Superman and 1776

I suppose that since he was a topic of my last piece it’s abundantly clear that I love Superman. If you were to kick aside the energy drink cans, masks, and bottles of hand sanitizer in my car you’d find my floorboard mats with the big ‘S’ shield. I only follow a couple of DC or Marvel characters and The Man of Steel is #1. I love that he has all these cool powers and earth-shattering villains but mostly I just love what he symbolizes to me. With all of his resources and abilities his main focus, at times sole focus, is to help others. Ostensibly helping “the little guy” because, compared to him, everyone is a little guy. But saving a lost little girl is as important to him as protecting a planet. And most importantly, Superman does all of this with joy. He may not always be smiling (just look at any Alex Ross painting) but he does what he does not for praise or profession or psychosis or anything else. He just wants to help people. Superman is, for the time being anyway, my favorite mythic symbol.

I call Superman mythic because he is not grounded in reality. He is purely a work of fiction and is a tool by which artists and writers seek to explain what they envision as higher ideals.

Did you know that Superman was a Jewish socialist? Okay, maybe he didn’t attend a synagogue in Smallville but his creators, Jerry Siegel and Joe Shuster, were both the sons of European Jewish immigrants and both believed in the social justice causes of the late 1930s. While the “Golden Age” Superman may have used some irrational and brutish tactics (he was not afraid to threaten brainings or allow deaths) you could see where Siegel and Shuster’s allegiances lie based on their antagonists or conflicts: Corrupt politicians, unsafe mines, LOTS of shady businessmen, poorly built housing projects, war profiteers, and so forth. Superman was not always civil but he was often disobedient. And the fact that he chose the profession of journalist as his disguise was significant because even in his off time he wanted to speak truth to power. There is no denying what ideals Superman was to represent.

But with success came the scourge of capitalism. In what would lead to decades of court cases and billions of dollars for corporations but not creators, creative and licensing control were deceptively taken away from Siegel and Shuster. As editors of then-National Publications took over the creative reins of Superman, particularly under the watch of Mort Weisinger, Superman went from being a force of social upheaval to a stalwart of the status quo. No longer challenging law enforcement or the military industrial complex he became, proudly and literally, The Big Blue Boy Scout. His villains became more spacey and from the world of science fiction while trying to preserving a social order. The motto of “Truth, Justice, and the American Way” was introduced, essentially turning the super vigilante into a super cop.

Things change though, don’t they? Since then Superman’s origin has been revised and rewritten in at least 3 major stories all with different meanings. Was the “S” the symbol of Krypton or the House of El? Was he put in the spacecraft as a baby or was he in a gestation chamber and effectively “born” on Earth? Does he like meatloaf or is he a vegetarian? The point is that Superman isn’t real and that by being mythical we are allowed to embrace the parts of him we want. The ideals of a certain era may be more engaging to us but the power set of a different era may seem the coolest. Regardless of the details you prefer by wearing a shirt or protecting a floorboard with the Superman ‘S’ you are identifying with something mythic and selecting the meaning you want to embrace.

Which brings us to 1776. A good friend of mine, Tony Edwards, and I have had a bit of debate on social media. After the January 6 attack on the US Capitol by pro-Trump nationalists I have been criticizing some of the symbols and groups that have been associated with the coup attempt, namely QAnon and III%ers. Later on, under a different thread but under my same post, I mentioned “1776” shirts. Tony has given me permission to share a portion of his response to my identification of that symbolic number.

“Every American, of any background, has a good reason to celebrate 1776.While it is true that the promise of freedom promised in the Declaration of Independence wasn’t extended to everyone initially, it nevertheless set the stage for an advancement of liberty in the future.”

I wanted to respond to his comment there I realized that I would take up a lot of space in the thread and I decided I needed to take a break from my long “Be a Better Geek” hiatus and use this platform for what it was intended: combining the culture of geekdom with social commentary. The reason being that I think the symbol of “1776,” just like a Superman “S,” reflects a mythic ideal and is not based in reality. It might be based in a vision of the world we would like to see but it does not, historically, bear itself out in reality.

Capitalism, particularly as it was born and grew in the Americas, is a result of human slavery. And I don’t simply mean explorers seeking gold and then enslaving indigenous people though that is where it started. I mean the creation of capital is a direct result of enslavement in the colonies and settlements of the Americas. Banks and credit were created to facilitate the slave trade. From the northernmost parts of the colonies down to the southernmost point, from the east to the west, industries, wealth creation, and every aspect of trade existed as a result of enslavement. Human beings were the collateral for agriculturalists and merchants. And the Declaration of Independence in 1776 didn’t seek to change that.

No, the Declaration of Independence wasn’t about human freedom. It was about, OPENLY ABOUT, the creation of the white noble class in the Americas. It wasn’t to help out “the little guy” from the tyranny of “the man.” It’s intention was to liberate wealthy, white enslavers from a distant empire in order to build their own empire and to hold onto as much of their own wealth as possible. They weren’t even espousing bullshit about trickle down economics. They wanted to formalize American gentry, restrict land ownership to a few, and to be able to amass wealth from their already stolen property. This is much more than Africans, women, First Nation, and the poor people not yet reaping the benefits. It was intentionally excluding them from reaping the benefits.

We have since revised the meaning of 1776 though. As more people were able to incur debt to a banking system founded by slavery more people became land “owners.” We have embraced this mythic idea that the American story is about freeing our bonds from a tyrannical master and that we are willing to do anything to break those chains. That appeals to me. I get that. I feel that. But the reality is that even that mythic idea has been co-opted by American anti-government nationalists. Look at that 1776 symbol on shirts. How many times does it have crossed guns? How many times do you see some messaging about “God” as if to connect the mythic American past to one of divinity?

The people storming the Capitol weren’t wearing Superman shirts. Sure, I know Trump openly discussed the idea of brandishing a Superman shirt after getting out of the hospital with COVID but since he is a boastful, openly anti-social justice, anti-immigrant, and downright mean asshole he is the exact opposite of any era of Superman. These domestic terrorists had Confederate flags, Gasden flags, Qs, and 1776s as their symbolism. And while I don’t equivocate 1776 with a swastika I do think care, thoughtfulness, and consideration should be taken before using it as symbol of association and identification.

An aside, most of my friends seem to think Superman isn’t cool. They are right. He isn’t cool in the least. Which is part of why I love him. There isn’t an iota of cynicism. There isn’t a moment of nihilism. He represents hope and kindness and a universal embracing of humanity even when parts of it don’t embrace you. I’m going to continue to love Superman and, maybe only on the best of my best days, try to embody the values of my favorite mythic character.

Recommended Reading

Golden Age Superman by Jerry Siegel, Joe Shuster, et al

Lies My Teacher Told Me: Everything Your American History Textbook Got Wrong by James W. Loewen

Man of Steel by John Byrne

Stamped from the Beginning: The Definitive History of Racist Ideas in America by Dr. Ibram X. Kendi

Superman: Birthright by Mark Waid, Leinil Francis Yu, and Gerry Alanguilian

Superman: Up in the Sky by Tom King and Andy Kubert

Superman: The Unauthorized Biography by Glen Weldon

Superman: The High-Flying History of America’s Most Enduring Hero by Larry Tye

The Half Has Never Been Told: Slavery and the Making of American Capitalism by Edward E. Baptist

If Superman Can Do It…

Miss me? I sure have missed you. I didn’t mean to fall of the face of the Internet but as I’ve mentioned before I can have a demanding schedule. But I have encountered a great opportunity to address something of recent news in the world of fandom.

You may have heard that I read comic books. This is true. But I don’t get to direct nearly as much time to one of my favorite hobbies as I’d like. And so over the last few weekends I’ve been trying to get caught up on reading Superman comics, namely “Action Comics” and “Superman,” both of which are written by former all-things-Avengers scribe and Miles Morales creator Brian Michael Bendis. I don’t keep up with sales figures or reviews or anything like that so I don’t know if his stuff meshes well with the current lineup of DC Comics titles but I feel like he knows how to strike that great balance of incorporating the spectacular power of Superman and the bespectacled humanity of Clark Kent. But now things are about to change.

I finally got around to reading the well-publicized “Superman 18″ in which Superman reveals to the world that he is Daily Planet reporter Clark Kent. It could very well mean that this is one of the single most important comic books of the early 21st century. Despite speculation from some fans that this will be a reversed decision it feels to me to be a turning point in comics that will forever shift their dynamics. One only has to look at the Marvel Cinematic Universe and the game changing ending of “Iron Man” in which Tony Stark reveals Iron Man’s identity to see that the challenges of being human and super powerful are always complicated and that secret identities are not always realistic or relevant story points. I just picked up “Superman 19” this week and cannot wait to see how things begin to shake out.

But beyond the arc of comic book stories I found something far more profound within the events of this comic book which drove me to joyous tears. Context: I like to listen to audio books when I am driving around for work. My most recent one was the autobiographical Tranny: Confessions of Punk Rock’s Most Infamous Anarchist Sellout by Against Me! frontwoman Laura Jane Grace. Much of the book is about her drives into drug abuse and depression as she deals with her gender dysphoria. It was a subject that I had an intellectual conception of but it wasn’t until I read this book that I really got a sense of the feelings it must mean to be transsexual. The book answers a lot of sensitive, difficult subjects that a trans person shouldn’t have to share with others but is revelatory to those of us who are not trans. When I think about my handful of friends who have transitioned over the years I can only imagine the struggles that they have had to deal with internally, much less externally. And when Laura finally opens up to those she loves and comes out it is both a relief and the beginning of a whole new world of challenges.

And so now we have Superman coming out. Not as trans or gay or (as in my case an atheist) but as both the birth son of Krypton and the adopted son of Earth. But surely this won’t come easy for him and others to process. Yes, he spoke to his loved ones first as they will likely be directly affected by his decision (the wordless page with him and Perry White KILLED ME), but ultimately it’s a story about a person who has it all but has had to lived a lie and now he has to deal with it. Yes, Superman will have to deal with his life of deception. And while it was a deception he kept up for the perceived good of the world it still stood in violation of his pursuit of Truth and Justice. Despite all of the acts of bravery and valor attributed to Superman I was moved to tears because opening oneself up to criticism, self reflection, and vulnerability is perhaps his greatest act of courage. I often differentiate heroic characters as either inspirational or aspirational and for me Superman is the ultimate inspiration. It is my hope that with Superman coming out to the world that others may find the inspiration they need to open up their own hearts and lives.

Superman 18” is available at any of your totally awesome local comic retailers and Tranny: Confessions of Punk Rock’s Most Infamous Anarchist Sellout is available online and at better bookstores and cool ass libraries!

Live Long and Prosper

“Live long and prosper.”

Introduced in the STAR TREK episode “Amok Time” Spock spoke these immortal words along with the iconic Vulcan hand gesture.

Leonard Nimoy borrowed the hand gesture from a Jewish blessing and it has since grown an identity of its own. But it’s those words that speak to me.

All I really want for anybody is for them to live long and prosper. In fact, that is the ultimate goal of the entire staff of “Be A Better Geek” (yes, I’m counting the cat as a team member) and I hope of anyone who follows this site. I want people to be able to live their own lives and be able to find joy, love, compassion, good health, generosity, and hope in their lives. To me the greatest ideal is to help others also find that and to be able to be unburdened by fear of others or personal growth. I hope that in some small measure my words help to cultivate that search for joy and community growth.

And to acknowledge the obvious elephant in the room: yes, it affects my ideology. My social and political views are guided by the goals set forth by the Vulcan greeting. Yes, there are people whose ideologies are in direct opposition to myself. There are people who I think prosper, economically or politically, by exploiting others. But I do not wish harm upon these people. I’ve heard people wish suicide or diseases on their enemies. I have watched people die by the grips of depression or terminal disease and I wouldn’t want that for anyone. But I do want my ideological and philosophical opponents to find a sense of humility and compassion for their fellow humans. Perhaps they should study the character of Spock. He was a scientist, a compassionate friend, and an inspiration to many generations. And thanks to him we have the most important words in geekdom.

Geek in the Streets

One of the papers I wrote in college was about Roger Corman and his thematic use of outsiders in his films like the bikers in “Wild Angels,” the hippies in “The Trip,” and the beatniks in “A Bucket of Blood.” I can’t say that marginalized people is what initially drew me to his films but I have always been fascinated by outsiders and members of counter cultures.

I wasn’t a hippie, a beatnik, or a biker but as a geek in western Lawrenceville, Georgia I definitely felt like I was outside of the mainstream. I didn’t care about sports, especially the semi-religion of college football. I didn’t enjoy outdoor activities like fishing and didn’t go hunting with my dad. And though I went to church at that time I wasn’t Baptist or Methodist so I wasn’t even in the popular religions. I would later learn that there were other parts of the city and county that weren’t quite as southern, white working class as the area I grew up in but I was smack dab in the middle of what natives called “Dawg County” and my best friend was a cat named TJ. In middle school I met a few people who watched some science fiction movies and introduced me to “The Hitchhiker’s Guide to the Universe” but it wasn’t until I got into high school that I found other kids who read comic books.

These days my nickname is SpaceCat. Back then it was “long-haired, hippie faggot*.” I was called lots of names. I was picked on frequently. I can’t say that whether I delved deeper into a world of comic books and fantasy more as an escape from the bullying or that being a geek attracted the bullies. I was especially awkward thanks to being on the autism spectrum and being overweight and without any athletic ability.

I didn’t fight back. I got angry. I got depressed. And I pushed away from people who didn’t share my interests. But I still wanted to have friends. And in high school I found them in 2 places: honors English and at the comic book store. I have lifelong friends to this day from those places. Keeping it 100 here: the kids at the comic book store were a little less motivated than kids in honors classes. And in the early 90s comic book stores were almost entirely patronized by boys and men. “Elfquest” and “Sandman,” which had substantial but still minority female readership, were the exception to the rule but mostly comics were marketed towards and purchased by males. Lots of hypersexualized women and musclebound men with guns were the popular fare. Now that I look at it now the industry created this echo chamber where they thought only boys read comics so they only made comics for boys. But since I hadn’t had much experience thinking out of the limited androcentric worldview I just thought comic books were cool and I was disappointed that there weren’t more girl readers. That’s why ComicsGate and the whole gatekeeper mentality seems so backward to me now. I wanted to share my passion with girls because, let me tell you, I wasn’t sharing ANY passion with girls. But more on that later.

*I detest this word. Yes, I am primarily heterosexual and I know that a lot of people use that term because in their eyes it’s demeaning to be called gay. I didn’t pursue their perceptions of masculinity and it fed into their bullying. I think homosexuality, heterosexuality, asexuality, and pansexuality are all awesome and cool and so it hurts to know that a person would be marginalized and treated poorly because of one of them. I can’t imagine how hurtful that word is to members of the LGBTQA community.

Review: “HEATHEN Vol 1” by Natasha Alterici and Rachel Deering (Vault Comics)

After the recent announcement that “TWILIGHT” director Catherine Hardwicke has signed on to make the an adaptation of Natasha Alterici’s fantasy comic book “HEATHEN” the following summary was given in IndieWire:

“The story follows fierce Viking warrior Aydis, who is scorned by her village for kissing another woman and declares a one-woman feminist war against the ultimate patriarch, Odin, the god-king of Asgard and all-seeing father to thunder-god Thor.”

What a pitch! I immediately ordered a copy of the collection of the first 4 issues of the comic. After reading the collection you couldn’t find a more succinct, accurate description of the narrative. Of course this is just the first 4 issues of the comic. Since then 2 more issues have come out and it was recently announced this year that issues 7-12 are to follow.

The heathen in question, Aydis, is the daughter of a respected warrior of a Viking community. She flees her tribe because of an earnest, loving kiss to another woman setting up her story of adventure and self discovery. Elements of Norse folklore, with immortal warriors, Valkyries, and enchanted animals act as a backdrop to what is essentially a tale about finding empowerment in yourself and loved ones, embracing your individual journey, and rejoicing in your sexuality, whatever it may be. It’s not an overly complicated story but it’s an earnest one.

It’s unfortunate that the world is filled with myopic individuals and communities that want to set limitations on self exploration and want to place obstacles to growth and experience. And while that myopia may be of many different stripes in “HEATHEN” that limitation is the socio-religious regulations set forth by their chief god, Odin. And given that Odin is one-eyed, and therefore of singular vision, it is no surprise that Aydis knows to bring about liberation to herself and her community she needs to begin by destroying the source of patriarchal oppression, the aptly named All Father.

On a strictly formal level I want to give an appreciation to Alterici’s art. Her artwork has a graphic quality that brings to mind the clear storytelling of Alex Toth and David Aja. And while she still plays around with the illusion of space the intentional flatness of the artwork gives it a storybook quality that makes “HEATHEN” feel as much as fairy tale as it does a comic book. It has an overt sexiness to it, as it should given the storyline, but it isn’t played for licentious reasons. It shows sexuality in different forms, and all of them are about love – a love of others and a love of self. Given the positivity of that message it should come as no surprise that the book was recognized by the American Library Association YALSA in 2018 as one of their “Great Graphic Novels For Teens.”

“Heathen” is available at your local comic book store!

Tarzan and the Tarnished Idol

Writing about Edgar Rice Burroughs in the last “Be A Better Geek” I hit upon a topic that I want to explore further. While particularly relevant to geeks it speaks to a nearly universal human experience: idol worship.

Elmo Lincoln, star of the silent “Tarzan of the Apes” (1917, dir Scott Sidney)

In the previous post I mentioned how I think that there are Burroughs apologists who want to downplay the racism in his books. I claim his works are openly racialist in content while others think it’s an exaggeration or even a projection of the biases of people always trying to find racism in things. Obviously, I think I’m right and I think the evidence is overwhelming.

But here is a point that I failed to mention: I love reading Edgar Rice Burroughs’s books. I read “Tarzan of the Apes” 3 times while I was in high school. I had an actual, private conversation with “JOHN CARTER” director Andrew Stanton about our love of “A Princess of Mars” and the should-have-been Martian franchise that he proposed to Disney. As problematic as I find the ideologies reflected in ERB’s writings I still find his books quite enjoyable.

Burroughs brought a sensationalistic, mysterious tone to the adventure novel. He may have had his societal biases reflected in his work but he was also writing escapist fantasy. If you love space opera then you owe it to yourself to read his books. They are fun and descriptive, fast paced and action packed. The dude could spin a yarn. His influence is immense, particularly on another problematic writer whom I love even more, Robert E. Howard. You can love Tarzan and hate the racism surrounding the character and the culture from which he was created.

In the debate regarding separating art from artist I choose this compromise: be inconsistent and be flexible. Be okay with yourself for responding to different parts of art (like stories of Tarzan hunting) but also remember that just because some part of a book or movie or song resonates with you doesn’t mean that you have to fully endorse the creator. That’s how we fall into the trapping of idol worship. Maybe it’s an American quality, I’m not sure. But because we identify such emotional connection with the art we love we then project that love onto the artist. Sometimes this may be deserved. But other times it causes us to think un-clearly about the creator. I think we don’t want to acknowledge their faults because we fear that it can undermine our own emotional connection to art.

I think that’s a valid fear. An individual who once was a major influence on my world at large has turned out to be a terrible person. I can’t speak their name now. I can’t think of them without disgust. But I don’t beat myself up for their actions. But because I don’t hold them or any of the activities that I did identify with as sacred I am okay letting them go. Yes, you want to acknowledge the influence of others on your life and celebrate positive contributions. But it’s unhealthy and unsatisfying to base your own joy and self worth on the achievements or failings of others.

Fully engaging with the art and recognizing its faults is good practice for examining our own lives. You can still find areas in your life that need improvement without sacrificing your self love. For me it is a love of self that gives me the fortitude to address some of my shortcomings.

Mermaids, Vampires, and Jungle Kings

A Note from the Author:

In order to try to meet the demands I have placed for myself in releasing new blog posts I decided that I should go ahead and write some material in advance. I imagine this is an open secret among content creators. Anyway, I wrote something last week to be published this week that seemed to be prescient.

News coverage regarding the 2 mass shootings that occurred last Saturday showed us an ugly side of our American psyche. We know that one killer was a misogynist. We know that the other killer was a white supremacist. And as it just so happens my next few entries are about elements of racism and sexism within geek culture.

Geek culture is influential, powerful, and (often) intellectual. Let’s use these qualities for positive cultural change.

Halle Bailey was cast to play Ariel in a remake of “The Little Mermaid” and people lost their minds. People who could be spending time working to improve their own lives or the lives of others chose to devote time to expressing their anger at the casting of a young black woman in a role previously portrayed as an animated white woman. I don’t think it’s necessary to regurgitate all of their criticisms except I would like to isolate one comment that comes up A LOT when it comes to casting or presenting a character as a different race or ethnicity than has been previously portrayed:

“What if they cast a white man to play Blade?”

From "The Tomb of Dracula" (Vol. 1) #10 (1973)

So often have I heard people playing the Blade card. Maybe I just happen to notice this one in particular because, and you can put this on a poster board of personal quotes for my eventual memorial service, I LOVE BLADE. I love the character as presented in Marvel’s “Tomb of Dracula” series and I am an even bigger fan of his portrayal by Wesley Snipes in the New Line Cinema “Blade” movies. Some people rise to the occasion of fleshing out a fictional character. Wesley Snipes made the coolest Marvel superhero EVEN COOLER. Snipes is also very dark-skinned which, I presume, is why he is always the target of this particular re-casting trope. Alternatively, perhaps even more predominantly than Blade is, “what if we cast a white man to play Shaft?”

With that in mind let me flip things a little: what if we cast a black man to play Tarzan?

Right off the bat let me address the most controversial aspect of Tarzan: was his creator, Edgar Rice Burroughs, a racist? Just as with anyone who is heroic or an idol to people Burroughs has his apologists who will say something like “he wasn’t any more racist than anyone else in his era.” Since “Tarzan of the Apes” was first published in 1912, smack dab in the middle of the Jim Crow era, it stands to reason that “not anymore racist” was still pretty racist.

Do I think Burroughs was a racist? He might not have been a Klansman but Burroughs still romanticized the majesty of white people. Whether it is Carson Napier, John Carter, or Lord Greystoke himself Burroughs made his tales about a rugged white man, whether of noble birth or southern American aristocracy, who goes to a wild, untamed world and by his sheer will and determination becomes a leader. Yes, lots of stories are about the one person who changes the tide of things because dramatically it is easier to identify with fewer protagonists. But in an age of imperialism when Burroughs could have written a story about a lone black native being brutalized by whites he instead wrote about the lone, noble white boy who would become a king. And he didn’t even become King of the Jungle because it was his ambition or lineage. Tarzan was just being himself and so became the monarch. Is that the commentary of society by a white supremacist? It may not have been his ideological assertion but it certainly was a reflection of Burroughs’s existing bias.

So what if Tarzan were played by a black man? It would be more than an aesthetic choice, wouldn’t it? The story is explicitly about the Lord of Greystoke, by definition an English noble and therefore inevitably a white man. In 1912 English noblemen were white men. BUT let’s say the Greystoke family was black. It would mean that we somewhere must delve into the world of speculative history. Just like novels about “what if Nazis won WWII” or “what if the Confederacy won the Civil War” speculative history is an excellent way to look at the events that shape the world and offer social criticism. So what I’m saying is if you want a black Tarzan then you have to completely change the story of who Tarzan is. And, frankly, I’m okay with that! It’s all fiction, right? Go ahead and play around with it. Tell new stories and explore new ideas. Heck, as an alternative you could keep Tarzan white and say “what if Tarzan landed in South America” or something. I just want the story to be good.

So let me go back to Shaft for a moment. Who is Shaft? Well, in the theme song for the motion picture he is explicitly identified as “the black private dick that’s a sex machine to all the chicks.” So chances are you’re not going to cast Don Knotts to play Shaft. But here’s what we know about the character Shaft as presented in his fictional world: he is a private investigator living and operating in Harlem. We also know that he is put in between two explicitly racially identified organized crime rings, one black and one white. We know that tensions are escalated and his actions will help stop a race war in New York City. Quite honestly I don’t know what John Shaft is like in the original book that introduced the character because I haven’t read it and it isn’t in print. But I know this: he’s a black private detective in Harlem. SO what does this mean? It means that in every existing media, in every incarnation, John Shaft is a black man in Harlem and that aspect of his character helps create the character’s environment, motivations and narrative events. Could you then cast a white man to play Shaft? Well, in theory you could but if you were to keep all of the above characteristics in place you would have such a casting disconnect that it would have to be one amazing performance by your actor to make it believable to your audience.

You could, however, make a character named John Shaft a white man. He wouldn’t be in anyway similar to the Shaft we know and love because that character is specifically black. Of course white John Shaft would likely be as vanilla and as uninspired as Phil Collins’s recording of “You Can’t Hurry Love” (thanks to the “Your Favorite Band Sucks” podcast for reminding us of that travesty).

But now I have to answer: what about a black actress playing Ariel? To begin she’s a mermaid and she can look however the artists want her to look. There is nothing in her story that makes her black and there is nothing in her story that makes her white. The color of her skin is not an essential aspect of her character. Her purpose, after getting kids to buy a billion dollars worth of merchandise, is to be a character that mostly young girls but anyone else can watch, identify with emotionally, and root for. In the animated movie she happens to be white, sure. But that’s an aesthetic choice that was made primarily by white people. And, like Burroughs, they probably weren’t more racist than anyone else at that time, but they saw white as their default setting. Fortunately we live in a world where that is becoming less of a default setting. In fact, I think white people need to learn to openly embrace fictional characters of different skin colors and appearances because it will help us develop our empathetic abilities.

As for Blade? The challenge you present yourself there, regardless of race, is that you have to somehow cast someone to play a Blade that is as cool as Wesley Snipes’s portrayal and as the character himself says, “some motherfuckers are always trying to ice skate uphill.”

Chewie, We’re Home

Now I bet you’re asking “why don’t he write?” Sorry, I know a DANCES WITH WOLVES reference isn’t exactly geeky or especially cool but it came to mind and I’ll just have to work through the inner agony I’ve caused myself.

But, yes, I’m aware that I haven’t posted in a while and it’s been nagging on me. But I have a few good reasons. One is that I’m working very steadily right now. When I started “Be A Better Geek” it was during a hiatus from work and so I had plenty of time on my hands. But once I start working, well, everything falls to side.

So what do I do that would suck up all of my time? I work in the film industry, specifically in the Locations Department. I say “film” broadly because almost all of the work I have done is for television. There is a long-term dependability that you get from working on a TV show with a lot of episodes. Both TV and film have their advantages and disadvantages but the pace of TV is exhausting. Making 45 minutes of screen-worthy stuff in 8 days means you move at a breakneck pace. Do I love it? Much of the time I do. Recently I encountered a bunch of stuff that really hit me in the gut but I will talk about that at another time. Right now I just want to share a note of positivity.

You might be asking “Chuck, what does this have to do with geekstuff?”

I like that word, by the way. “Geekstuff.” I’m going to keep using it.

As luck would have it I have worked on a lot of shows of interests to geeks. I’m not going to name drop but I’ll say that I have shared parking lots with zombies, vampires, werewolves, witches, demons, inter-dimensional horrors, at least one gargoyle, big name make up wizards, and a self-proclaimed king of the world.

And what did I do after we all parked? For quite a long time I cleaned their bathrooms. I handed out safety vests. I picked up trash and set up tents. I’ve shoveled up the goo they’ve left behind. Thus far I have only disposed of one dead bird. I don’t do quite as much of that now. Now I find places for these folks to park, where to put those bathrooms, and spots for their trucks. Sometimes I locate places to film. I’m particularly proud of one hero location that pops up regularly on a TV show that some of you probably watch.

Right now I’m working on a 70+ hour work week. We bought tickets to go to New York City in October and I plan on checking out the King Kong setup they have at the Empire State Building so I’m happy to put in those extra hours. But it means I don’t get to write this blog as much as I like. For that, I apologize, but know that my heart is here with you.

Oh…and another reason I haven’t been writing as much…eh, I’ll tell ya later.

Flash Gordon! An Intro into Space Opera

It has recently been announced that Fox, now a subsidiary of Disney, has hired Taika Waititi to develop an animated feature about Flash Gordon. For those of you that enjoyed his earlier work with Marvel’s Thor: Ragnarok this will come as welcome news because he has already demonstrated an aptitude for space opera.

In the late 20th century, following the success of STAR WARS space opera became one of the most visible of science fiction sub-genres. Just in the decade following we saw blatant rip-offs like Battlestar Galactica and the more bizarre Star Crash. The literary origins of the genre began to develop in the 19th century when the different components, like space travel, alien civilizations, and futuristic settings were appearing in different stories. In 1928 all of these finally found their way into the first of the Skylark series of stories by E. E. Smith. Space travel! Interplanetary war! Questionable literary value! The stage was set for space opera to flourish.

Intended to mock the serialized melodramatic nature of soap operas, the term “space opera” was introduced by writer and fan Wilson Tucker. Though perhaps a bit more action-heavy, the term fits well because whether it’s Buck Rogers or The Princess of Mars it’s all pretty much melodrama in space. Space opera doesn’t usually involve itself much into the speculative nature of so-called hard science fiction though it does often rely on super advanced technology as plot devices. Since intergalactic space travel is, at the time of this writing, a physical impossibility, you sometimes have to take liberties with your star hopping adventurers and thrill seekers.

The comic strip Flash Gordon came into being in 1934, the creation of Alex Raymond. It was essentially an imitator and then solid competitor of the Buck Rogers comic strip. Buck Rogers, like much of the early space opera, came from a pulp magazine. Like the Skylark series it first appeared in Amazing Stories. My first exposure to Flash came not from the 1980 feature but from reruns of the animated series by Filmation. I wouldn’t come to see the film or the movie serials until I reached high school.

People love space adventures. Whether it’s Space 1999 or Cowboy Bebop or Guardians of the Galaxy or Saga action and romance in a spacey setting will always find an audience. I myself love space battles, outre costumes, and weird space aliens. If I could I could become an expert on any single genre it would likely be space operra.

Like I said in the title, this is simply the briefest introduction to space opera because it is a hugely important facet in the tapestry of geek culture. There have been at least a dozen references to creators and creations in this post and each one of them may, at some time, get more space for discussion or examination by Be A Better Geek. Right now the goal is to just plant seeds. Feel free to follow BABG on Twitter @better_geek and please SHARE THIS POST!

Ready to Batdance!

June 24, 1989…it was 30 years ago today that I saw “BATMAN” for the first time.

As you may remember from my previous post that my life was forever altered by seeing Tim Burton’s “BATMAN” that fateful night but the transformation had already begun. I was not going into this movie blind.

I was 12-years-old at the time and, for better or for worse, a voracious TV watcher. Mostly I watched cartoons and reruns of shows from the 60s and 70s. On one of the syndicated television stations in Atlanta I could watch both “The Monkees” AND the magnificent “Batman” starring Adam West and Burt Ward. So even though I had not yet picked up a single Batman comic I had a baseline familiarity with the some of the main characters inhabiting Gotham City.

I don’t know that there was much of the cynicism that exists today in media consumption of the general public. I would guess that the number of people who first saw promotional material and the famous “BATMAN” movie trailer and said, “man, that’s gonna suck. They’re not doing the character justice” or any such prejudgement was probably less than 10. There was no internet to break and certainly no forum for people to build up a feedback pit of vitriol like there is now. Americans, by and large, were hyped about this movie coming out. And I was no different. In fact, I was so hyped that I dressed up for the occasion. And while I don’t have any pictures of myself from that night but I do remember exactly what I had on.

I had on this hat:

I had on this t-shirt:

On my YELLOW SUSPENDERS I had affixed these buttons:

And on my feet I wore these shoes:

I don’t currently own any of these highly fashionable items now but if you ever want to put together a 1989 Chuck Goes To See “BATMAN” cosplay then you have all the necessary tools to go forth and succeed. Sadly I don’t recall what kind of pants I was wearing but it was most likely grey cargo pants from Mervyn’s. You’re welcome.

Obviously when I saw the movie I loved it. I still do. It doesn’t hold my attention quite the same way it did when I was 12, of course, but now that I have worked in the film industry for a few years and have a greater understanding of the work that goes into a movie I am even more bowled over by the production design, set construction, and miniatures than when I was a youth. It’s a winner.

An added note: I just happened upon the 1989 Warner Bros. “BATMAN” Merchandising catalog on a Batman collectible’s blog, Under the Giant Penny. Imagine owning that airbrushed, rhinestone “BATMAN” jacket! These catalogs were passed out at the theater before the movie and I would wager that was the first time I became familiar with the name Bob Kane.