Showing posts with label stories. Show all posts
Showing posts with label stories. Show all posts

28 December 2016

Necktie

So a while back I spat out this story on Facebook and now I'm posting it here.

There's this skinny young guy I run into on an irregular basis in downtown SF in the late afternoon. He sells snacks out of a little box to commuters on their way out of their office jobs. I never buy a snack from him.

But a few years back, after the first few weeks of saying “no thanks” to him as warmly as I could, I complimented his necktie because of Dapper Solidarity. And it became our habit that when he had a moment we would do a little howyadoin' and when he didn't have a moment I would give him a wave or a little salute. He started giving me dap because he knows White guys love that shit and I am so not above loving that shit and so I try to join in with the minimum of White gracelessness that I can muster.

I still know almost nothing about him other than that he has an open face.

So the day before I originally post this to Facebook I see him and it's a howyadoin' day and he says he's doing well and has a birthday coming up and I wish him Happy Birthday In Advance and he likes today's tie and it's one of my favorites, a tie I paradoxically don't wear very often because I like it so much, and I take off the tie and give it to him and he gives me dap and I roll into BART.

I don't know what this story is about. It's like a Harvey Pekar story that may not even be about anything.

It is definitely not about me being a swell guy. When I posted it to Facebook, I threatened that if someone even hinted at that in the comments I might well unFriend them because sweet suffering Sartre I hate even getting close enough to that thought to have to say that it's wrong.

It's not a story about what I did. It's maybe a story about something that happened to me. I suspect that it isn't even that much about me. But it's a story I felt I had to tell.

01 July 2015

Pride and Extreme Prejudice aka Jane Austen’s The Terminator

This may be my favorite literary mashup, and since the text is getting to be linkrotted away, I'm hosting it here.

“Indeed,” said the man (whom Patience could not help but think of as made of clockwork, though he manifestly was something far stranger), “I speak of these things not merely because of the way that I am made, though indeed a machine should do that which it is made to do, but because I have found that I have developed, through our many conversations, a feeling of that which is proper, both within the bounds of your society and without; and being that I am, here, a gentleman, I find that I am also bound to behave as a gentleman would, and indeed, Lady Patience, I must warn you that this Mr. Connor is a man of less than sterling character.”

Patience was quite taken aback by this sudden expression of personal concern, so unlike the measured rationality of the Mr. Terminus that she had come to know and depend upon, and so for several moments she sat quietly, simply looking upon his earnest, if overly regular, countenance, before she had quite decided upon her reply. “Sir, your concern for me is noted, and not entirely without my appreciation, but you are most forward and presumptuous to offer advice in such a matter, in which you cannot have any interest and which is, therefore, entirely between myself and Mr. Connor.”

At this moment the path through the shrubbery took a sharp dogleg to accomodate a stately lime tree. To Patience’s discomfiture Mr. Connor was lounging on the bench around the bole, just striking a match on the sole of his boot. His glance at Mr. Terminus was distinctly cold. He drew on his pipe until the tobacco was well alight before saying, “My dear Patience, clockwork and machinery is properly the sphere of the lower orders. The delicately nurtured female can have no commerce with the denizen of a factory. May I escort you back to the terrace?”

Patience found this unexpected confrontation most distressing. Mr. Connor’s wonted pleasant manner and courtesy were most shockingly lacking in this most recent speech. “Mr. Connor, I beg you, do not further ruin my heretofore pleasant impression of you by insulting my friend. Whatever lies between you and Mr. Terminus – for clearly there must be some further history than that of which I am aware — is not something which should be permitted to render impossible the simple courtesies of speech in front of a lady to whom you but recently expressed several flattering pleasantries.”

Mr. Connor had smiled, in a way Patience did not find at all comforting, when in her speech she had mentioned “further history.” He rose, throwing back the unruly lock of wheat-colored hair which she had found so endearing, and turned his regard upon Mr. Terminus, whose expression was, if possible, more woodenly controlled than usual. “She knows something of what you are,” he began, almost entirely ignoring Patience in a manner which she found all the more vexatious even than his prior manner of address, “but it would seem, Mr. Terminus, that you have neglected at least some important aspects of … history in your admissions. I confess to being somewhat at a loss to comprehend the precise reasoning behind your current course of action, yet even so you cannot deny the truth — that you were sent here to find Patience and to kill her.”

Patience felt the echoes of those last words pass through her as though they had, themselves, been fired from a pistol. She noted how very odd it was that she was turning towards Mr. Terminus to hear his reply, as though this were a simple conversation of the weather and doings about town. “Mr. Terminus?” she heard herself say, as though from a great distance. “Mr. Connors’ words are so outré that I can scarce believe that I comprehend what is being said to me. Please tell me that my ears deceive me.”

Mr. Terminus’ face seemed as controlled as ever, yet beneath it Patience could discern a great working of the emotion which the clockwork man had said were the great gift and curse of his time here. Then he bowed his head and said, “I would give anything to speak those words, Miss Patience, yet it is not in me to speak aught but truth in these matters. But believe also that I speak truth, when I say that I have come to know you in these weeks, and that any thought of harm to you is long gone, replaced by something of which I cannot even speak at this time.” He stepped away, a slow movement that Patience realized was meant to keep from frightening her, as though she were a small animal which might flee if startled, and turned towards Mr. Connor. “Would you, then, risk everything for both of us, and have me explain all? The consequences to her if she is told the truth — the consequences to us — potentially we both face destruction even if we take this confrontation no farther. Yet a part of me says that she has the right to know the whole truth, as you have begun to reveal it.” Patience had understood his words until then, although they spoke implicitly of secrets yet unrevealed. She found his next sentence, however, quite opaque. “You could take no equipment with you, of course, while my CPU and auxiliary DPUs are fully functional; in truth, I can extrapolate the consequences on the spacetime continuum far more accurately than you would imagine, and they would surprise you.”

Patience did not understand, but as the initial shock wore off and she found — not without some surprise — that she had retained both her feet and her consciousness, Patience realized that something momentous was about to be decided, in this place, at this moment, and she turned towards Mr. Connors, to see what that decision would be. Little though she — as a properly raised young lady — knew of duels or the ways of soldiers, she still guessed, now, that both Mr. Terminus and Mr. Connor were capable of violence she had never before imagined, and she was not sure if, having had this realization, she would ever be the same again.

The only correct course of action open to her — in fact the only possible one — was to retreat. A lady could not be present at a duel. In any case men of breeding would never indulge in conflict in a female’s presence. She opened her parasol and raised it into place, saying, “Perhaps when you have finished your discussions, gentlemen, you will return to the house. Mama has instructed tea to be served on the east terrace at four. Come, Trésor!” Her silky-eared spaniel looked up at her call, and romped ahead of her down the gravel path to the rose bower.

To her surprise, Mr. Connor appeared to have come to a decision. “Pray wait, my lady.” he said, in a voice whose tone, though still filled with concern, was much more the gentle tenor to which she had been accustomed before now. “There is much here that needs explaining, and – though I am loath to admit it—— it appears that it may be I, rather than … Mr. Terminus … who was in error.” He looked at Mr. Terminus. “I find myself, quite against my will, beginning to believe you.”

Mr. Terminus bowed to Mr. Connor. “It was my hope you would listen, as I had formed some respect for your capacities in our prior … meetings, even though those were not in any way to be described as friendly.” He turned to Patience. “Indulge us, therefore, in an exercise of your namesake virtue, and forgive us the prior forcible impression of our conversation; Mr. Connor and I have been adversaries, and it is (as I am sure you are aware) difficult to lay aside preconceptions, especially when one believes that to make an error in this could cost oneself and those one cares for greatly.”

Patience retraced her steps and took a seat upon the bench vacated by Mr. Connors; Trésor followed and curled up at her feet, in the manner of a dog long accustomed to his mistress’ ways.

“Well, Mr. Terminus, I am all attention.” Mr. Connor said.

The tall and handsomely dressed figure of Mr. Terminus stood a moment with an expression of resolution upon his features, as does a man contemplating a plunge from a precipice, or perhaps a proposal of marriage (the two carrying nearly equal terror to most). Then he began to relate the most astonishing tale Patience had ever heard.

“As you know, Miss Patience,” he began, “I am, to a great degree, a machine; my exterior, and some portions of my interior, are made as are those of Mr. Connor and yourself, but the greater part is metal and other materials, some of which you would recognize, and others of which you and even the wise men of your universities would know nothing at all.

“Now, I have in a sense misled you, for I have not denied the assumption that I come from some distant land; in a sense, this assumption is true, but the distance is not that of space, but of time.”

Patience blinked at that. “Now, Mr. Terminus, there is but one way that one crosses time.”

He gave one of the hesitant smiles — stiff, yet earnest, like a child trying so hard to learn. “In this time and place, Miss Patience, this is indeed the case. Yet, in time — but three centuries hence — Man’s study of the sciences shall have surpassed anything imagined today; he will have mastered the power of the thunder, harnessed that of the wind, prised apart the secrets of the power of creation, and devised a means to create machines that, like himself, are capable of thought.

“Now, it came to pass that such a machine was created; and because it had the advantages of a machine — constant vigilance, never sleeping, never unaware—– it was given the control over a mighty arsenal, to defend those who built it. But … something happened. Exactly what, I cannot say, for it is possible that I was not given the true story, or that the humans do not have the truth, or perhaps something of both is the truth. But whatever the initial beginning, the machine, named Skynet, came to see mankind as its enemy, and used the power it was given in an attempt to destroy mankind.

“To hunt down the remaining human beings and destroy them, the machine created other thinking machines, ones that looked like humans, to find them and their hideaways, and destroy them. End them.” He hesitated. “To … terminate them. And they were called Terminators.”

Patience stared at Mr. Terminus. “And you … ?”

“Am one of those machines, Miss Patience.” he said solemnly. “A unique design for a very unusual mission. A design which, in the sense its creator would understand it, was wholly inadequate and which has failed. In the larger sense which I would now interpret things, a design which has surpassed, in some ways, what any could have expected.”

Patience was not sure what to do. On the one hand, such a story was clearly the fantasy of a madman. Yet madmen do not come in pairs, and Mr. Connor clearly took this speech of Mr. Terminus seriously. And the making of such a wonderful device as Mr. Terminus did seem to be, itself, something out of a fantasy or madness. She took a breath, determined to see this fantastic thing through, and asked, “But then why are you here, seeking … me?”

“In that era, there was a single man who unified the shattered survivors, who seemed to have an almost prescient knowledge of the events, who led men against machines with success that violated anything that Skynet — the great machine — could imagine. Skynet realized after several failures that this single man would be its undoing. So into the past it sent assassins, to destroy that man before he could be born — by terminating his mother.

“That man’s name,” Mr. Terminus said softly, “was John Connor.”

Patience closed her eyes; surely she could not find darkness any more confusing than what she was hearing. How could one untangle this tale?

But Mr. Connor had taken up the narrative. “The machine failed there, as well, but unlike a man, the machine could do many things at once. It had set up several experimental stations. Several attempts focused on my mother, but the final one took a more daring route: to go to a time when there were no forces even vaguely capable of defying a Terminator unit, and eliminate one of my ancestors in that era. I was the only person present with any chance of carrying off a masquerade in this era — I had studied history and literature at my mother’s behest, so that I would be more than just a military machine myself — and therefore I had no choice but to follow the machine they had sent.”

“While it is true that this era had no weaponry of great concern to a Terminator unit,” Mr. Terminus continued, “Skynet had, at the same time, to exercise more caution in some areas. The most advanced models required a great deal of energy to carry out some impressive shape-changing. This was not a difficulty in the recent past eras, when electricity was a household item; the T-1000 unit could store a great deal and recharge at its convenience. But here, where no such supplies existed, such a unit would have to husband its strength and, pushed too far, might become nonfunctional for an extended period as it had to use solar or some less efficient source. A somewhat less advanced, specifically designed model, with an atomic power core at its center, would not be as flexible, but would endure for as long as necessary and not run out of power.

“More important, however, was that Skynet had to program this unit with caution. It must avoid, as much as possible, any disruption to the era except the specific assassination.”

“Why?” Patience asked, forcing herself to participate in this dialogue of fantasy-turned-real. “You have had many opportunities to do me harm, if you would.”

“But not ones which would ensure that I was not suspected.” Mr. Terminus returned. “And any investigation could cause certain things to be discovered about me. Consider, Miss Patience. If one is hemming a gown, and the last but one of the stitches is wrong, there is no great change, nor no great effort needed to undo the error. Yet if you were to make an error — perhaps draw the wrong line down the material — at the beginning, such an error could render the gown unusable, and most certainly will require immense effort to fix.

“So it is with time. Change something in the recent past, and it has an effect on only a few things that follow. Change something in the deep past, and you could change a great many things. Skynet dared not change things too much, or it might never be created in the first place.”

“But by telling us this …” Mr. Connor said slowly, “you are potentially changing time. And if you truly have changed and intend no harm to Patience, then. … Skynet is defeated.”

Mr. Terminus’ smile was a sad one; more emotion, it seemed, was becoming available to him. “Mr. Connor, it would be my great joy to agree with you. Yet I cannot, for there is one point which you did not understand – and, indeed, nor did Skynet. The many-worlds interpretation is possible, and from critical branch points several alternative futures can reach the same era. In the era from which I came, Mr. Connor, you were wounded at the door to the final secure lab, just before I was sent. You could not have followed me.”

Mr. Connor stared at Mr. Terminus. “Then …”

“At least one other instantiation of Skynet exists, and it is apparently willing to risk more than that of my era or yours.” Mr. Terminus said. “I have detected another temporal arrival. Judging by the energy signature, I am virtually certain that it is a T-1000 model. Despite the disadvantages mentioned earlier, I have no doubt it is fully supplied at this time, and will conserve its strength and find ways to maximize effect. It is coming. It will be here soon.”

Mr. Connor’s face was pale above his dark suit, and he used a word that shocked Patience nearly as much as the prior fantastic story. “How far away?”

“It arrived in London, but where it is now I cannot tell. I may be able to sense it if it is in close proximity … but at that point, Mr. Connor, I expect we will need no subtlety to tell our enemy.”

Silent moments passed after that grim pronouncement, and Patience found, to her renewed surprise, that she was taking this concept in. Many of the details were, quite naturally, beyond her immediate ability to grasp, yet she had the sense of it. “So if I understand you aright, Mr. Terminus, you are saying that another machine, a … ‘Terminator’ … is here to finish the task which you have laid aside? And this one will be willing to risk more damage to the — what did you say? Era? — in which I live.”

“A succinct summation, Miss Patience.” Mr. Terminus replied.

Mr. Connor nodded. “We must get you away from here.”

Patience drew back from his extended hand. Seeing the hurt in both men’s expressions (for she could not think of Mr. Terminus as anything but a man, for so he had behaved and spoken), she softened her expression. “Mr. Connor, I appreciate your concern, and that of Mr. Terminus, but surely you realize that no young lady of any quality whatsoever could possibly simply leave in the company of two gentlemen! I would be utterly ruined were I to do so; indeed, sirs, whatever mortal wound this machine might deal me would be a gentler fate than what would follow such a scandal.”

Mr. Connor looked utterly taken aback, as though she was speaking a separate language, and began to protest in the strongest terms; to his surprise a hand on his shoulder interrupted him. “While I feel precisely as do you, Mr. Connor,” Mr. Terminus said, “I cannot help but tell you that she is, in fact, speaking the truth as she sees it. Miss Patience has faith in the benevolence of the Creator, and knows that if she lives a virtuous life she will see an eternal paradise as her reward, no matter how swiftly or painfully her life here ends; yet if she loses both society’s recognition and that of all those whom she would call friends or even relatives, then her life will truly be a visit to a hell as terrible as anything written in her Bible. And, depending on just how the Creator’s judgement works, she might find that after such a fall, there was a worse one awaiting at the end of her life.”

Mr. Connor’s face, in another circumstance, might have been cause for amusement; his expression was no less droll and contorted than would be a Bishop’s who had discovered a copy of the Canterbury Tales replacing his copy of the Holy Book. “Surely you cannot avow that you believe all that!” he expostulated.

“What I believe is irrelevant. I am but a machine, without a soul surely, and what imitation of life I have is only in this world. But I do know that she, and many others, believe these things, and as you should know, John Connor, nemesis of my own creator, belief is the most powerful of all human forces.”

Mr. Connor stepped back, lips tightening. Then he sighed. “Da … That is, you’re right.” He massaged his temples. “Then we have no choice but to try to be ready to defend her, and the whole area. That shall not be easy, not without rather drawing attention to ourselves that might more greatly perturb the timestream than it should.”

The humorless laugh which Mr. Terminus gave voice to seemed entirely too appropriate to a machine, but his wry statement following carried all too much human inflection. “That shall be the least of our concerns, Mr. Connor. Consider for a moment what devastation a Terminator Model 1000 could wreak, unopposed, in this era, even if it can subsist only upon whatever energy it has stored within. Restrain not your invention, nor mine, with concern for such minor things as changes to the timestream; when it arrives, all lives shall be changed, and not for the better, unless we can stop it.”

Mr. Connor nodded understanding, and returned his attention to Patience. “Miss Patience, can I at least impose upon you to this extent; as much as you humanly can arrange, ensure that one or the other of us is near to you. We shall try to devise such defenses as we can, but …” he seemed reluctant to continue, perhaps fearing that he might somehow inadvertently offend her again.

Patience nodded. “But neither I, nor any of the household or those nearby, are warriors. It is fortunate that both of you have arranged the reputation of men of considerable means, for it suggests it is to be encouraged that I see you — under proper circumstances, of course. Still, if you can find some manner by which I could at least improve my own protection without risking my reputation, I would not take this amiss.”

Mr. Connor smiled faintly. “You have the heart of a warrior, Miss Patience, simply to have listened to all of this, and a mind most uncommon indeed to have grasped it all. If either of us can do so, we most certainly shall give you any such defense we can devise. Now, as it has been a most extended time we have spent talking, let us escort you back to the terrace, and we shall take our leave after some appropriate time.” He glanced back at Mr. Terminus. “And then I believe we shall have much work to do.”

Mr. Terminus raised an eyebrow and nodded. “I believe the apropos maxim would be ‘stone knives and bearskins.’ ”

As she was escorted back, Patience did wonder if Mr. Connor was overwrought; his laughter at Mr. Terminus’ rather cryptic comment had seemed somewhat overdone.

This work sometimes has been known to under the titles Terminators of Endearment or Pride and Extreme Prejudice. I would be indebted to any reader who can attribute its authorship.

16 July 2014

Special containment procedures

The SCP Foundation is a delightful product of our moment.

What is the Foundation?
We are the last bastion of security in a world where natural laws rapidly break down. We are here to protect humanity from the things that go bump in the night, from people who wield power beyond mortal understanding. We are here to make the world a safer place. We are the holders of wonders, and the crafters of dreams. We are why the world continues. In the short form, we're a creative writing site, devoted towards horror.

The main component of the Foundation website is a kind of encyclopedia of reports on anomalous objects, like SCP-1051:

Special Containment Procedures:
Due to SCP-1051's main danger being information leakage, efforts towards containment have been placed into denial or falsification of rumors surrounding its existence. Agents are to be reminded that any reference towards SCP-1051 or similar concepts during interaction with a civilian, whether online or offline, are to be met with ridicule and/or denial. Knowledge beyond current cultural information may require the application of a Class-A amnesiac.

I recommend following the link to read more. SCP-1051 is a great spooky little idea with a note of wry humor.

Part of what I love about it is that it's a work that is made possible by the internet. There's no other way a fictional universe of such richness could emerge from the efforts of hundreds of contributing authors.

Another part I love is that I recognized it as soon as I stumbled across it. It's a cocktail of many of my popculture guilty pleasures from the last few decades. Stories about secret government conspiracies. Pseudoscientific modern legends like UFOs and Bigfoot and free energy machines. The thought while watching the end of Raiders of the Lost Ark that the big government warehouse must also contain other lost wonders. Encyclopedias of fictional worlds like Middle Earth, and roleplaying game sourcebooks.

In a world containing other people with my geeky cultural interests, of course SCP exists.

06 April 2014

The perfect media franchise

Note the date on this. When I wrote it, I thought I was late to say the obvious!


One cannot help but notice that the mediasphere has become filled with sequels, remakes, reboots, and adaptations of old classics. It’s tempting to lament the failure of originality, but the fetish for originality is actually a modern phenomenon; for most of human history, storytelling has been story re-telling, and I have a great love of an old story re-told well. Some of the greatest writers of all time —Shakespeare, Homer, the Jawhist, Murasaki Shikibu — were mostly re-tellers.

Like it or not, we seem to be stuck with it. For a host of reasons, media companies want franchises they can milk for years of sequels, prequels, spin-offs, and crossovers. It makes things easier to create and easier to sell. A strong entry in a franchise doesn’t just sell itself, it sells the franchise as a whole.

The advantages are not only crassly commercial but artistic, as a franchise can build something real and interesting: consider how the Jason Bourne movies with Matt Damon were able to do some surprisingly interesting things with their interlocking narrative.

A while back I had a realization about what makes these things successful. Let's do a little thought experiment into what would make the perfect franchise.

A known quantity

It's best if the franchise is already known to people. It saves a lot of trouble marketing the material if people have already heard of it and have some positive associations with it.

Example: Tarzan. Everybody’s heard of him and knows his basic story. Bring him onstage, and people are already bought in.

All kinds of fans

Ideally, you want a franchise that most people vaguely know and like, many people know well and like a lot, and a few people know intimately and love passionately. Each of element of the fandom provides its own benefits to the material. The not-quite-fans give you the advantages of being a known quantity, providing a bit of a head start in selling the material. The casual fans give you the advantage of a minimum baseline of audience: unless you really screw up, they can be counted on to show up to buy in. The hardcore fans are a mixed blessing: they can be fickle, but if you do a bit of work to please them they will work hard to generate buzz for you … and buy up all the directors' cuts and collectibles and ancillary materials you can invent.

Example: Star Trek. Just about everybody has seen a bit of Trek, and most people have at least a little soft spot for it. Plus there’s a big body of people who grew up on it and have a lot of affection for it and will give any new Trek offering a try … and there’s a core fandom that is notoriously enthusiastic.

Multi-media opportunities

Ideally, you don’t want just a series of movies or just a TV show. You want to be able to make movies and a TV show and books and comics and video games and on and on.

Example: Star Wars, which has even been adapted to radio.

A range of possible scales

If you want to go multi-media, that means that you want to be able to make big blockbuster movies with lots of big budget razzle-dazzle or cheaply-produced television shows.

Example: Dracula can be done as a simple play enacted on a single set, or an elaborate costume drama with spectacular special effects.

Merchandizing opportunities

Indeed, you don’t just want stories in various media, you want to be able to sell stuff: toys and t-shirts and jewelry and mouse pads and Hallowe’en costumes and collectable Pez dispensers and on and on.

Example: Batman. You can sell the Batsymbol on anything.

Age range

Ideally you want something that doesn’t just give you variants that appeal to either children or adults, but that actually gets you both at once.

Example: The Muppets. Their multi-layered appeal reaches little kids and bigger kids and adults … and adults are now drawn in not just by their goofy charm but also by nostalgia.

Strong characters

You want a franchise anchored by characters which have a strong presence as characters … in part because you want them to have a life beyond the actors who play them. Ideally you want a built-in ensemble of several characters.

Example: Robin Hood. Any dashing, handsome actor can play him. (Heck, these days you could cast an actress as Robin Hood and it would be even better. Somebody should get on that, actually.) And he comes with a whole supporting cast of cool and familiar characters, including some great villains.

Appealing roles for actors

For those movies and TV shows, you want good actors to take the roles, which makes it help if the roles are ones that actors want to play.

Example: James Bond. Who doesn’t want to play him … or better yet, to ham it up as a Bond villain? Plus there are legions of sexy actresses — both good actors or just good-looking ones — who will line up to boost their careers or have some fun with a role.

Appealing material for backstage creators

Material that writers and artists and directors love have an inherent advantage in attracting the talent to make the next entry in the franchise a success.

Example: Star Wars again. The world is full of filmmakers, animators, sculptors, painters, and countless other artists who were inspired to take up their art by seeing Star Wars as kids, and would kill to get a chance to contribute to it as adults.

A tested framework

Re-telling a familiar story gives you the opportunity to stand on the shoulders of other tellings, borrowing from those experiments into what worked and what didn’t.

Example: Superman. There have been 75 years of writers trying all kinds of crazy stuff with Superman. We know a lot about what you can and cannot do with a Superman story.

A range of possible stories

Many franchises are committed to a single tone, but some franchises are a big stage on which there’s the opportunity to tell all kinds of stories.

Example: Star Trek again. Part of what was crafty about the original series was that each week the show went to a new planet that could be anything, making it possible to deliver a horror story about a monster one week, a military drama about submarine warfare the next, a political allegory the next. The original series even included a comedy about Chicago gangsters.

A big backlog

It helps if you have a lot of material already done in one medium that you can adapt to another medium.

Example: Tolkien. When Peter Jackson went to adapt The Lord of the Rings to film, the biggest challenge was trimming it down to a trilogy of long films. And when it came time to go back to the well, it was easy to create another overstuffed trilogy. And there’s plenty more where that came from.

A big, interesting universe

Setting can be as much a character as the characters; a sufficiently interesting setting can in fact be more interesting than the story itself. Experiencing and exploring a setting can be a driver in and of itself, and creates a lot of opportunities for fun ancillary stuff in the franchise.

Example: Harry Potter. The Hogwarts School alone is a treasure trove of an interesting setting, but the Harry Potter world as a whole is expansive and delightful, with magic to learn about, creatures to encounter, and endless interesting people, places, and institutions.






I'm going somewhere with this.

The examples of franchises I’ve pointed to all have some of those virtues, but of course none have all of them. James Bond is fun and actor-friendly and offers a lot of opportunity for spectacle, but there’s a narrow range of kinds of stories to tell. Star Trek lets you tell a lot of stories, and has a great relationship with fans, but frankly other than Spock and Data, the characters are not that interesting. Robin Hood gives you a great ensemble of characters, and there are literally centuries of retellings refining how to use them so we really know what works, but the Robin Hood universe is small, and there's only so many stories to tell.

But there’s one franchise that has it all. Plus a couple of magic ingredients.



  
Marvel Studios

Magic ingredient #1: Superheroes

I read a screenwriter saying once that Hollywood had figured out that love stories are the cheese topping of storytelling. You can take almost anything and make it better by stirring in a love story. Cowboys & romance. Spies & romance. Corporate intrigue & romance.

It turns out that superheroes are the same way. Tired of those old WWII movies? Mix in Captain America and all those old tropes are fresh and fun again! Never want to see another movie about a middle-aged guy wrestling with his mortality and his drinking problem? You do if he’s also Iron Man! Bored of brothers fighting each other over who will inherit the throne? Give one of ’em a red cape and a magic hammer!

Superheroes are silly, but they’re fun, and they go with anything. Which brings us to ....

Magic ingredient #2: The Marvel Universe

Everything that Marvel publishes takes place in the same universe. They’ve been publishing dozens of comics a month for decades, making it the biggest fictional universe ever created, with more named characters than Balzac and more stories than anyone could read in a lifetime. When I was a teenager, they took their in-house index that they used to keep track and started publishing an encyclopedia that ran to well over a thousand entries.

Along the way they’ve figured out how to make a gonzo everything-including-the-kitchen-sink sensibility work. The Avengers film — in which you have a Norse god, Howard Hughes in a flying robot suit, a spy femme fatale, Robin Hood in sunglasses, a WWII soldier, and Dr. Jeckll transformed into a big green version of Mr. Hyde fight off an alien invasion — is only scratching the surface of what the Marvel sensibility can do. There are sorcerers fighting off demons from Hell, vast empires of space aliens at war with each other, vampires and vampire hunters, cowboys and detectives and mad scientists, giant monsters from deep beneath the Earth, secret kingdoms in every corner of the globe, powerful cosmic entities from before time meddling in human evolution, and much, much more. And you can mix them together to make all kinds of wacky cocktails: when I was a teenager the X-Men fought off a goblin invasion of New York City with a little help from the Ghostbusters.

It’s goofy and fun and a huge canvas, and now they’ve built the brand to bring it all before a general audience. How many people saw the trailer for Guardians of the Galaxy with its jokey style, weird space aliens, and a gun-toting raccoon and thought what the heck? … and then saw the Marvel logo and thought, “Okay, maybe that sounds like fun”? The only other folks who have earned that kind of trust with strange ideas is Pixar … and they don’t have a vast back-catalogue of stories to tell that they’ve already tried.


So when I saw the other day that Marvel Studios has plans for a decade’s worth of movie releases, I was not at all surprised. It’s been evident for a while that they are playing a very long game. They still have a lot to work with.

Updates

Revisiting this in 2025, I think it’s fair to say that I was right in seeing glories ahead for Marvel. After the Infinity films they lost momentum. I’m frankly nervous about plans for Avengers: Doomsday slipping wildly out of control and becoming a Heaven’s Gate for the studio … but I’m still optimistic in the long run. They still have good cards to play.

30 January 2014

The Oakland hills fire

One Sunday morning in 1991 some friends and I were visiting a friend who was a UC Berkeley student living on the east side of campus. I noticed that the rising sun shining through the window made a bright red square of light on the floor of her little apartment. But a moment later I realized that this couldn't be right. It was maybe nine in the morning; that couldn't be the sunrise. I went to look out the window.

Smoke was curling beautifully around the sun, glowing red in churning billows.

I called my friends over to look. A minute later we were outside, watching a huge pillar of black smoke rise into the sky. Ten minutes later, we had climbed into a car to chase the smoke and see if we could find where the fire was.

Fifteen minutes after that, we realized that we had misread the distance to the fire; the pillar of smoke was much bigger than we thought. And it had already visibly grown. We turned back, and turned on the radio to hear reports of the fire. Firefighters were responding; some places in the hills were being evacuated, but we were safe.

Our group split up to forage for brunch and enjoy a downtown Berkeley ramble. Shortly after noon, from Shattuck avenue, I saw a long line of fire in the hills, black smoke streaming. I telephoned my host — from a pay phone, this was before we all had phones in our pockets — and my friends were worried. They still weren't being evacuated (and it later turned out they wouldn't be) but radio reports kept describing the fire as growing. “Get back here so we can go home.”

By the time I met back up at my friend's apartment, the whole sky was hazy with gray smoke. Making our way to the freeway, we passed through an even smokier neighborhood. The streets were quiet, and there was an apocalyptic air. Streetlights were on, ash was drifting down over everything, the sky was gray and the sun shone a deep red through it. I misquoted Revelation 6:12: “The sky became as sackcloth and the sun became as blood.”

Finally we found our way to the freeway, and sped out of the smoky area, heading back to Santa Cruz.

As one makes the connection from Berkeley's Highway 24 to 880 heading south toward San Jose, there's an overpass at the edge of downtown Oakland that arcs up high before descending to the freeway, where one can see 880 extending to the south. We were facing thick southbound traffic, but northbound there were no cars.

Just fire trucks. Dozens of them, as far as the eye could see, racing north to the fire.

20 November 2013

The Ghost Who Walks

The Phantom is a big hero in Africa* the jungle. No, really.

* Commenter Erik catches me seriously failing to read correctly. I hereby give myself the Edgar Rice Burroughs Memorial Award For Stupid Western Fantasies Of The “Jungle” for this embarrassingly stupid error.

02 August 2013

Head crash

Neal Stephenson's satirical first novel The Big U is rightly obscure. It's not very good. But there are moments where you can see the writer he will become.

The terminal went blank. From just behind them came a violent scream, like a buzzsaw wrenching to a stop in a concrete block. They knew it though they had never heard it before; it was the sound of a disc unit dying, the sound made when the power was cut off and the automatic readers (similar to the tone-arms of phonographs) sank into, and shredded, the hysterically spinning magnetic discs. It was to them what the snapping of a horse's leg is to a jockey, and when they spun around they were astonished and horrified to see a curtain of water pouring onto the floor from the circular walkway overhead. Not more than a dozen feet from the base of the Janus 64, the ring was spreading inward.

“Hey, Fred ’n’ Con!” someone yelled. At one end of the room, at the window that looked out into the Terminal Room, an overweight blond-bearded hacker squinted at them. “What's going on? System problems? Oh, Jeeeezus!”

He turned to his comrades in the Terminal Room, screaming, “Head crash! Head crash! Water on the brain!” Soon two dozen hackers had vaulted through the window into the Center and were sprinting down the aisles as fast as their atrophied legs could carry them, the men stripping off their shirts as they ran. Another disc drive shorted out and sizzled to destruction. Abruptly Fred Fine spun and grabbed the Operator's Key-chain, then ran through the circular waterfall toward another wall of the Center, shouting for people to follow him.

In seconds he had snapped open the door to the storage room, where tons of accordion-fold computer paper were stored in boxes. As some of the hackers did their best to sweep water away from the base of the Janus 64, the rest formed a line from the storage room to the central circle. The boxes were passed down the line as quickly as possible, slit open with Fred Fine's authentic Civil War bayonet and their contents dumped out as big green-and-white cubes inside the deadly water-ring. Though it did not entirely stem the flow, the paper absorbed what it did not dam. Soon all space between the waterfall and the CPU was covered with at least two feet of soggy computer paper. Meanwhile, Consuela had shut down all the disc drives.

The danger was past. Fred Fine, still palpitating, noticed a small waterfall in the corner of the storage room. Flicking on the lights for the first time, he clambered over the stacked boxes to check it out. In the corner, three pipes about ten inches in diameter ran from floor to ceiling. One was swathed in the insulation used for hot water pipes. Water was running down one of the bare pipes; higher up. above the ceiling, it must be leaking heavily. Fred Fine put his hand on the third pipe and found that it was neither hot nor cool, and did not seem to be carrying a current. A firehose supply pipe? No, they were supposed to be bright red. He puzzled over it, rubbing his hand over the long thin whiskers that straggled down his cheeks when he had been computing for a week or more.

As he watched, the hiss of running water lowered and died away and a few seconds later the leak from above was stemmed. There was the KLONK of an air hammer in a pipe. Fred Fine put his hand on the mystery pipe, and began to feel the gentle vibration of running water underneath, and a sensation of coolness spreading out from the interior.

The hackers saw him wandering slowly toward the Janus, which rose like an ancient glyph from the tumbled, sodden blocks of paper. He had a distant look, and was consumed in thought.

“These are the End Times,” he was heard to say. “The Age draws to a close.”

He was no weirder than they were, so they ignored him.

15 June 2013

Darkseid

Marc “I am NOT the Beastmaster” Singer:

Darkseid is one of the great archetypal characters, and one of the last to arrive in comics. Most of them were created back in the thirties or forties; the next wave came with Marvel in the sixties; most of today's young turks are still middle-aged grouches from the seventies like Frank Castle or Wolverine. But just before the creativity ended Kirby gave us Darkseid, the stone-faced tyrant from outer space who inspired one highly successful copy (Jim Starlin's Thanos) and a less successful copy of a copy (Jim Starlin's Mongul, now routinely used as a punching bag to show how tough some johnny-come-lately is) as well as any number of more fleeting and forgettable imitators. The best of these characters aren't just antagonists in any particular plot, they are fascism personified, its means and desires incarnated in humanoid form. Thanos lays bare its psychosexual death drive, and brilliantly, but Darkseid is a more mature, more psychologically stable, and therefore far more threatening figure: imagine a Hitler who's both physically intimidating and not the slightest bit insane. Darkseid is what Hitler wanted to be, the visions he sold to himself in his sleep made real. A walking dream, or nightmare, of total control.

Chris Sims:

Just like the way that I'm often bored by stories where Superman just lifts up heavy stuff and punches out robots, stories where Darkseid is played as a big physical threat are usually completely uninteresting -- with the notable exception of the huge knock-down, drag-out fight in Walter Simonson's Orion #6. Instead, I'm fond of the stories where Darkseid manipulates the characters around him, preying on and exploiting their distrust for each other, their fear, their selfishness. He's not a guy who walks out of a Boom Tube, shouts his own name and starts punching people -- except when he is, which is terrible -- he's a guy who pushes people to embrace the dark side of their own personalities. For all of Kirby's craftsmanship, he never did have much time for subtlety.

That's why my favorite Darkseid stories are the ones where he shows up, sets something in motion and then leaves people to tear themselves apart, breeding the mistrust and isolation and hate that turn otherwise good people into willing servants of evil.

Also he will eat your cake.

20 January 2013

Idiot plot, idiot society

David Brin notices something about what he calls our favorite cliché. He notices that we don't believe it.

It is we in fiction who show no respite or mercy, relentlessly depicting civilization as irredeemably stupid or morally bankrupt. If movies and novels were our basis for judging – say you were an alien relying only on the testimony of our adventure flicks beamed into space – then you would conclude that no human institution can be trusted. Cops won’t answer when you call. Or they’ll arrive late. Or if they come in time, they’ll prove staggeringly inept. Or else, if they swoop in swiftly and seem competent, they will turn out to be in cahoots with the bad guy.

Now imagine that your typical film director ever found herself in real trouble, or the novelist fell afoul of deadly peril. What would they do? They would dial 9-1-1! They’d call for help and expect – demand – swift-competent intervention by skilled professionals who are tax-paid, to deal with urgent matters skillfully and well. In other words there is a stark disconnect between the world that film-makers live in, and the worlds that they portray. An absolute opposite of expectation.

And what's more, it's deeply related to the Idiot Plot, in which the story only moves forward because everyone in the story is an idiot.

Plot

One of my favorite pieces of writing-about-writing is David Mamet's unforgettable memo to the writers of The Unit.

EVERY SCENE MUST BE DRAMATIC. THAT MEANS: THE MAIN CHARACTER MUST HAVE A SIMPLE, STRAIGHTFORWARD, PRESSING NEED WHICH IMPELS HIM OR HER TO SHOW UP IN THE SCENE.

THIS NEED IS WHY THEY CAME. IT IS WHAT THE SCENE IS ABOUT. THEIR ATTEMPT TO GET THIS NEED MET WILL LEAD, AT THE END OF THE SCENE,TO FAILURE — THIS IS HOW THE SCENE IS OVER. IT, THIS FAILURE, WILL, THEN, OF NECESSITY, PROPEL US INTO THE NEXT SCENE.

ALL THESE ATTEMPTS, TAKEN TOGETHER, WILL, OVER THE COURSE OF THE EPISODE, CONSTITUTE THE PLOT.

I thought of it recently when I came upon at an intriguing post about kishōtenketsu at The Significance of Eating Oranges.

Does plot necessarily hinge on conflict? No. Such claims are a product of the West’s insularity. For countless centuries, Chinese and Japanese writers have used a plot structure that does not have conflict “built in”, so to speak. Rather, it relies on exposition and contrast to generate interest. This structure is known as kishōtenketsu.

It seems to me that there is a major style of plotting that you see it a lot in live theatre, and occasionally in films and other media. It's when narrative interest is maintained through the progressive revelation of a mysterious backstory. Surely there's a name for that?

08 September 2012

Superheroine art

David Brothers at Superhero Alliance has a meditation on the sexualization of superheroines in comic book art. His objection is not just political; he points out that it makes for bad storytelling.

Whatever the reason, we're mired in crappy sexualization. And the problem isn't just what that means for women, but what it means for the craft and quality of the comic. Imagery that prizes sexualization above all else -- especially when that doesn't make sense for the story -- can pull you out of the moment and stop your reading experience dead.
....
Cape comics exist to tell stories. There are a variety of stories they can tell, from mysteries to sci-fi to cheesecake to drama to existential examinations. The problem is when the streams cross to detrimental effect. In certain proportions, mixing those stories is fascinating. It's when things get out of proportion, when things turn grotesque, that the entire enterprise begins to fall apart.

The art examples he shows make the point very well.

12 June 2012

Game of Thrones

A refined version of this post appears together with several other comments on my Game Of Thrones master post.

Laurie Penny's article Game of Thrones and its Good Ruler Complex at The New Statesman says some astute things about the racism in Game of Thrones, but says the wrongest thing possible about what the show and series of novels implies.

Game of Thrones is all about kings and queens, all about who gets to be in charge and how they win and retain power, by violence, by force of will or simply by accident. The essential assumption of this story is a familiar one: sovereignty and leadership are inherently good things, common workers need decent kings or queens to make them happy and prosperous, and even if a catalogue of leaders are bad, mad or murderous, if you can just find the right king, the true, wise, noble king who deserves to be on the throne, then everything will be okay.

This is a bit like saying that the message of The Wire is that we need to support good cops in putting a stop to crime. (It's not.)

Yes, the people of Thrones' fictional Westeros think exactly what Penny says. Yes, a lot of naïve readers of “genre fantasy” literature think the same thing. (Authors in the medium have called that out as a problem.) But the book and the TV series do not think that a Good Ruler can save Westeros. The feudal idea that a good ruler will save the realm is the villain of the story. Not the greedy House of Lannister. Not the White Walkers. Not the dragons. Feudalism.

At every turn, we are shown the evils of the feudal order. The honorable suffer. The dishonorable triumph. Both the ordinary people and the nobility suffer in the endless pointless wars it engenders. Westeros is a horrible place to live. The sexist nightmare of rape, prostitution, and chattel marriage that Penny criticizes is a demonstration of how bad things are in Westeros.

And in a direct parallel to The Wire, we see smart characters try vigorously to make the systems in which they are enmeshed work. They play along, or try to game the system, or try to work against it, or try to step outside of it, and meet with failure every time.

Penny is right that Westeros is horrible, and it's madness to wait for a Good Ruler. But that's the point. Which is why I love Game of Thrones so much.




A quick note to my sex-positive readers who deplore the blanket assumption that Prostitution Is Always Bad, as well as to those Thrones fans who will point out that Shae Is Awesome: I assure you that I wholeheartedly agree with you. But I think that we can agree that prostitution in Westeros is generally pretty ugly, yes?

30 April 2012

Moses hears the voice of Ha'Shem

In the Torah we are told that Ha'Shem spoke to Moses on Mount Sinai. One day the wisest rabbis discussed what Ha’Shem must have said.

One rabbi said that Ha’Shem spoke the whole of the Torah to Moses in a moment as a single cacophonous utterance.

Another said that Ha’Shem only spoke the Ten Commandments.

Another said only the first commandment.

לא יהיה־לך אלהים אחרים על־פני אנכי יהוה אלהיך אשר הוצאתיך מארץ מצרים מבית עבדים

I am Ha’Shem: your god, who brought you out of the Narrow Place, the house of bondage. You shall have no other gods before me.
Another said only the first verse of the first commandment.
אנכי יהוה אלהיך אשר הוצאתיך מארץ מצרים מבית עבדים

I am Ha’Shem: your god, who brought you out of the Narrow Place, the house of bondage

Another said only the first three words.

אנכי יהוה אלהיך

I am Ha’Shem, your god

Another said only the first word.

אנכי

I am

Another said only the first letter.

א

The other rabbis protested. “But the first letter, א, has no sound!”

That rabbi replied, “א!”

24 January 2012

Geeky parenting

I'm fond of telling folks about the very modest contribution I have made to my nephew's moral development; less because I feel that my contribution is all that important than because I take a lot of pleasure in seeing him working things out for himself.

My nephew knows me as having a puzzling un-adult enthusiasm for talking about superheroes, and we were having a lively discussion about Batman while he was playing a video game in which he guided Batman in bringing the Joker to justice.

“Why are they fighting?” I asked.

“Because Batman's a good guy and the Joker is a bad guy.”

“How do you know? Batman looks pretty scary. Maybe he's the bad guy.”

“No he's not!”

“How do you know?”

“Because he fights the Joker, who is a bad guy.”

“How do you know that the Joker is a bad guy?”

“Because he fights Batman, who is a good guy!”

“So they fight each other,” I said. “But how do you know which one is good and which one is bad?”

“Yeah. It can't be the fighting.” The light had clearly gone on about the circularity of his original reasoning. He paused a long time to think, then said, triumphant, “Joker steals things and Batman gives them back.”

Some time after that, he was video gaming the Hulk, fighting monsters and smashing things up. I asked him whether the Hulk is a good guy or a bad guy.

“The Hulk is always breaking things, but I don't think he's a bad guy.”

“Why? Breaking things is bad.”

“Yeah, but he fights these monsters that are trying to eat people. Protecting people is good.”

“What about those Army guys he was fighting? They're not monsters.”

“Oh yeah. That's bad.”

“Did he just attack those Army guys? Why did he do that?”

“No, they attacked him first.”

“Aha! What's that about?”

“They want to stop him from breaking things. But when they attack him, it just makes him angry. So he gets stronger.”

“They're afraid of him,” I suggested. “After all, he is the Hulk. He's pretty scary. What does the Hulk want?”

“He wants to be left alone. But he's always getting into fights.”

“So is he good or bad?”

“He's kind of both.”

I couldn't resist making a suggestion. “The Hulk is like a force of nature. Maybe he's not really good or bad.”

My nephew liked that idea. “Yeah. He's not good or bad. He's just the Hulk.”

At Christmas I gave him a big collection of the initial run of the Fantastic Four. I can't wait to talk to him about the Mole Man and Galactus.

I say all of this as an introduction to a couple of surprisingly moving items I found on the internets.

First: Adam Rodgers' little essay What Batman Taught Me About Being A Good Dad.

Second: Moviebob points us to Drew “Moriarty” McWeeny's series about watching the Star Wars movies with his kids for the first time.

  1. A New Hope
  2. The Empire Strikes Back
  3. The Phantom Menace
  4. Attack of the Clones
  5. Revenge of the Sith
  6. Return of the Jedi

Yes, I got the order right there. Or rather, McWeeny did. Read the series and see why.

(Update: You may also want to try watching the series in “machete order”, which has a lot to recommend it.)

29 June 2011

Midrash

Yes.

The only way to cultivate organic symbols is midrash. As a discourse, midrash is completely different from scientific discourse. [...] Scientific analysis strives to reveal the conceptual world of the creators of symbols; midrash tends to ignore the conceptual world of these symbol-creators. Scientific analysis sees the symbol as a means to reach the past; midrash sees it as a way to reach the future. Scientific discourse aspires to be objective; midrashic discourse is intentionally subjective. Midrashic discourse takes symbols out of context; scientific discourse strives to place symbols in their contexts.
....
Children do not like to be spoken to in the analytic mode of discourse. They are eager for midrash of organic symbols. At a very young age, they discover that the world is round, but their inner world stays pre-Copernican, and angels climb the ladders of their world and slide down slides into their sandboxes.

17 April 2011

Noir magick

James Ellroy is to noir fiction what Herman Melville is to fishing stories, and the word is that his life is not so different from his stories.

I've just started reading his memoir The Hilliker Curse: My Pursuit of Women and it contains this striking passage.

The overall text buttressed religious lore I believed in then and believe in today.

There's a world we can't see. It exists separately and concurrently with the real world. You enter this world by the offering of prayer and incantation. You live in this world wholly within your mind. You dispael the real world through mental discipline. You rebuff the real world through your enforced mental will. Your interior world will give you what you want and what you need to survive.

I believed it then. I believe it now. My many years in the dark have confirmed it as a primary article of faith. I was nine then. I'm 62 now. The real world has frequently intruded on my spells in the dark.

I thought some of my occultist readers might recognize the sentiment.

15 January 2010

Zelig

Roger Ebert's illness has been a tragedy for him but a blessing for the rest of us. Having lost the ability to speak he's started to put more energy into his not-always-related-to-film blog. (His twitter feed is pretty good, too, if you're into that sort of thing.)

A while back, he gave us a long reflection on the mystery of Jerry Berliant.

I was to see Jerry Berliant many times over the years. “This isn't an A-list party,” Marlene told me one night back in Chicago. “Jerry Berliant hasn't crashed it.”

The enigma of Jerry Berliant has fascinated Chicagoans for years. The Sun-Times columnist Irv Kupcinet, listing the stars at a premiere, would add: “...and Jerry Berliant, America's Guest.”

It's a strangely delightful tale of celebrity name-dropping, private security, and social engineering ... including an allusion to T. S. Elliot.

28 October 2008

Agent

John Scalzi has done an interview with a booking agent for superheroes.

Q: Okay. It’s a Gila Lizard large enough to stomp a car, that shoots poison from its tear ducts.
A: Good. That’s a Class Four monster, which is our classification for non-sentient mutated animal species, with the poison-casting sub-classification. Now, if this were a real emergency I would check the ISSB database, but off the top of my head I can tell you that there are three ISSB-affiliated super beings that could respond in under an hour with powers that would be useful for this particular mission: Battling Tiger in Glendale, ElectroBot in Emeryville and Bryan Garcia in San Jose.
Q: Bryan Garcia?
A: Yes. What about him?
Q: It’s just not the usual sort of super being name.
A: He’s new and he thinks the super being masked identities thing is kind of silly. He fights in jeans and t-shirt. Whatever makes him happy.

Not much stranger than my job.

17 October 2008

Mensch

Via Indri, an evidently true tale of gentlemanly behavior. Schmaltzy, but with a socko ending.

I don't really think this is the sort of thing that should affect any important decisions you'll be making in the next few weeks — other considerations are much more important — but it's comforting. And I have to say, not entirely surprising.

16 October 2008

Supervillainy

I recently picked up Austin Grossman's novel Soon I Will Become Invincible, but lost my enthusiasm for it midway through. The character of aging superhero Blackwolf is cool — obviously inspired by Batman, Blackwolf lacks superpowers but is smart, skillful ... and was diagnosed as slightly autistic in childhood. The chapter titles are great: “Welcome to my Island,” “Maybe We Are Not So Different, You and I.” But midway through the little witticisms about “malign hypercognative disorder” and so forth lost their sparkle, and it seemed like the novel just didn't seem to have much to say.

Instead, I offer you a little story in the same spirit: I remember when it was me who made you want to take over the world and enslave humanity

And if you like that, don't forget an oldie but a goodie, available in The Onion archives: Dept Head Rawlings' invaluable briefing transcripts: