What Happened? I Haven’t Been Following The Show, But I’m Vaguely Aware They Did Something With Spock

My go-to source for the history of scientific romances is Brian Stableford’s 1985 book Scientific Romance in Britain 1890-1950. (While long out of print, this book is worth its weight in gold.) In Stableford’s account, scientific romances are very much the products of the environment they evolved from. Before the 1890s, publishing in Britain was divided into two rigid categories. On the “respectable” side were the great triple-decker novels, conservative in both style and content, and physically inaccessible to anyone who wasn’t wealthy or who didn’t have access to a circulating library. On the less reputable side were, of course, the penny dreadfuls; cheap to make, quick to read, easy to forget, and not that well-written. Scientific romances (and to a certain extent modern sf) tend to work best in the range between short stories, novellas, and single novels; long enough to properly extrapolate from a central idea, but not so long as to wear out their welcome. It was only at the end of the 19th century, with the decline of the triple-decker, the rise of a literate middle class, publications that catered to them, and of writers that could comfortably support themselves writing for this new audience, that scientific romances had the space and opportunity to emerge. Naturally, this was a different class of writers with different influences that those who had written the gothic works from earlier in the century, so scientific romances evolved in both style and content in a much different direction. (As an example, scientists in 19th-century Britain had a unique tradition of penning essays to explain their theories and their significance to a more general audience, a tendency that was absorbed wholeheartedly into the scientific romance, to the point that both scientists and novelists tried their hands at both essays and stories every so often.)

I was thinking about the literature of 1897 and it got me thinking about the Scientific Romances and how they differ from the Gothic Romances or Gothic Horrors of the age. Clearly, there is some overlap and Frankenstein (much earlier but still relevant) crosses those borders many time without showing a passport for either but by the late 19th you couldn't really compare say 'The War of the Worlds' to 'Dracula'. Where did they diverge so wildly? Or did they?

That’s a really good point, and I’m sorry I took so long to get to this question!  Arguably, Frankenstein himself brings this up- he started out reading ancient mystic texts and moved to more scientific ones later- but I guess there started to be a clearer divide between what we’d call fantasy and what we’d call science fiction as science itself became better known.  You could probably write gothic science fiction in the mode of Asimov, where the science is there to set up philosophical and psychological issues- I’d certainly read about the drama between robot heirs to their creators’ estate and legacy- but the divide certainly feels there.  Returning to H. G. Welles, maybe The Invisible Man is the midpoint?  Or maybe it’s when “scientist” became a common enough profession to not seem mysterious?  Any followers with ideas on this subject, help me out here!

I’ve always been very reluctant to equate Kuvira to either Chaing or Mao. Part of the problem is that if you start looking for 1:1 historical analogies in fantasy worlds you end up developing tunnel vision you miss out on what the writer is actually trying to do with their setting. The other issue is that Bryke never really made it clear what Kuvira’s beliefs and ideology were beyond a few speeches and a handful of background details that don’t entirely fit together. Back when B4 was airing the revelation of the Earth Empire’s internment camps caused a stir in the fandom (at least among the Kuvira fans), since there was literally nothing in Kuvira’s backstory or behavior to explain why she would be an ethnic chauvinist. This old blog post took an interesting tack by discussing Kuvira’s context in the world history of Avatar and suggesting that she might be closer to Kemal Atatürk than any figure from modern Chinese history. (There’s also some neat discussion of the personal and political relationship between Kuvira and Suyin too!)

A piece I did for avatarfanzine - Children of the Earth zine, which if you pre-ordered it, should be getting it real soon. I wished Kuvira would’ve had a longer season to shine a lot more. She genuinely saw herself as the hero of the people.

The X-Files is interesting in this context, since even though Mulder and Scully are our heroes and we love them, they are still FBI agents, actual official representatives of the greater American monoculture who are tasked with going to the backwaters and forgotten places and dealing with the strange and deviant for the good of the whole. To their credit, the people writing The X-Files recognized this, and there’s plenty of episodes where they depict their monsters-of-the-week with some sympathy, or handle Mulder and Scully’s incursions with a note of ambivalence.

Old tv shows where the hero visits the 'town of the week' and identifies then solves a unique problem before moving on are so weird to watch now. "Route 66" to "Touched by an Angel" and etc. Any town in North America that still actually has a unique local culture wouldn't be receptive to an outsider pushing their nose into the local affairs.

Who even still thinks of turning to a pack of kind-hearted outlaws when the bank comes to foreclose on their orphanage?

This actually came up in the movie Shadow of the Vampire, where two members on the production team for the original Nosferatu ask actual vampire Max Schreck (played by actual vampire Willem Dafoe) what he thought of the book, though the movie plays the question more for melancholy and absurdity. https://www.youtube.com/watch?v=YgqgSaDCgC4

the best gag in dracula by far is how the entire time jonathan harker is imprisoned in dracula’s castle, dracula is pretending to have a full household of servants when in reality it’s just him running around doing everything, and it would be CRIMINAL to write a drac-centric adaptation and not milk this gag for all it’s worth. dracula dropping off harker in the carriage, pulling into the stables, then sprinting through the castle to answer the front door. dracula lurking outside harker’s bedroom for him to leave so he can sneak in and make his bed and fold his pajamas. dracula in the kitchen struggling to make food when he hasn’t eaten anything except blood in centuries. dracula giving up, turning into a bat in frustration, flapping over to the nearest farmhouse, stealing a pie off the windowsill, and proudly presenting it to harker for dinner.

I believe it was both, in a way. The story I heard was that Pluto started life as a study to determine if it was possible to build a strategic bomber that was powered by a nuclear reactor. However, after they found the shielding that was necessary to keep the plane’s crew from dying added too much weight to the plane, someone asked the obvious question of “what if the plane didn’t have a crew?” Ironically, once development started on Pluto, it was eventually decided that its reactor didn’t need any shielding anyway, and would just vomit reaction products out the back as it flew across the Soviet Union, just to make sure they got everyone. (Given the projected flight path Pluto would have needed to take to get from its holding pattern at the North Pole to the Soviet Union, large parts of Europe would have been doused in Pluto’s exhaust, which feels like a metaphor for American-European relations, somehow.) While some prototype ramjets were built, the project was eventually canned by the early 1960s due to improvements in conventional rocket engines for ICBMs, the Partial Test Ban Treaty, and the fact that even the nuke-happy generals and eggheads in the Defense Department thought the whole concept was a bit much. (While I have no confirmation on this, I have also heard that another nail in Pluto’s coffin came when someone working on the project was asked what the United States could do if the Soviets built and launched their own version of Pluto. Their precise answer is unknown, but it boiled down to “die, mostly.”) Also, with Orion I believe that there were early phases of the project where the vehicle was intended to be launched from the ground with its own nuclear drive, but again the Partial Test Ban Treaty put an end to that idea.

I’m ashamed to admit that it was only after I finished watching the new Venture Brothers movie that I realized that Distributor Cap was a riff on the ‘66 version of Mr. Sparkplug.

Reading the wikipedia entries for minor Batman villains is like, “Mr. Sparkplug was introduced in 1969. He wore a rectangular costume that resembled a sparkplug, and had power to make electrical outlets stop working. After the Infinite Crisis event, he was reimagined as a serial killer with a fetish for electrostimulation. He had a cameo on Batman the Brave and the Bold where the Joker shoved him into a locker. In the New 52, the Riddler killed him and hung his costume over the mantlepiece as a trophy. He is now on the Suicide Squad.”

Oh my god @wyattsalazar, I was just bouncing through deviantArt and I found this amazing piece by glucosefiction. I don’t know if you commissioned this or it was just fanart but I had to show it to you. Consider it a belated birthday present of a kind. ;)

Chapters: 4/4 Fandom: Avatar: Legend of Korra Rating: Teen And Up Audiences Warnings: No Archive Warnings Apply Characters: Kuvira (Avatar), Bataar Jr. (Avatar), Suyin Beifong (Avatar), Gnatha Chavran, Ailing Fengtian, And some more minor OCs Additional Tags: Epistolary, Politics and War in a Time of Revolution!, Yet another fill-in fic for B3 and B4, Inexplicable Dream Sequences Summary:

A week before setting out for the state of Yi, in a state of some minor disquiet, Kuvira sits down and recounts all that has happened to her over the last three years.

This is why Bryke didn’t want to introduce guns in The Legend of Korra.

The perfect match. @lazarus-cell

Oh, you just reminded me of my second-favorite Shakespeare adaptation: Rupert Goold's 2010 film adaptation of Macbeth, with Sir Patrick Stewart himself as Macbeth and Kate Fleetwood as Lady Macbeth. It's based on a production Goold put on in 2007 with Stewart, and it sets the play in a nebulously-modern setting with a "subterranean Soviet" aesthetic. It's not quite what anon was looking for, but it's in the ballpark. Oh, and in this adaptation the witches take the guise of WWI-era war nurses.

Having seen the 1995 version of Richard III, I am now convinced that there needs to be an adaptation set in the dying days of tsarist Russia, if only for the red-white symbolism. Just like, the ostentation, the moral ambiguity/amorality of literally everyone involved, the end-of-an-era vibe, except the era definitely needs to end. Also, Elizabeth Woodville in a kokoshnik? Elizabeth Woodville in a kokoshnik.

DUDE YOUR MIND