Astrogator’s Logs

“…full of sound and fury, signifying nothing.”

– Shakespeare, MacBeth, Act V, Scene V

James Cameron made two films that are high on my list of favorites: Terminator 2 and Aliens – not least because powerful women are central to the stories (even though he gave them the most conservative and clichéd motivation for heroism: maternal protectiveness).  He was a taut, visually inventive storyteller once.  But all his films after The Abyss increasingly resemble the Hindenburg: bloated, self-indulgent, lacking originality and subtlety in all but F/X.

The latest iteration, Avatar, is the culmination of these traits and a poster boy of the industry’s tendency to let CGI spectacle be the sole concern.  A quarter of a billion dollars went into the film, the GNP of a small country, yet they couldn’t pay a decent SF writer a paltry sum to give even a whiff of freshness to the story. The characters are stale broad stereotypes, the plot reheated canned slurry, the dialogue rusty nails scratching a cement slab. The borrowings are endless, starting with the ersatz Campbellian mythology that failed so abysmally to add resonance to Star Wars.  But the definitive stamp of hackery is that many elements are frank rip-offs of older Cameron creations.  The vaunted 3-D effects are devoid of unique payoff and the Pandoran life forms look like shiny hood ornaments.

The worldbuilding is equally shoddy.  As I said in SF Goes McDonald’s, scientific accuracy is not crucial in SF.  However, consistency and informed imagination are.  A moon as close to a gas giant as Pandora is would be awash in radiation and wracked by earthquakes and volcanoes like Jupiter’s Io.  Also, its independent biogenesis would give rise to life forms that would not remotely resemble us.  But let’s concede that point for the sake of audience identification.  Since all Pandoran animals are six-limbed and four-eyed, the Na’vi would share these evolutionary attributes.  This would actually make them far more interesting.

The clunky clichés and logic gaps of Avatar are wince-inducing even if you accept the film’s premises.  Here’s a species that’s essentially the “neocortex” of a sentient planet – yet they have… nuclear families and hereditary chiefs.  The conceptualizations of the avatars and of the Na’vi neural links to the Pandoran flora and fauna are too silly to dissect.  If the link worked as advertised, they wouldn’t need to hunt (or, conversely, killing an animal would have concrete physiological repercussions).  I discussed mind uploading in Ghost in the Shell. If you want to see a linked, communing ecosphere done right, read Joan Slonczewski’s A Door into Ocean or follow Odo’s individuation struggles in Deep Space 9. And if you want action with stunning animation, elegiac depth and heartbreaking stakes, watch Hayao Miyazaki’s Mononoke Hime.

The Na’vi are sexed-up Ewoks and Pandora is a prelapsarian Eden where they can live dilemma-free with Stone Age technology.  Yet like all Others, they’re helpless until a White Alpha Male steps down literally from on high to rally them to battle, while in turn they enable him to reconnect with his inner Mother Earth anima.  Soft-focus imperialism and New Age fuzziness mix queasily with post-genocidal sentimentality about Noble Savages — a pernicious mindset that I described in And Ain’t I a Human?

It’s bad enough that films since the maturation of F/X have been aimed at 15-year-old boys.  Far worse is the fact that the most lavish Hollywood films have been made by their directors’ 15-year-old inner boys – tightly conjoined with plans for lunch boxes and video games whose complexity far exceeds that of the films.  Welcome to Infantileland, where crudity, banality and sloppiness rule, where clouds of sycophants allow directors to call themselves Emperor of the Universe or Master Jedi without a trace of irony.  In one of my visions of hell, I’m forced to endlessly watch Lucas’ Star Wars (except, perhaps, episode V), Jackson’s King Kong, all of Spielberg’s SF/F and Cameron’s Avatar.

There’s nothing wrong with adults enjoying Disney-level spectacle, as long as they don’t make it their moral, intellectual or esthetic measuring stick.  An artist with Cameron’s credibility and clout should undertake real challenges that inspire our innate desire to explore instead of recycling militaristic violence porn and preachy feel-good platitudes.  He did it incredibly well before, he can do it again.  And some childish dreams should remain dreams.  They work far better as beckoning beacons.

Images: top, Linda Hamilton as Sarah Connor in James Cameron’s Terminator 2; middle, David Switzer’s cover for Joan Slonczewski’s A Door into Ocean; bottom, Q’Orianka Kilcher as Pocahontas in Terence Malick’s New World.

Update: The Huffington Post just re-printed this article. I’m donning my asbestos space suit!

Quiet has been reigning in my head lately. I can concentrate on my tasks, my mood is the best since I recovered from my operation (as long as I ignore the fibromyalgia that resulted from the shock to my system) and I even have occasional chunks of time for original writing.

This is the result of neither Modafinil nor meditation but of something much simpler: I walked away from electronic forums. Facebook’s gone, Yahoo and Google discussion groups are gone except one, RSS feeds are gone. I’m tracking two blogs that interest me and an artist friend’s works through Livejournal. But I’ve essentially left the Second Life building.

When I belonged to several forums, my head resembled a gull rookery, awash with noise, random peckings and guano. Facebook was by far the worst offender, even after I ruthlessly pruned my friends list to a quarter of its size. And trying to reason with loud ill-informed semi-illiterates on scientific or political threads got tedious, sort of like having to handle teenagers who seriously think they’re the first and only ones to discover — nay, invent — sex.

Don’t misunderstand me, the Internet is a great resource for quick (though often unreliable) references and images. It’s also a decent medium for keeping in touch with distant friends. But its forums, unless they exercise draconian moderation, encourage problematic aspects of human nature and culture: evanescent trivia; hysterical narcissism and mob swarming; regurgitation of undigested skimmings. Lacking the nuances of body language and required to be soundbite-long, most Internet exchanges rank low as meaningful communication, to say nothing of depth or wit.

By disconnecting, I pulled free from the constant white noise that turns into a black hole of distraction. Of course, I annulled some of the beneficent effects of Internet quiet by writing a series of articles for a high-visibility venue — especially the most recent one, which dealt with the impossibility of immortality, uploading in particular. The article got slashdotted and was also highlighted in one of the blogs I still track, with the predictable outcome: it attracted many thoughtful, thought-provoking comments;  it also attracted commenters who objected strenuously to the article without having read it. Some brandished Star Trek, The Matrix and Kurzweil’s Singularity at me as science textbooks (or gospels, take your pick).

I’m tempted to collect the latter (with meta-comments added) in an anthology titled Uppity Biologist Deflates Nerds’ Wet Dreams with Wetware. Alas, ars longa, vita brevis. I’ll have to delegate this to my uploaded mindclone,  while I continue to struggle with the very real problem of dementia in the lab.  But, most importantly, quiet still reigns in in my head.

by Calvin W. Johnson

Today I have the pleasure of hosting my friend Calvin W. Johnson, who will give us his thoughts on Battlestar Galactica and Caprica.  Dr. Johnson is Professor of Physics in San Diego State University where he does research in computational quantum mechanics.  He’s also an author with poems and SF stories in many venues, including Analog and Asimov’s.  You can find some of them at his home page, http://www.physics.sdsu.edu/~johnson/writing/.

One of the earliest and most lasting narrative models in science fiction is Frankenstein.  The recent SciFi channel reboot of Battlestar Galactica owes itself as much to Mary Shelley as to the original 1978 television series. In the original, the robotic Cylons are creations and inheritors of a now-extinct reptilian race; in the 2003 reboot, the Cylons are our own creation. Like Frankenstein’s creature (in the novel), the reimagined Cylons are as capable of tormented philosophical reasoning as they are of homicidal rage.

It is the Cylons’ self-doubt that saves the human race from extinction, which is lucky considering the forty thousand surviving humans are so flawed and back-biting that a brace of ambitious bonobos armed with a bottle of window cleaner and some lead-tainted Mexican candy could have wiped them out. In current parlance Battlestar Galactica was “dark,” a quality currently all the rage  (see also: Christopher Nolan’s two Batman movies).  The first two seasons frequently had brilliant writing and acting, but by the final season Battlestar Galactica (or BSG to its friends) deteriorated into a self-parodying soap opera. We were told at the beginning of episodes that the Cylons “have a plan,” but it became increasingly clear that creator Ron Moore was making it up as he went along; by the series finale he had written the reboot’s most compelling creation, Kara “Starbuck” Thrace, into such a corner that he could only end her story by having her melt into the wind like an bad odor.

But Battlestar Galactica was the best thing going on the SciFi channel. Ominously, and not in a good way, the Powers That Be agreed to a prequel, Caprica, set 58 years “before the fall.” Caprica details the story of how the Cylons were created and how humanity sowed the seeds of its own destruction. (Warning: mild spoilers ahead).

Caprica takes us back to a shinier, happier time to meet Zoe Greystone, the 16-year-old scion of a cybernetics corporation. Part genius, part whiny goth girl, part secret religious fanatic (a monotheist in a world of polytheists), she is killed off in the first few minutes. Eventually, she is resurrected cybernetically, much to the regret of everyone, herself included.

If this sounds familiar, why yes it is, even more so than Frankenstein. When one thinks of a prequel written in response to a successful, gritty science fiction phenomenon, one can only invoke…

Star Wars.

The parallels are uncanny.

Recall: in the Star Wars prequels, Lucas takes us back to a shinier, happier time, to meet Anakin Skywalker, a technologically brilliant yet whiny child who secretly falls in with the sinister cult of the Sith, is nearly killed, then resurrected in a cyborg body to terrorize the galaxy.

Wow. I get goosebumps just thinking about the parallels, and not in a good way.

Caprica is far better than The Phantom Menace, but that is a low bar, and neither is Caprica as compelling as the opening Battlestar Galactica miniseries. We are supposed to sympathize with Zoe’s grieving father, a Bill Gates-like character, but his distance from wife and work also distances him from the audience. Much more intriguing is Joseph Adams, a well-dressed lawyer who lost his wife and daughter in the same bombing that killed Zoe, and who is attempting to reconnect with his young son William, all the while in a dangerous dance with a Mafia-like gang from his Tauron homeworld. Young William, of course, grows up to be Bill Adama, who helps to save the human race 58 years later as captain of the Galactica. The Adama drama is much more compelling than the dull Frankenstein, I mean Greystone, family but is curiously underplayed here despite a few dramatic scenes.

The technology of Caprica is not only flashier but also significantly more advanced than in Battlestar Galactica; I suppose the First Cylon War seriously knocked civilization back on its heels. Among the advance is a kind of virtual reality; I tend to despise virtual reality stories on principle, although here the stupid factor is significantly less than Star Trek holodecks or The Matrix, again low bars (I realize such a statement is hate-mail bait).  Oddly enough, the tech I liked the best was a kind of smart paper; less dramatic but much more realistic.

BSG, as does all science fiction, provided a platform to play out current anxieties: terrorism, genocide, abortion, religion. It’s clear that Caprica will touch upon at least two major themes: the tension between heritage and assimilation among immigrants facing bigotry, and religion. Most discussions about religion in science fiction are ill-informed and inane, and have none of the critical depth or insight found in, say, Life of Brian or South Park. In both BSG and Caprica, however, the religion proxy discussion is more intriguing, mostly because the writers allow the characters the sincerity of their beliefs or, better yet, realize the insincerity of all our beliefs and non-beliefs.

Watching Caprica I was struck when one character, questioning the monotheism of another, asks: do you really want to believe in a universe run by a single God who gets to decide what is right and what is wrong, with no recourse, no appeal? In other words: polytheism as the ultimate checks-and-balances for governing the universe. For science fiction, this counts as a deep insight.

The pilot for Caprica was released as a DVD and download in April; it is set to premiere as a series in early 2010. It’s unlikely to be as awful as spinoffs often are — for example, I couldn’t even bear to try the Stargate: Atlantis spinoff from SG-1 — but I am not holding my breath. In fact, I’ll probably wait for the DVD.