward to an optimistic future of world peace and the colonisation of space. He used to end his gigs with his own vision. If we spent used the money the world currently spends on arms for peace instead, we could end world hunger. Not one person would starve. And we could colonise the universe, in peace, forever.
It’s an inspiring vision. As another Star Trek captain would say:
‘Make it so!’
And here’s a bit of fun I found on YouTube. It’s a video of a man in Star Trek costume, playing the theme to the original series on the Theremin. Engage!
Well, he’s finally done it! William Shatner, who played Captain Kirk in the Classic Star Trek TV series, has finally gone into space at the grand old age of 90. He was supposed to go up with a part of other astronauts aboard Jeff Bezos’ SpaceX rocket, but the launch was delayed due to high winds. They finally went yesterday, and it looks like it was simply a case of going up and back above the atmosphere. I found this video of the journey, and the astronauts’ greeting by Bezos as they returned to Earth, on GB News’ channel on YouTube. Yeah, it’s the right-wing channel set up by the Times to be the rival to the ‘woke, wet BBC’, which is being criticised and boycotted for its racist content. But this clip seems to be pretty good. Shatner also seems to be in very good condition for his age. The G-forces astronauts experience on lift can be a challenge. They go up to 3gs and more. But Shatner steps out of the capsule standing firmly upright. Not bad for a man of 90!
I can’t say I’m a fan of Bezos. I think he, like the other business moguls involved in this, should pay his workers and more and give them far better conditions. But he is opening space up so that one day ordinary people might be living and working on the high frontier, rather than just scientists and engineers. As for Shatner, Star Trek has inspired millions of people to take a serious interest in space and space colonisation. So much so that I don’t think it’s an accident NASA called one of their shuttles ‘Enterprise’. It’s a pity that more of the cast aren’t around to go on the journey too.
Arthur C. Clarke was nicknamed ‘the space prophet’ because in the late 1940s he wrote an article for a radio magazine predicting communications satellites. He also wrote another later piece, with the title ‘How I Lost a $Billion in My Spare Time’ or something like that lamenting the fact that he lost millions by not copyrighting the idea. I had a similar experience last night when I saw on the news a piece about the Russians shooting a film aboard the International Space Station. Starring Yulia Persilda and directed by Klim Shlipenko, the film is about a doctor, who travels to the ISS in order to save one of the astronauts.
Years ago I presented a paper at a symposium of the British Interplanetary Society on the popular commercialisation of space. I suggested that one way to stimulate further interest in space exploration and development was to shoot a movie up there. The amount paid to some of Hollywood’s most popular actors, like Arnold Schwarzenegger, is almost that to cover the costs of launching a person into space. Arnie was paid $7 million for one of his movies, and it cost one of the first commercial space tourists, someone like Dennis Tito, $16 million to go into space aboard the Russian proton rockets. It therefore seemed to me to be entirely economical to send a film crew to the station, provided that only a limited number went. Say the star and a director/cameraman. I gather that Shlipenko’s crew numbers seven, which is larger than I had in mind, but still far from a cast of thousands.
My idea was printed in the BIS’ Journal, and I’ll try and dig that out at some point to show that I’m not spinning a yarn. And in the meantime, if any space company wants to take me on as a consultant or some other job, you can contact me here.
And best wishes to William Shatner, who today also ventures into the final frontier.
Shatner, as any fule kno, played Captain James T. Kirk in the original Star Trek series. ITV news reported yesterday that he too was heading into space aboard a rocket at the grand age of 90. I haven’t watched the recent iterations of Star Trek since Deep Space 9 ended, but the original series was definitely one of my fave programmes when I was a kid. It helped stimulate my interest in space and astronomy, as it did many thousands of others. And Star Trek’s portrayal of a world without racism, where women enjoy equality and poverty, starvation, crime and unemployment are things of the past is still inspiring. So I salute him as he makes his personal voyage into the Black.
And here’s the intro to the original series that started it all off in the early ’60s, which I found on dinadangdong’s channel on YouTube.
One of my friends gave me a copy of A.M. Gittlitz’s I Want to Believe: Posadism, UFOs and Apocalypse Communism, for which I’m really grateful. It’s fascinating! Posadism is a weird Trotskyite sect, founded by Posadas, the nom-de-guerre of Homero Cristalli, an Argentinian Marxist. They were hardline Marxists, joining other Communist and Trotskyite guerrillas fighting a war against capitalism and Fascist oppression across Latin America and Cuba. From what I remember from an article about them in the Fortean Times, they also looked forward to an apocalyptic nuclear war that would destroy the capitalist nations and allow the workers of the world to seize power. This is frightening, as any such war would have destroyed the planet or at least killed countless billions and sent the survivors hurtling back into the Stone Age. Unfortunately, it was also shared by Chairman Mao, who really couldn’t believe why Khrushchev hadn’t launched a nuclear attack on America during the Cuban missile crisis. Khrushchev was certainly no angel. During Stalin’s reign he was responsible for organising purges of dissidents in Ukraine and when in power led a brutal crackdown on religion that sent thousands of people of faith, Christians, Jews, Buddhists, Muslims, shamanists to the gulags. He was also responsible for creating the system of curtained shops which served only members of the Communist party. But in refusing to start a nuclear war, Khrushchev helped save the world and showed himself a far better man than Mao.
But Posadas also had some other, rather more eccentric views. He believed in establishing contact with intelligent aliens and also believed dolphins were another intelligent species with whom we should establish real, meaningful contact and understanding. A college friend of mine told me that they wanted to make contact with aliens because of their belief in the inevitable victory of Marxism. If there were alien civilisations, they reasoned, they would have achieved true, Marxist socialism and could therefore help us do the same. It sound completely bonkers, but they took their views on dolphin intelligence from the scientist and psychologist John Lilley. Many others shared their views. I have a feeling that dolphins feature in several of Larry Niven’s novels as intelligent creatures with whom humans have a relationship as equal species. To help them interact with us, they have been given artificial arms and mobile pods containing the water they need to support them.
There was a brief resurgence of Posadism on the Net in 2016, and the book contains amongst its illustrations a number of memes posted by them. One contrasts the despair and defeatism of capitalism and the mainstream socialist parties with Posadism. It features a grey alien looking on accompanied with slogans like ‘Solidarity with the space comrades’ – not ‘space brothers’, note, like the old-fashioned UFO contactees talked about, but Marxist aliens determined to overthrow capitalism. Other slogans included ‘It’s Communism, Jim, but not a we know it’, clearly a parody of the famous line from Star Trek, ‘It’s life, Jim, but not as we know it’. And there’s also a parody of one of the famous sayings of the Space Prophet himself, Arthur C. Clarke. Clarke said that any sufficiently advanced technology is indistinguishable from magic. The Posadist meme reworked this as ‘Dialectical Materialism so advanced as to be indistinguishable from magic.’ They are also in favour of fully automated luxury communism. This is the doctrine, embraced by Yannis Varoufakis amongst others, that mechanisation will make most workers redundant. To prevent the immense harm this will do, the only choice will be for the state to take over industry and run it so that everyone has free access to goods and services. This got reworked in one of the Posadist memes as ‘Fully automated luxury gay communism.’ I have to say this sounds distinctly unappealing. Not because I’m opposed to gay rights, but because it sounds like only gays will be allowed into the new utopia. I hope if it comes, it will benefit everyone, whatever their sexuality.
In fact the idea of fully automated luxury communism and alien contact goes back a long way in Marxist history. Alexander Bogdanov, an early rival to Marx, wrote an SF novel, Red Star. Inspired by Tsiolkovsky, the Russian rocket pioneer, and H.G. Wells’ The War of the Worlds, this was about a revolutionary from the 1905 anti-Tsarist uprising, who is abducted to Mars. Martian society is advanced both technologically and socially. All the factories are automated, so that goods are plentiful and money is obsolete, as everyone has access to all the goods and services they need or want. As a result, Martians share their possessions. What work remains is entirely voluntary, but done idealistically for the good of society. This includes young Martians donating blood to increase the lives of the elderly. (see page 5 of the above book).
As the Bard says in The Tempest ‘Oh brave new world that hath such people in it!’
Posadas was an eccentric with some extremely dangerous views, but some of his ideas aren’t so daft. If mechanisation proceeds, then I feel that fully automated luxury communism, or something very like it, will have to come into existence. It’s the only humane alternative to the grind mass poverty and despair depicted in dystopian SF stories like 2000 AD’s ‘Judge Dredd’, where 95 per cent of the population of Megacity 1 is unemployed and films like Elysium, where the world’s masses live in shanty towns, workers are exploited and disposable, and the rich live in luxury orbital colonies.
And serious scientists are still looking for signs of extraterrestrial intelligence, following American astronomer Frank Drake and scientist and broadcaster Carl Sagan. Interestingly, the book states that Sagan, a Humanist and left-wing activist, denied being a Marxist. But he and his wife Anne Druyan smuggled copies of Trotsky’s History of the Russian Revolution, so that Soviet citizens could read its real, suppressed history. I think most SETI scientists believe that real aliens would probably be so different from us that their political and institutions may well be inapplicable to us. Nevertheless advocates of SETI believe that aliens may nevertheless be able to give us vital scientific information, including the cure of disease and how to extend our lifespan. It probably won’t be Marxism, but if the aliens do have something like it or Fascism, then these ideologies will become popular on Earth after contact.
Communist aliens sounds like a ridiculous idea, but until we make contact, we won’t know if there are or aren’t any.
As for the Martian society of Red Star, the absence of a money economy, the abolition of scarcity and work as a purely voluntary activity sound very much like the Federation in Star Trek. Thanks to contact with the Vulcans and other aliens, humans had overcome racism, poverty and starvation. People didn’t need to work, but they did so in order to better themselves. It should be said, though, that the series never openly advocated socialism. It simply said that ‘the economics of the future are different’ and implied that both capitalism and socialism had been transcended. Nevertheless, the parallels are so close that the far right, like Sargon of Gasbag and his fellow Lotus Eaters, have been moaning that Star Trek’s communist. I doubt it, not least because the actress who plays Seven Of Nine is married to a Republican politico. I think Star Trek is broadly liberal and presents an inspiring utopian society. One of the complaints about Star Trek: Picard is that it has now abandoned this utopian optimism in favour of portraying the Federation as a standard SF dystopia and that it’s liberal slant has become too shrill and intolerant at the expense of good stories, plots and characterisation. Utopias are unattainable, but we need them to inspire us, to show us that ‘another world is possible’ and that, in the words of The Style Council, ‘you don’t have to take this crap/ You don’t have to sit back and relax’. Or work yourselves to death to increase the profits of already bloated big business elites.
Apart from this, the book is also a fascinating look at the history of Marxism in Argentina and Latin America, and I intend to review on this blog when I finish it.
As for aliens, well, I’d rather we made contact with benign Space Comrades than the little Grey buggers that haunt our nightmares of UFOs, abductions and malign conspiracies at the moment.
And yes, the title very definitely is taken from the poster of a UFO hanging in Fox Mulder’s office in the X-Files.
It seems to me that there’s a real war going on in ostensibly democratic countries against freedom of speech and conscience. I don’t think this is confined to either the left or right either. In Britain we have had a successions of governments that have been determined to limit the right to public protest from David Cameron to Johnson with his wretched Criminal Justice Bill. And before then there was Tony Blair and his attempts to control what was being said about him and his coterie on state broadcasting, just as Berlusconi was doing to the Italian state media. John Kampfner wrote a rather good book about it, Freedom for Sale, a few years ago, arguing that governments from Blair to Putin were trying to bargain with their peoples. They got material prosperity in return for severe infringements on their ability to protest against their governments. Well, Blair was wretched, but he did at least tackle poverty with no little success. Cameron, Tweezer and Johnson are simply increasing it.
On the other side of the political aisle, the right are complaining about the imposition of curbs on free speech as part of the campaign against hate crime and the ‘cancel culture’. Some of this is exaggerated. Zelo Street demolished some of the claims Toby Young, Douglas Murray and the rest were making about right-wingers being prevented from speaking at universities by giving the precise statistics. These showed that, while it had happened, the percentage of speakers cancelled was minute. But I do think they have a point. For example, it should be accepted that trans people should not despised, persecuted or suffer discrimination. But I think there are legitimate issues and questions voiced by gender critical feminists about trans activism and that there are spaces that should only be reserved for ‘cis’ women. But to some people, simply voicing what to many people are reasonable questions and criticisms constitute hate speech. There are similar problems regarding the reporting and discussion of racial issues. Nobody should want to empower real bigots and Fascists, but it does seem that legislation put in place to protect minorities from real hate has now expanded into Orwellian thoughtcrime.
And these attempts to limit freedom of speech have got into what is permissible in comics. One of the astonishing snippets I found while flicking through Paul Gravett’s Comics Art yesterday, was that in 2011 Tokyo municipality expanded its ban on the sale of certain comics (manga) and animated movies (anime) to children under 18 by including materials ‘excessively disruptive of the social order’. (Page 72). I realise that Japan is a very conservative society. The right-wing Liberal Democratic party were in power for fifty years or so after the end of World War II. The country is very Confucian in that one respects one’s elders and superiors. Gender roles are very traditional, as are conceptions of nationality. I don’t know if it’s still the case now, but under Japanese law at one time a person could only be a Japanese citizen if both their parents were ethnic Japanese. I gather that there are ways you can become a naturalised citizen, but it’s extremely difficult. It’s also supposed to be a very conformist society, in which children are taught at school that ‘the nail that stands up must be hammered down’. But this attack on comics is extreme.
Such attacks on the four-colour funnies and related media haven’t been restricted by Japan by any means. In the 1950s there was a moral panic in America and the United States against comics, one of the major figures in which was the Austrian psychiatrist, Dr Frederic Wertham. Wertham was one of a number of left-wing, emigre intellectuals who believed that popular culture had assisted the Nazis into power. He believed that American youth was being corrupted into crime and sexual deviancy by comics. He accused Superman of being a Nazi, despite the fact that the character’s only similarity to Nietzsche’s superman is the name, and that the Man of Steel’s creators were American Jews. Batman and Robin were an idealised homosexual couple, an accusation that has continued to plague attempts to reintroduce Robin in the strips. Oh yes, and Wonder Woman was a sado-masochist feminist lesbian. I doubt any of these accusations would have been recognised by the kids who actually bought and read the strips. But Wertham’s denunciations were taken up by a variety of groups, from the religious right to the Communist party and led to the passing of laws across America banning or restricting the sale of comics to children. The ban led to the collapse of particular comic genres, specifically the horror and true crime comics, which were particular targets of the legislators’ ire. It also affected the SF comics, because some of them strayed into politically dubious areas. The superhero comics survived, not because they were the most popular, but because they were the type of comics least affected by the new regulations.
One of the SF comics singled out for censorship was a story in which an astronaut from Earth travels to a world populated entirely by robots. His face hidden in his spacesuit, he tells the robots that they’re being considered as candidates for joining a galactic federation. Shades of Star Trek’s United Federation of Planets by a slightly different name here. However, the robots are divided into two types, blue and orange, and there is hatred and conflict between them. At the end of the story, the astronaut informs them that they have been rejected because of these divisions. It was only when the people of Earth rejected their differences and united, that real progress was made, he states at the end of the story. In the last panel he removes his helmet, and reveals that he’s Black.
Shock horror! An anti-racist message! This was too much for one New York judge, who wanted the strip banned on religious grounds. He believed that God had only given speech to humanity, and hated the idea of talking robots. But the underlying issue is obviously its attack on racism at a time when Jim Crow was still very much in force. Eventually the judge had to back down, and the issue degenerated into a fight between the publisher, EC, and the authorities over how many beads of sweat they could show on the Earthman.
Well, at least there were comics creators in America prepared to deal with the issue. Pat Mills, the creator of zarjaz British comic 2000 AD, says in his book about British comics and his career in them, Be Pure! Be Vigilant! Behave! that even in the late 1960s, the policeman heroes in British comics were making quite racist comments about Blacks. Part of what made 2000 AD’s predecessor, Action, so controversial was that Mills and the other creators there had been determined to make it as relevant as possible to contemporary British youth culture and deal with the issues and stories affecting and demanded by the young readership of the time. It was originally going to be called ‘Boots’, after Dr Martens’ distinctively rebellious footwear, followed by the years. So ‘Boots 1977′, Boots 1978’ and so on. But this was too much for the publishers, and the name Action settled on instead. In the end, the comic only lasted a couple of years because it was so controversial, with the major criticism that it was far too violent. 2000 AD was its successor, but here, unlike Action, the violence would be done in support of the law. This led to Judge Dredd, who was deliberately designed as a Fascist cop. The strip’s founding artist, Carlos Ezquerra, was Spanish, and so incorporated into Dredd’s uniform the style of the Fascists then making life a misery in Franco’s Spain, the helmet, the shoulder pads and the eagle badge. And I don’t think it’s an accident that the light reflected in Dredd’s visor looks like ‘SS’. Dredd was thus partly a comment by Mills and Wagner on some of the authoritarian trends in contemporary policing. Other strips tackled issues of racism and religious bigotry – Strontium Dog and Nemesis the Warlock, for example, and sexism, like The Ballad of Halo Jones. There was also a strong anti-war message in the ABC Warriors. Mainstream American comics had been tackling some of these issues for a decade or so previously. There were issues of Spiderman, for example, that tackled racism, and the Blaxploitation craze of the 1970s led to the appearance of Black superheroes like Powerman, Brother Voodoo and the Black Panther. Since then, and particularly since the collapse of the Comics Code Authority in the 1990s, comics have become an accepted and critically respected medium for the discussion of political and social issues. This has reached the point where Conservative and more traditional fans and comics creators believe that the medium and related forms of popular culture, such as SF and Fantasy film and television has become too politicised. In their opinion, contemporary comics writers and artists are too concerned with pushing overt messages about racism, sexism and gay rights at the expense of creating good, likeable characters and engaging plots and stories.
Martin Barker describes how comics have always been the subject of suspicion by the left and the right, going back to the Bloods and Penny Dreadfuls of Victorian Britain, and the cheap, popular novels being read by ‘the democracy’ in his Comics, Ideology and Power. Girls’ comics seem to me to have come in for a particular bashing. They were attacked by conservatives for being too radical and challenging traditional female roles. The left attacked them for being too conservative and not teaching girls their proper, traditional place. Barker shows how these attacks were way off, tearing to pieces specific criticisms of various strips. He argues that children actually subtly negotiate the content of the comics they read. They accept only those elements of the strips which appeal to them and ignore the rest. They do not simply accept everything they read. Barker’s final chapter is a passionate attack on those, who were trying to censor comics at the time he was writing. This included Thatcher and the Tories, but he was also angry at his own camp, the left. Brent and Lambeth councils were also leading an attack on popular literature through their zeal to purge their municipal libraries of anything they considered racist.
And they attack on popular literature has carried on. I remember the furore at the beginning of this century against the Harry Potter books. American Evangelical Christians accused J.K. Rowling of leading children into Satanism and the occult. Well, I admit I’ve only seen the films, not read the books, but I must have missed that one. It’s always seemed to me that the Harry Potter books actually were part of a long tradition of supernatural fantasy in children’s literature going right back to E. Nesbitt and beyond, and including The Worst Witch and Gobbelino the Witch’s Cat. Their attacks on Potter contrast with the Pope’s, who praised them and J.K. Rowling for encouraging children’s imaginations. There was also a rabbi, who wrote a piece praising Potter as a kind of model for Jews.
I’m not a free speech absolutist. I believe the promotion of certain opinions should be outlawed. Obvious examples include anything that encourages the sexual abuse of children or real hatred and violence towards minorities. I have no problem with the law banning the incitement to racial hatred. This was introduced in the 1920s or ’30s with the aim of combating the rise of real Fascism in the form of Mosley’s British Union of Fascists, Arnold Leese’s The Britons and other violent, deeply racist and anti-Semitic outfits. I also believe that parents have every right to exercise concern and control about what their children read or listen to, or are taught at school regarding certain highly controversial issues.
But I am afraid that the rules against certain types of hate are being used to silence perfectly reasonable criticism. One of the quotes that my accusers have cited to show that I am an evil anti-Semite is a statement where I say that every state and ideology should be open to discussion and criticism, even Israel and Zionism. There is absolutely nothing anti-Semitic in that. Even the wretched I.H.R.A. definition of anti-Semitism states that criticism of Israel is anti-Semitic only if it is applied solely to Israel. But that sentence makes it very clear that I don’t single out Israel and Zionism for especial criticism. I simply state that they should not be above it. But to the anti-Semitism hunters, this is obviously too much.
I am very much afraid that freedom of speech, discussion and conscience and true liberty of the press is under attack. The Conservatives want to close down any view that isn’t their own, all while arguing they’re simply standing up for free speech against the censorious ‘woke’ left. And there are forces on the left trying to close down reasonable debate and criticism under the guise of protecting people from hate.
We have to be careful, and defending freedom of speech and publication from attacks, whether by left-wing councils like Brent and Lambeth in the 1980s, or right-wing local authorities like Tokyo and its law of 2011.
This should not be a partisan issue, but should stretch across the political spectrum. But my fear is that it won’t. And as both sides struggle to establish the kind of censorship they want, real freedom of expression will die.
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