Made a new friend while walking down Middle Meadow Walk. Extremely busy at rush hour with folks walking home from work and legions of students from the nearby university, and here is this handsome wee chap darting around among the trees just a few feet from hundreds of people, most walking past without even noticing he was there. I love that little things like this can happen even just walking home from work in a bustling city:
Hellboy & the BPRD 1954 #1,
Mike Mignola, Chris Roberson, Stephen Green, Dave Stewart
It’s always a good thing when the New Comic Book Day releases include Mignola and his merry group of collaborators bringing us fresh Hellboy stories. Although the main Hellboy narrative arc has finally finished with the Hellboy in Hell series, over the last couple of years we’ve been treated to these “young Hellboy” stories, starting with Hellboy and the BPRD 1952, which filled in some back history and gave us a view of Big Red’s very first time out as a field agent (1952 reviewed here, and you can read the 1953 review here). This week the latest mini-series kicked off with the 1954 installment, and, rather appropriately given the era it is set in Mignola et al have happily – gleefully, I am sure – raided some of the science fiction of the period, notably the 1951 classic film The Thing From Another World, adapted from Campbell’s Who Goes There novella and decades later the inspiration for Carpenter’s iconic The Thing.
As you will have guess from that, this tale is set in the frozen wastes, a great frozen ice-island in the Arctic, with a small scientific base on it. When one of their number is attacked in the almost-perpetual night of the Arctic winter the BPRD sent out Hellboy and Woodrow Farrier, a doctor specialising in cryptozoology. The ingredients are all here – remote location, small group under stress and threat, the fear of whatever the unknown “it” is, the claustrophobia of the small Arctic base. The men argue – some insist it was just a very large polar bear which tore apart their missing colleague, others, experienced in this climate, say no, a polar bear doesn’t reach that size. And then there was the awful stench which came with the creature…
There’s only so much information Hellboy and Farrier can glean from the men’s descriptions though – it happened suddenly, in the dark and snow and of course they were also attempting to escape with their lives, so they’re not really going to give any conclusive eyewitness accounts of just what attacked them (and one in particular seems inclined to be uncooperative, mostly because he doesn’t like the fact Farrier is black. Even with death circling them some still cling to bigotry and racism, although he seems less concerned with the fact that Hellboy is red and non-human than he does with the dark tone of Farrier’s skin, which makes him seem even more ridiculous, which I imagine was the effect the creators intended). And so with only one volunteer willing to go back outside with them, Hellboy and Ferrier embark on a creature hunt…
There’s a good bit more going on here, including some revelations a good bit later into this first issue, but there’s no way to talk about those without also blowing some (very cool and fun) plot points to anyone who hasn’t had a chance to pick this up yet, so much as I enjoyed those elements I will restrain myself. The approach and setting here, homaging those older sci-fi/horror tales is a geek pleasure – I’d guess most of us who love Hellboy would also love those tales, so seeing something in that period vein but starring HB is going to make us smile. Farrier is all wonder and excitement – an academic, he doesn’t get out into the field too much and he is so excited at the thought of a possible unknown species that he’s almost like a kid, oblivious to the danger, while Hellboy, for all he’s only been a field agent for a couple of years by this point, is already experienced and a bit more jaded (probably just a mutation, he tells the over-excited Farrier). And there are later elements which nod both to more sci-fi of the era and also to some old Hellboy opponents too, but again I will keep my big mouth shut on those for fear of spoilers.
It’s never easy for any artist to approach Hellboy – Mignola’s visuals over the first couple of decades of the character’s life are pretty much iconic in style and palette, and it cannot be easy for any other artist to come in and draw the character in their own way but also maintain a visual cohesion to the years of previous art. Green, however, pulls it off nicely, right from the opening of the Dakota rumbling into a frozen airstrip and Hellboy jumping casually out and lighting up, to the bursts of action and then (well, then those other parts that I am not going to mention for fear of ruining the surprise).
This is an absolute pleasure, especially for those of us with a love for some of those old pulp sci-fi tales and films of that era, and it seems clear to me the creators are also having fun, and that always comes across to the reader.
This review was originally penned for the Forbidden Planet blog
“Space: the final frontier. These are the voyages of the starship Enterprise. Its five-year mission: to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no man … where no-one … has gone before.”
Two of the most enduring television series of all time were born out of that remarkable era of social, artistic and scientific revolution and evolution, the 1960s, series which didn’t just capture the attention and love of the science fiction fans but of a wider audience, appealing to men and women, to different ethnic groups, children, adults, which would become so successful they would become embedded into the popular culture to the level where event those who aren’t fans are still aware of the icons of those series. They are also two of my personal life-long favourites, and I use “life-long” literally – as I’ve grown up with these series and their later evolutions. They have always been in my life; they excited me, thrilled me as a child and engaged my imagination with adventure and wonder, but also set my young mind to thinking, inspiring me to seek out books on related subjects the stories would touch on. How many of us have shared that experience, that inspiration?
One of those shows has already celebrated its fiftieth anniversary year, our beloved Doctor Who. The other one which has gone through my whole life with me marks fifty years today: Star Trek.
As with Doctor Who, although there may have been a few who thought there was something special about the work in the beginning, no-one could really have foreseen the cultural impact the show would make across half a century (and let us hope, with new films and a new series to come, much longer). Like many of the best tales this is a story of triumph against the odds – famously the pilot episode, the trial show shot just for the suits at the network, was rejected. Trek creator Rodenberry, as I recall even as a kid listening to him on my Inside Star Trek LP (yes, I still have it) back in the 70s, promised the channel a “Wagon Train to the stars”, following the hugely popular Westerns of the period but set in space but brought them something more cerebral. But then in an unprecedented move the network let Rodenberry fashion a second pilot episode, and from that the series sprang forth.
And while Star Trek delivered more than its fair share of action, fist-fights (with ripped shirts, naturally) and more, as the network wanted, it also offered up something more cerebral, many of the stories adding a more thought-provoking layer. It addressed racism (this in a 1960s America in which city streets were sometimes burning during the fight for Civil Rights), equality among all regardless of race, colour, gender, of overcoming our own flaws to become the better versions of ourselves, and by doing so create a finer world, the nature of power and the responsibility to use it wisely. The wonderful Nichelle Nichols, our First Lady of Geekdom, was told by Doctor Martin Luther King himself that her presence on the bridge of the Enterprise was important – a woman, and a woman of colour, on a prime-time TV show, occupying a position of authority as a senior officer, it sent a signal to others who weren’t seeing many other people of colour on their screens back then. Nichelle would later work with NASA to use her Trek fame to encourage more women and more minorities in the space programme and sciences, just another in the many ways the show inspired others.
“Poverty was eliminated on Earth, a long time ago. And a lot of other things disappeared with it – hopelessness, despair, cruelty…,” Counsellor Deanna Troi, USS Enterprise, talking to a time-travelling Mark Twain.
As you may have guessed I am not going to reiterate the history of Star Trek here – plenty of others will be doing that for the anniversary (pleasingly among the mainstream press too, not just among our geek community – Trek has reached out everywhere) and besides, most of you are more than familiar with it anyway. No, this is more of a personal piece, a few thoughts on what Star Trek has meant to me over the years, and I’m pretty sure it has had a similar effect on many of you. I’ve read and watched a huge amount of science fiction since I was a wee boy, and I still do, and I have loved so much of it. But what marks Trek out as extra special to me is quite simple: the quality of hope. Hope for the future, hope that we can overcome our own failings, that we can rise above pettiness, greed, selfishness, be better people, and by extension make the world a better place.
Just recently I was talking to Mary and Bryan Talbot at the Edinburgh Book Festival about their Red Virgin and the Vision of Utopia, a historical and biographical graphic work about a nineteenth century revolutionary, activist and dreamer, but one which also touched on the Utopian elements of some of the science fiction of the day, imagining overcoming poverty, disease, the grotesque inequalities in society so that everyone had their fair chance. The book was dedicated to their friend, the late Iain M Banks, as an author of future utopias himself with the Culture. And at one point we noted how the Utopian theme has dropped more and more, in recent years, that the dystopian future seems more common in science fiction, not just because it offers drama and spectacle but, it seems, because so many of us look around this world and wonder where that optimism of the mid 60s went to? That we would overcome, that we would evolve morally and use our knowledge and technology for the betterment of all?
And it isn’t hard to see why, in a world where zealots slaughter innocents and equally vile bigots then blame entire sections of society for their actions, increasing division, difference, hatred, while the 1% claws ever more wealth, resources and influence and the rest despair and give up thinking what can you do, what difference can any of us make… To my mind though that makes the hopeful message of the Star Trek future more important than ever. A future where we can build something as vast and powerful as the Enterprise (the ship, I would argue, is almost a character in her own right), but we do so not for some imperial colonisation or warfare or conquest, but for exploration, for advancing knowledge, learning from other cultures, just because we can and because it makes us better, stronger as a species.
Utopias rarely come to actual reality, and if they did they often would by a dystopia to some because we all have different ideas of what they should be, these things are rarely a one size fits all match. But we’ve dreamed of them forever, and the dream that we can make it better because, because we simply have to, it has to get better than this or what is the point? That dream is an important spur – we may never have a Federation-like ideal society (I suspect Babylon 5’s visions of a more divided future is more realistic, given human nature and history), but if it inspires more to fight for equality, to have rights enshrined into law to protect everyone, to expand educational opportunities and awareness of other problems, practical and moral, that we need to address, then that dream is serving a good purpose.
“The greatest danger facing us is irrational fear of the unknown. But there’s no such thing as the unknown – only things temporarily not understood,” Captain James T Kirk.
Of course there are many other qualities to Trek – the deep bonds of friendship between the characters are emotionally satisfying, to the extent that many of us feel as if these fictional characters are almost people we know (and we feel the same about the real actors behind those characters, and it causes us genuine grief when we lose one of them). I think that and the dream of a better possible future are some of the reasons why Trek, early on, spawned an entire fan community and early conventions; it brought a lot of people from all over the planet together. It still does; in many ways those early Trek conventions and gatherings and cosplaying (before that term was used widely) set a bit of a template for the SF and comics and gaming conventions that are so common now.
And there are so many of the stories across the various series and films – I’m sure each of us could fill a whole post with our favourite episodes and why we love them so much. City on the Edge of Forever, with Harlan Ellison’s compelling time-travelling romance and the horrendous personal cost in protecting the integrity of history. Patrick Stewart’s measured but beautifully emotional role in The Inner Light, living a lifetime in a few hours with a people long, long gone. Avery Brooks’ Sisko wrestling with his conscience over methods he would never normally use but is forced into for the greater good, but at enormous personal guilt: “I can live with it. I can live with it…”
Or the fantasy of Deep Space Nine as a 1950s pulp sci-fi series in a magazine which couldn’t admit the writer was black, and the blurring of which was real and which was truly the fiction. Majel Barrett-Rodenberry and M*A*S*H* star David Ogden Stiers facing love late in life and death in a culture with very strict rules on age. Data creating a daughter, who lives only a short time but is so grateful for the gift of that life. Patrick Stewart and Paul Winfield playing members of two very different species, desperate to bridge the communication gap, using storytelling and myth, in Darmok.
And then there are the ones which just flat out made us laugh with our cast of friends – the Trouble with the Tribbles (and the wonderful DS9 tribute decades later), the Little Green Men where the Ferengi find themselves back in time at Roswell (and dealing with rather rougher humans than the evolved Federation types they are used to). And… Well, again I think you all could be coming up with similar lists and also thinking the more you come up with the more others pop into your head – oh, what about? And then that episode where…?
But for all that again I come back to that simple but incredibly precious quality that Star Trek has delivered again and again across half a century: hope, that optimism that whispers to us that we can make the real future a better place. Live long and prosper.
(this piece was originally written for the Forbidden Planet Blog)
It’s Edinburgh, it’s August and that means festival time – the city is bursting at the seams with the Edinburgh International Festival The Art Festival, The Edinburgh International Book Festival and, of course, the world’s largest arts festival, the Fringe.
And that means me taking a lot of photos, mostly on the Royal Mile, where the performers traditionally congregate to try to build an audience – with hundreds of shows you really have to fight for bums on seats at the Fringe, and a lot of shows often don’t get many while others sell out, so being noticed is all important, with many out in costumes and make-up, others perform small snippets from their shows on the wee stages set up along the Mile, and it’s just packed pretty much wall to wall on the section of the Mile along by the Cathedral. Happy hunting ground for taking pics, first year I have been using the new camera, which is still a bridge camera but with manual zoom and manual focus, which has been a real boon, much quicker and easier than relying on auto-focus, especially in a busy, chaotic street environment with lots of movement of folks.
As always click the pics to see the larger sized versions over on my Flickr photo stream.
That manual zoom and focus is proving damned handy for taking quick shots of moving performers, and the larger zoom means I can get in a bit closer for capturing this kind of shot:
Sometimes masks must be used to protect the innocent…
Plenty of singing on the Fringe too:
Not to mention dance:
And some enchanting smiles
Watched over by the Fringe Police! You picked the wrong festival to haul ass through, boy!
During the Edinburgh International Film Festival last week I saw a film called Cinema, Mon Amour, a documentary about a group trying to save an old cinema in Romania. Afterwards the Filmhouse very kindly gave us a short tour of the main projection booth – we had to be quiet and I couldn’t use the flash as another festival screening was going on below us (we could see it through the wee rectangular window in the booth). The pair of decades old cine projectors are named Kenneth and Sid – even in this bastion of arthouse and international film, the Carry On movies have influence!
Quite nostalgic for me to see these and hear them – the whirring sound of anaologue projectors is part of my childhood memories of cinema, and at home we had a Super 8mm cine camera as well as our 35mm still cameras, and we screened them quite often on long winter’s nights for the family. There’s something satisfying about old analogue tech like this, you can see it moving, see how it works. The Filmhouse must be one of the last cinemas in the city that retains the ability to show actual film prints as well as digital and properly trained projectionists. They were telling us about their skills, from being able to change from one projector to the other seamlessly mid-film, fixing broken celluloid to adjusting focus, ratio and even speed for different formats and eras (early films shot on hand-cranked cameras require a lot of skill to adjust the film speed, since their shooting rate varied as cameramen’s arms got tired. Lovely to see these magic lanterns which paint stories on a screen using nothing more than light…
I’m enjoying a few days off for my annual Edinburgh International Film Festival fun. Last night at the Traverse Theatre as part of the film fest they had an “in conversation” with French actor Dominique Pinon, who has appeared in a number of my favourite films over the years. One of those evening that reminds me one of the reason I love living here so much is that with our festivals everyone comes to Edinburgh at some point, writers, directors, actors, musicians, they all come here. I took a few photos with the new camera – sitting several rows up and back in a theatre so not the best place for taking photos, but out of the batch I shot a handful came out passably.
The Red Virgin and the Vision of Utopia,
Mary and Bryan Talbot,
I’ve been eagerly awaiting this new work from the Costa Award-winning Mary and Bryan Talbot for month, and Mary and Bryan’s recent guest Commentary post whet my appetite even further. Was it worth the wait? Well let’s put it this way, I read it last week then found myself re-reading it twice over the weekend on a train trip back home; it’s one of those books that very much deserves another pass because there is so much going on here, between the history, the politics, the biography and, of course, the detailed art, that it rewards you handsomely for re-reading.
The Gare de Lyon, Paris, January 1905; our first glimpse of Louise Michel, political agitator, feminist, revolutionary, fighter for equality and a dreamer of a better, fairer world. And it is her funeral, a full-page, appropriately with a black border, mostly black, white and grey tones, save for the deep red of the funeral flowers and the red of revolutionary flags. Thousands have turned out for the final journey of Louise, and caught up in the busy procession and arriving American writer, herself no stranger to the ideas of Utopias or the fight for more equality, Charlotte Perkins Gilman, arriving at the station to be met by young Monique. Gilman is in the middle of a European lecture tour, and while they wait for the procession to pass Monique explains that the funeral is for Louise Michel “She spoke out for the people. We loved her.” Gilman recognises the name – the two had met on a previous lecture tour and spent a pleasant evening discussing Utopian fiction. Monique offers to tell her more about Louise, and this is the clever framing device which leads the reader into the story of this remarkable, revolutionary woman.
It’s snowing heavily in the run-down streets of Montmarte on a December evening, 1870. Montmartre today still has a slightly different look and feel to it from much of the rest of central Paris, but back then it was more like a tumbledown village. A full page gives a wonderful impression of the place, a caped figure shivering through the snow, you can almost imagine the soft runch-runch-runch of footsteps in the snow and the quiet, damped sound that comes with the snow. Inside a group, mostly women share what little food they have, huddled around a lantern, its glow uplighting their faces, including the face of Louise, a face that combines compassion, intelligence and strength. These are people in a poor district who have little at the best of time, but as the Franco-Prussian War and then the siege of Paris drags on (these are events which would lead to the creation of modern Germany after France’s defeat).
But despite the biting winter outside, the lack of food and heat, the war, the poverty, this is a warm scene, these are people who are friends and neighbours, people who help and support one another. And while this helps introduce Louise and the conditions which helped drive her desire to change the world, it also provides some beautiful little details – a cat happily snoozing on a woman’s lap, and its indignant expression when she leaps up – which brings the scene to life, makes these not just characters in a tale but real people, people we can recognise and empathise with. And that makes this more emotional, personal, relatable, not a remote moment of history, but events involving real people, and that enriches everything which follows.
And what follows… Ye gods, what an amazing life. I knew of the Franco-Prussian War, of the changes it lead to in French government and had heard a little about the Paris Commune. But I hadn’t heard of Louise Michel. And after reading (and re-reading) this book I’m wondering why I’ve not come across her story before. Perhaps it’s one not widely known outside Francophone histories. However that just added to the pleasures of this work; that wonderful, warm feeling that comes from having both an engrossing story and learning something new and fascinating. Our modern society is still hideously unfair and unbalanced – we need look only at protests in recent years over the ever-increasing gap between rich and poor and the influence and control the former accrue to themselves, or the way people – even in supposedly “advanced” cultures are mistreated because of the colour of their skin, their gender, denied opportunities for not having gone to the “right” school… And here’s this woman in a poor arrondissement of Paris in the 1870s fighting – quite often literally – for education for all (and girls to be taught the same as boys), proper political power from the people, ensuring resources of nations are used for the betterment of their people, not just a few at the top…
The Talbots take us through the heady days of the Commune, moments of brief triumph before the brutal re-imposition of Almighty Power (a government and army that couldn’t defeat the invading Prussians but was able to turn its guns on its own citizens). Thousands are killed, many survivors imprisoned or transported to the distant colonies. And still Louise Michel doesn’t stop fighting, she doesn’t stop studying and arguing and dreaming. Even exiled to the far side of the world she takes it as an opportunity to learn more, to expand her horizons. In a period of high imperialism she instead talks to the natives, learns their ways, language, culture and in turn teaches their children just as she teaches the children of the French exiles in her makeshift school, seeing in the colonial mastery over others the same blind, greedy power which she fought in the streets of Paris.
Having young Monique, then later her elderly mother (a friend of Louise Michel’s, and one who stood alongside her) telling Gilman their account of this remarkable, revolutionary woman is a wonderful way to frame Louise’s story, leading us in easily to the events, adding human depth and emotion to these events, and it is little surprise given Mary’s academic background that the work comes across as well-researched and boasts an appendix of notes and sources which are also quite fascinating. The artwork throughout is beautiful, as you would expect from one of our masters of the medium, from subtle use of colouring around the pages (jet-black for the funeral and opening, a much lighter page tone for the scenes in distant New Caledonia, intimating the brighter light quality.
There are some memorable images – a line of soldiers marching but with their loaves impaled on the bayonets of their hoisted rifles (something thrown up by research but which makes such a lovely visual image), to the revolutionaries ripping up the street cobbles to erect barricades, in true, traditional Parisian fashion, sudden “terrible beauty” amidst the horror as erupting cannon fire causes the spring blossoms to rain from the trees, a ghastly set of double-page spreads showing the bloody aftermath of the brutal suppression of the Commune, dark, dark, dark pages of bodies and the suffering of the survivors, seen as if through falling soot and smoke from gunfire, the bright red normally reserved in the book for the flags and Louise Michel’s scarf here given to blood of ordinary citizens pooling in the Parisian streets. Coming almost midway through the book those pages are sombre, shocking and a reminder of the bloody cost that has been paid time and again by those trying to change the world.
This is an utterly fascinating book, a beautiful meshing of history, story and art, telling the story of an inspiring woman and of causes that are still far, far too relevant in our own modern, troubled world. There’s a lovely mixing of the Utopian science fiction of the period, of that dream that all of this marvelous new technology coming out of that period, and what will come later, will be used to finally free all of humanity from drudgery and suffering, to essentially create something not unlike the Federation in Star Trek, and a number of references are made to the SF literature of the period and how it helped inspire those dreamers wanting to change the world (as many tales today still do, and thank goodness for them, because what would we do without those dreamers pushing the rest of us to try and make things a bit better, even if we never quite get there, but we keep stepping closer at least). And this also allowed Bryan to indulge in a nice scene showing one of those imagined Victorian SF futures, a little visual treat.
In a lovely touch I was moved to see that Mary and Bryan had dedicated this book to another writer of Utopian science fiction, the late Iain M Banks, who I imagine would have heartily enjoyed discussing Louise Michel with the Talbots over a good dram. Powerful, moving, thought-provoking and fascinating. It’s only May and I already know this will be going straight onto my Best of the Year list come December.
You can read a guest Commentary post by Mary and Bryan Talbot talking about how they came to write the Red Virgin here on the Forbidden Planet blog
This review was originally penned for the Forbidden Planet Blog. Mary and Bryan Talbot will be at the Edinburgh International Book Festival on the 27th of August
Walking around the annual Meadows Festival recently, beautifully bright, summer day, and I could hear old music drifting over the air. It was coming from this very handsome old HMV gramophone on a stall selling antiques:
Rather lovely thing to see and hear, especially in the park on a warm afternoon in the sun…
A few weeks ago I took a photo of an old ship which was being readied for a new paint job down in the harbour at Leith, half covered already with a fresh coat of primer, the floating scaffolding for painters moored next to the hull:
I looked up the ship, MV Finagal, and found it was an old lighthouse tender for the northern lighthouses, long retired. And it wasn’t just getting a new paint job as such, it was being primed for Edinburgh based artist Ciara Phillips to work on, with a modern interpretation of the WWI dazzle camouflage as part of ongoing events around the UK for the 14-18 Now campaign marking a century since the Great War.
Since you can’t camouflage a ship on the high seas the way you can a tank or an infantry position on the land, the idea, developed by Norman Wilkinson, was to use vivid colours and abstract patterns (informed by then modern art) to break up the outline of vessels. Imagine looking at this through the periscope of a U-Boat as it heaved up and down on the open seas, struggling to make out what type of ship it actually was, its size, direction, bearing, distance… I’ve only ever seen dazzle camouflage in old photographs, quite remarkable to see it on an actual vessel with my own eyes. Part war memorial, part art installation, this is also a part of the Edinburgh Art Festival and will be moored in Leith for several weeks.
This gorgeous video shows you the journey of a photon from the sun (well, the surface of the sun, I imagine – the journey from core to surface of the sun takes far, far, far longer), out into the solar system and all the way past the inner, rocky worlds until it reaches mighty Jupiter, king of the planets, all taken in real time. The speed of light is fast – the fastest thing we know of (so far, not counting possible existence of supralight particles). So fast, as one writer observed, that most civilisations take millennia to realise light even travels at all. But when you move out into the vast distances of space even the speed of light seems tardy by comparison. It’s some eight minutes and twenty seconds just to reach us on Earth, and we’re only the third rock from the sun. “Riding Light” takes us out beyond the terrestrial worlds – Mercury, Venus, Mars, Earth – then on, avoiding the tumbling asteroid belt, until it reaches magnificent Jupiter, some forty five minutes later: