"The Report of My Death Was an Exaggeration," or: "The Times They Are a-Changing"

"And so I'm back," as Gloria Gaynor sang.

Regular readers will note that my biweekly publishing schedule has more or less been shot to hell (and back). A number of factors including job, illness and life have caught up with me in the last month or so, and thus not only one but two scheduled posts have had their deadlines flow by without seeing publication.

In fact, the first of the two quotes forming this post's title is partly a reference to the lost post of March 19, which I had fully intended to be a brief eulogy over a giant in the field of comics, Jean Giraud a.k.a. Moebius, who sadly died on March 10. Among his finer achievements are Blueberry with Jean-Michel Charlier (possibly the finest Western comic ever) and The Incal with Alejandro Jodorowsky (an absolutely astounding piece of comics fiction). But I digress. Two deadlines later and over a month since his passing, a eulogy seems somewhat misplaced (albeit not undeserved); and here lies another part of the first title quote, by none other than Samuel Langhorne Clemens (more commonly known as Mark Twain), since the failure to deliver the intended eulogy on time might well have been seen as a sign of a demise – if not my own, then at least the blog itself.

Fret not, however, dear reader. I may be melodramatic by nature at times, but I have not abandoned my post, merely reconsidered it and adapted to current limitations in time and what-not (which has been done once before in this spot). And thus the second title quote by Robert Allen Zimmerman (more commonly known as Bob Dylan) comes into play.

So, what are the changes then? Well, Thus Spake the Mighty Wha-keem will go from being a biweekly publication to a monthly publication (with the addendum that I may well decide to throw in extra posts in-between should time permit it and material suggest itself). Hopefully this will allow things to get back on track and keep the blog alive and kicking.

Thanks for your continued readership, gentle reader!

There Is no Such Thing as Coincidence: Fictional Plot and Verisimilitude

I am currently enjoying Swedish state television SVT's big science fiction venture Äkta människor (Eng. Real Humans) and would like to urge any and all Swedish readers who have missed out thus far to catch up via SVT Play. International readers should definitely keep an eye out for the series, because I would argue that chances are good that this will be exported. It is an excellent take on an alternate reality / near future, where hubots (i.e. humanoid robots) have become an integrated commodity on the market and in society, yet where both ideological resistance against machines replacing real humans and questions of what constitutes actual humanity and intelligence exist side by side, and in opposition to a smooth integration. Through make-up and superb acting, another reality is projected unto the screen and the result is quite possibly Swedish television's finest hour in a loooooong time.

However, fond as I am of the series after its first eight (out of ten) episodes, there is one thing that has started to bug me somewhat as the plot is slowly gaining its momentum: the nature of coincidence.

There is an old adage that knowingly states that there is no such thing as coincidence. While I am not necessarily ready to subscribe to such a notion completely (if for no other reason than the fact that we would have to define coincidence in a pretty precise fashion), I am willing to agree that there is not really any such thing as coincidence in a fictional plot.

Do not get me wrong: there is clearly a possibility of real world coincidences influencing authors or artists in their narrative choices (in film or television this would furthermore seem even more true as casting choices or even weather conditions on a shooting day might affect the finished product). However, that being said, the nature of plot itself is to create a believable sequence of events, or a mesh of intricate plot strands that unite in a complex yet unified story. Reality may very well be quite disorganised, but a narrative requires a certain sense of order, let us call it narrative logic, to be believable. This line of reasoning obviously resonates in the old Chekov quote about a gun on the wall in the first act of a play needing to be used in the second. In short, a reader will only tolerate so many red herrings, and even then they need to be relevant herrings.

As such, plot is its own enemy, because in trying to create this narrative logic and impose verisimilitude, it also runs the risk of violating the same verisimilitude it tries to achieve. We may not accept the disorganised chaos of reality as narrative proper, but nor do we accept the too neat narrative as real. And this is where coincidence becomes relevant.

Chekov's example above is good because it shows that stories should avoid being bogged down with needless things. Just because an author has a whole world at his disposal, it does not necessarily mean that going anywhere and everywhere in it is beneficial. In fact, and following Chekov's logic, authors need to restrain themselves and only go where their plot needs them to go. The trick is to follow that logic while masking its blatant intentionality.

If every piece and part of a narrative services the plot and the story, it needs to do so without calling attention to the plot or the story (unless it is a case of metafiction, where such a tactic may be suitable). What do I mean? Well, if coincidences are starting to stack up (e.g. chance meetings between characters, deus ex machina type scenarios where there are just enough guns on the relevant wall at the much needed time, etc), we as an audience are less likely to believe that they are coincidences, and we inevitably start sensing the intentionality of plot. It is not that we normally are entirely unaware of the fact that there is a plot, nor even that we do not look for it; it is more a case of a plot suddenly staring us in the face or in other ways calling attention to itself as a plot.

So why do I feel the urge to discuss this in connection with Äkta människor then? Well, the series and its creators have done a fine job of creating an alternative reality or near future, and do an impressive job selling it to the viewer. Verisimilitude is high in this series, to be sure. Yet then there is a nagging sensation, which grows the further into the story we go, that all of our characters (several, but still fairly limited) are interconnected on far too many levels. In this sense, it becomes less an interconnected weave á la Altman's Short Cuts or Haggis' Crash, and much more of an everyone crossing paths with everyone else. The effect, quite naturally, is the sensation of a shrinking fictional reality, where the intentionality of plot is starting to be visible at the seams.

Still, I would not want to end on too harsh a note, because (as stated) this really is SVT's finest hour in a long time. And it bodes well for the future of Swedish science fiction.

During Watchmen: Some Thoughts on DC's Latest Venture

First published in 1985 and 1986, Alan Moore and Dave Gibbons' twelve issue limited series (or twelve chapters long graphic novel, if you will) Watchmen (see my review) has established itself as one of the greatest graphic novels of all time. Drawing upon existing characters from the Charlton comics universe that DC had appropriated the rights to, but modifying them into closely resembling yet different characters in their own right (primarily because of editorial demands, but to the benefit of the finished product, I would postulate), the series presented a bleak vision of masked vigilantes and superpowers in an alternate history where the US won the Vietnam war, but where the threat of nuclear annihilation echoes that of the comic's own historical context. Many have labelled Moore's approach a realistic take on superheroes, other have disagreed. Personally, I agree with the former, although I would simultaneously stress its cynical and pessimistic undertones that are certainly not in and of themselves signs of realism.

Ever since its initial success there has been talk about sequels, or rather the possibility of prequels and the like. Yet over the years, none have materialised, and the relationship between Moore and DC (as well as most of comicdom) has obviously soured to a point where any involvement from Moore has been a long dead dream for most fans who may have wished for this to materialise.

Still, money is obviously money in the world of business, and on February 1, DC Comics officially announced their plans for Before Watchmen, which can only be described as a major attempt to cash in on this particular cash cow. The idea is setting up no less than seven titles with esteemed comics writers and artists at the helm:

Rorschach (4 issues) written by Brian Azzarello and drawn by Lee Bermejo.
Minutemen (6 issues) written and drawn by Darwyn Cooke.
Comedian (6 issues) also written by Azzarello and drawn by J.G. Jones.
Dr. Manhattan (4 issues) written by J. Michael Straczynski and drawn by Adam Hughes.
Nite Owl (4 issues) also written by Straczynski and drawn by Andy and Joe Kubert.
Ozymandias (6 issues) written by Len Wein and drawn by Jae Lee.
Silk Spectre (4 issues) also written by Cooke but drawn by Amanda Conner.

Not unexpectedly, the internet awakened at this particular piece of news, with The Beat covering both the announcement and the industry reaction quite well: including Moore's opinions on the matter.

On the whole, there seem to be two major camps: those in favour of this project and those in opposition to it.

My own response would situate itself in the latter category. Why? Well, certainly not because of Moore's inalienable rights as creator extraordinaire. Following Moore's response to the announcement many have rightly pointed out that he might not be the person to talk about what others choose to do with "your" character, given how not only the heroes in Watchmen are derivatives from Charlton Comics characters, but in fact most of Moore's substantial ouevre has been about reinventing existing characters one way or another (from Marvel Man/Miracle Man via Swamp Thing to League of Extraordinary Gentlemen and Lost Girls). If anything, Moore's outrage shows a certain kind of hypocrisy, which incidentally is made worse when seen in the light of how he has treated some of his past co-creators, like Stephen Bissette (who provides some interesting commentary on the idea that creator-owned work by default beats working on company-owned property in terms of money).

However, the fact that Moore's response comes across as hypocritical, does not negate the possibility that the project is a bad idea. I can honestly say that I do not grieve the fact that Moore and Gibbons never made any se-, pre-, or other-quels for that matter. On the contrary, I think it is a bad idea regardless of who is at the helm. Why? Because Watchmen as a narrative unit is very precise in its details, each component carrying meaning for the overall story, and as such, the expanded universe is by default, at least to a very large degree, the universe of that specific story. What we need to know is all there. Anything else is superfluous, and in my humble opinion not particularly interesting.

The fact that DC has opted to call the project Before Watchmen to my mind only proves the point that the company has not understood the property particularly well. Watchmen is not merely a few days in the early '80s of that particular universe; it is a web woven through years upon years of history. We already know the history of it all.

We know the story of Rorschach and Walter Joseph Kovacs' development from a somewhat naive vigilante to a full-blown psychotic.

We know the story of the Minutemen and how their glory days ended.

We know the story of the Comedian and Edward Blake's flawed cynical nature, which eventually did not allow him to live with the concept of utopia actualised.

We know the story of Dr. Manhattan and Dr. Jon Osterman's transformation from human into the truly superhuman.

We know the story of Nite Owl and Daniel Dreiberg following in the masked footsteps of Hollis Mason, in order to do something meaningful and adventurous with his life.

We know the story of Ozymandias and Adrian Veidt's uncanny journey to discover the greatest secret of all time.

We know the story of Silk Spectre and the interwoven layers of raped Sally Jupiter and her daughter Laurie Juspeczyk.

We know all these stories already. In detail.

In fact, DC's project does not constitute a prequel so much as an interquel (to coin a term). This is not the story, or even a set of stories, before Watchmen. It will be a set of stories filling out gaps in the story. There is a fundamental difference.

Furthermore, Straczynski's saying that it's all "about the points and shadings between what we think we know about these characters, and the truth — what that says about them, and what it says about us," to me seems utterly uninteresting. Sure, there are good stories to be told on the idea of showing the reader how everything they knew was not what they thought it was. And sure enough, it is an approach that Moore cannot fault anyone for using per se. But, and that is an important but, the devil, as they say, is always in the details, and Moore and Gibbons' narrative is nothing if not detailed. To assume that we can be shown a different truth would require undermining enough of the original to render it more or less unrecognisable. And is that really what the fans of the series are yearning for, I wonder? It is certainly no yearning of mine.

Some have voiced opinions online to the effect that there is top level artists and writers attached to this, and I do not contest this. I would love seeing a collaboration between Andy and his father Joe Kubert, and I would love reading more qualitative stories written and drawn by Darwyn Cooke. Only, I would love for it to be comics I would actually want to read. Top level artists and writers doing stuff that does not interest me just does not interest me (if you'll pardon the obvious tautology there).

Still, I do not doubt that DC will make a bundle of cash on the whole project. They just won't make any of it from my pocket.