Showing posts with label Black Panther. Show all posts
Showing posts with label Black Panther. Show all posts

Thursday, 29 November 2018

The thoughtless utopia

There are more ways for the world to go wrong than ways for things to go right.

At least, that’s what a careful review of science fiction indicates. It seems it is usually easier for science fiction authors to create a compelling and believable dystopia than it is for them to offer a utopia that rings true. One supposes that if there were an easily imagined path to utopia, we’d all be on it by now.

But these facts don’t mean that when writing stories about utopian societies, creators should be absolved of at least providing some bare-bones explanations of what societal structures have led to the perfection of their imagined nation.

This speculation about social structures doesn’t need to be convincing — Heinlein’s utopian world of Beyond This Horizon suggests that a socialist command economy, gun rights, and eugenics are the secret recipe. Hardly believable off the printed page, but he at least put in some thought about how his world would work.

All I know is that I didn't vote for
Jaresh-Ino to be president of the UFP.
(Image via MemoryBeta) 
What is bothersome is the intellectually lazy utopian imagination, the offering of a science fiction paradise in which there is no thought about how that utopia was achieved.

The United Federation of Planets, as depicted in Star Trek's Original Series and Next Generation is an exemplar lazy utopia. Sure, some handwaving is offered around humanity ‘evolving’ beyond a need for money, but little concrete evidence is offered about how this utopia actually works.

How are the competing needs of different citizen species balanced? How are minority rights ensured? How do they balance the right to privacy with the need for security? These are the types of questions that all free societies must struggle with, and yet in hundreds of hours of Star Trek stories that have been filmed, no solid answers are offered.

Of course, the nebulous nature of the United Federation of Planets offered authors and fans plenty of opportunity to impose their own ideas and ideals onto this world — sometimes to excellent effect. For example, economic historian Manu Saadia uses Star Trek as a jumping off point to explore socialist ideas about a post-scarcity economy in his book Trekonomics.

Another example of a poorly crafted utopia is Wakanda, the high-technology kingdom that is home to Black Panther. How Wakanda became a utopia while neighbouring countries did not is never fully explored.

It is suggested that the presence of a miraculous resource — the metal vibraneum — may be the root cause of the nation’s perfection. But in the real world, resource riches rarely lead to anything like
Supreme executive power derives from
a mandate from the masses, not from
some farcical aquatic ceremony.
(Image via MarvelCinematicUniverseWiki)
utopia.

If the natural resource of vibraneum had been paired with a democratic governance system, or an alternative inclusive governance model, it would have been easier to buy into the idea of Wakanda, but the country is ruled by an absolute monarch. This would make it one of only seven absolute monarchies on Earth, and none of the others are human rights leaders. To put it bluntly, absolute monarchy and utopia are utterly incompatible.

It is interesting to note that current Black Panther writer Ta-Nehisi Coates has begun to address these questions of governance in Wakanda. One hopes that this new more democratic version of Wakanda may make it to the movie screen one day.

We would argue that Coates’ work on the book is a recognition that a believable utopia would not be based on resources, wealth or technology, but on equitable distribution and respect for the rights of those who live in the utopia.

In short, utopia is in large part a matter of societal institutions and cultural practices.
The libertarian utopia
of The Unincorporated
Man
is compelling (if
unconvincing) in part
because the authors
had the courage to
be political.
(Image via Amazon.com)


Proposing alternative — utopian — societal institutions and customs will always risk alienating a good portion of your audience. Social institutions are inherently about the distribution of power in a society, and therefore the imagining of different social institutions is political, and political arguments will always offend someone.

For the broadest audience to remain unoffended by an imagined utopia, the author — or studio — needs to be as vague as possible. Perhaps that’s why so many high-budget productions — like Star Trek and the movie Black Panther — depict banal utopias that offers vagaries and magic to explain the perfection of their societies.

Utopia is more difficult an construction than dystopia, both artistically and in the real world. No author will ever write a utopia that is convincing to everyone, but those who try should try to offer ideas, and should be upfront about their politics.

Saturday, 27 May 2017

The Hugo For Best Graphic Story (Part 2) – The ballot in 2017

This is part two of a two-part blog post. The first part, discussing the history of the category, is found here. 

Given the problematic history of this category, the shortlist this year for Best Graphic Story is mostly of a surprisingly consistent professional calibre. Some are only marginally worth being on a Hugo ballot, but none of them are completely risible as nominees.

The only real outlier — Ta-Nehisi Coates’ Black Panther — is an understandable nomination given the highly anticipated series had such potential, started off promisingly, and received a fair amount of media attention. One can understand why it received a nomination, despite its deep flaws.

Second servings not as good


Previous winners from high-profile publishers, Ms. Marvel and Saga, are back with new volumes.
Too many crossovers
spoil a great series.
(Image via Marvel.com)


Saga has started to get into a bit of a rut, with the same notes being replayed. The first volume of the series is one of the most worthy winners of the Hugo for Best Graphic Story … but volume six does not offer the same sense of wonder as its predecessor.

Ms. Marvel’s fifth volume definitely offers more narrative progress, but it’s also closely tied into and influenced by a massive multi-comic-book crossover that makes it more impenetrable to new readers.

It’s hard to count either of them out, because this category has often returned to the well for nominees and winners. However, these two books should definitely not win.

Under the radar but delightful


Paper Girls — which is written by Saga creator Bryan K. Vaughn — is a real treat to see on the ballot. It’s a kick-ass, inventive little book that follows a group of young girls who deal with the consequences of an alien invasion. It will be difficult to keep this story going as an ongoing series, but for now it’s just a delight.


Image via
marjoriemliu.com
The least well-known of the nominees, Monstress by Majorie Liu and Sana Takeda, is also one of the most worthy. The creative team uses the medium with skill and nuance to create a well-realized and inventive fantasy world. The feminist subtext helps make this a definite contender.

The Vision: Little Worse Than A Man is more of a science fiction comic than anything that Marvel has published in a decade, despite featuring a lead character who is a regular of the mainstream Avengers. The garish ‘50s-style colour palette, and the goofy backstory of the character, are completely subverted as Tom King has crafted something moody and thoughtful that is more informed by Asimov’s robot stories than by 50 years of Marvel continuity.


This is a solid Hugo ballot with three completely reasonable choices.  We are likely to cast our ballots for Monstress and for Paper Girls. For once in this category, “No Award" is unlikely to be on our ballot.