All New X-Men: Yesterday’s X-Men

All-New X-Men: Yesterday’s X-Men

I read this just after finishing the first Marvel Masterworks X-Men volume, which turned out to be a help. That’s because what happens here is that the original/classic X-Men are brought via time machine into the present day (post Avengers vs. X-Men storyline) by Dr. Hank McCoy, where they have to square off against the rogue Scott Summers/Cyclops. So having the X-Men’s origins fresh in mind helped me understand the teenage X-Men characters and their motivations a little better. Plus there’s actually a scene here set in an earlier comic (it’s from X-Men #8, which came out in 1964) that I only remembered because it was included in the Masterworks volume. I thought that was neat.

The old X-Men (who are, paradoxically, the “all-new” X-Men) facing off against the formerly new X-Men (or what’s left of them) makes for a showdown with lots of dramatic potential. How will the old X-Men deal with what’s happened to them? What will Scott Summers do when he confronts himself? How will Cyclops and Wolverine react to seeing Jean Grey (a teenage Jean Grey!) come back to life? You won’t have to wait long to find out!

A great concept then, and Brian Michael Bendis delivers a solid story with lots of interesting wrinkles, like young Hank McCoy trying to save old Hank McCoy’s life by way of a psychic link provided by Jean where the two McCoys can talk to each other. Alas, some stuff, like the young X-people who are introduced, aren’t as interesting, however necessary they may be to the story. But overall I thought this was a great launch for the “all-new” series. The only thing that really got on my nerves was the “AR” codes that appeared on several of the pages. Apparently these can be scanned on your phone using some Marvel app giving you bonus features. So sort of like Easter eggs on a DVD, except they’re marked for you. The AR stands for Augmented Reality (sheesh) and apparently it represents “the future of comics in action!” Spare me. And spare the comics being stamped with these annoying logos.

(As a footnote, it’s interesting that in X-Men #100, written by Chris Claremont and appearing all the way back in 1976, the story involved a showdown between old X-Men and new, though it was revealed in that comic that the old X-Men were actually X-Sentinel robots. The idea has a history then.)

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Dupin: The Murders in the Rue Morgue

I think I first read this story when I was around 8 years old, in a paperback of Poe’s selected tales that I got from that company that let you order books at school. I still have that book. Memories . . .

What I remember the most are two things: not really understanding all the talk about the different operations of the intellect that Dupin indulges in, and being terrified by imagining the horrors of the Rue Morgue, and especially Mademoiselle L’Espanaye being thrust up the chimney feet first.

Even reading it again today I was struck by just how violent a story it is, albeit often with the violence reported in an indirect way. The body in the chimney with its face “fearfully discolored,” eyeballs protruding, and tongue “partially bitten through.” Madame L’Espanaye nearly decapitated before being tossed out the window (“her throat so entirely cut that, upon an attempt to raise her, the head fell off”). The clump of hair pulled from a victim’s head that’s “clotted with fragments of flesh of the scalp.”

What the story is probably best known for though is giving birth to the genre of detective fiction. Indeed, Poe was so fast off the mark in this regard that C. Auguste Dupin never calls himself a detective, and some sources suggest the word wasn’t even in use yet.

Much as H. G. Wells would later invent many of the standard tropes of science fiction, from alien invasion to time travel, Poe established the fictional detective for years to come with Dupin. As Conan Doyle would say, Poe’s detective stories provided “a root from which a whole literature has developed.” The obvious follow-ups were Holmes and Poirot, and with their success the mold was set. The detective would be a brainy and eccentric amateur who takes pleasure in the game of solving crimes. He would enjoy showing up the plodding police (“The results attained by them are not unfrequently surprising, but, for the most part, are brought about by simple diligence and activity”). He would have a homosocial relationship with an amanuensis sidekick. At the end of the novel or story he would enjoy dramatically revealing his discoveries to an amazed audience.

There are clues provided here, most notably the emphasis on how all of the different witnesses testify to hearing a shrill voice speaking a foreign language that a cross-section of Europe can’t make any sense of. There’s a red herring in the business of the 4000 francs. There are quotable bits of wisdom offered up by Dupin. Example:  “There is such a thing as being too profound. Truth is not always in a well. In fact, as regards the more important knowledge, I do believe that she is invariably superficial.” And another: Remarkable coincidences “happen to all of us every hour of our lives, without attracting even momentary notice. Coincidences, in general, are great stumbling blocks in the way of that class of thinkers who have been educated to know nothing of the theory of probabilities.”

What struck me re-reading the story this time was how closely the living situations of Dupin and the narrator mirror those of Madame L’Espanaye and her daughter. Dupin and the narrator rent “a time-eaten and grotesque mansion, long deserted through superstitions into which we did not inquire, and tottering to its fall in a retired and desolate portion of the Faubourg St. Germain.” It’s Paris’s answer to the House of Usher! The L’Espanayes also inhabit a giant pile, living alone as recluses in a kind of shabby gentility. In the haunted house of the Faubourg St. Germain they close the shutters at the first hint of dawn. In the Rue Morgue house the shutters are seldom opened, and what will transpire will be an early instance of the “locked-room” mystery. Of course this is a motif we see again and again throughout Poe – introversion taken to the extreme of being buried alive – but it’s double-barreled presence here was something I’d never noticed before. Which, in turn, leads you to wonder how the obsessions of such an idiosyncratic, downright weird personality ever went so mainstream. I guess, like Kafka, Poe’s unique and eccentric qualities were what made him a universal type and not just for an age but for all time.

Dupin index

TCF: The Forever Witness

The Forever Witness: How DNA and Genealogy Solved a Cold Case Double Murder
By Edward Humes

The crime:

In 1987 a pair of young Canadians, Jay Cook and Tanya Van Cuylenborg, were killed on a trip to Seattle to pick up a furnace part. Over thirty years later William Earl Talbott II was convicted for their murder, having been caught by the new science of genetic genealogy.

The book:

This is a great book, both for how well Edward Humes tells the story – offering different perspectives into the killing and subsequent investigation – and for the importance of what it tells us about modern forensics.

The basic elements of the crime weren’t exceptional. Jay and Tanya were a normal couple whose only mistake was being in the wrong place at the wrong time. That place being the state of Washington, a.k.a. Ann Rule country. “In the 1970s and 1980s (and continuing through the 1990s), Seattle and the Pacific Northwest had become home to an extraordinary number of serial killers, rapists, and killers.” Among the lowlights we find names like Ted Bundy, Gary Addison Taylor, Gary Ridgway, and Robert Lee Yates. I’m not sure why this should be. Humes says that “from a practical standpoint, the region served as a predator’s ideal habitat” because Seattle “was a big city . . . surrounded by . . . extensive woodlands and wild areas.” But I don’t think the urban or natural environment has much if any influence on the creation of a serial killer. And Talbott was, somewhat surprisingly, not a conventional killer. A moody child who tortured animals and then escalated to extreme and methodically planned violence, you would have thought he’d go on to a bloody criminal career. But apparently Jay and Tanya were a singular outburst.

In any event, Seattle wasn’t the place to be visiting in 1987. But Jay and Tanya’s fate, like most such tragedies, was the product of contingency:

so many other factors contributed to what happened, so many seemingly inconsequential events and decisions. They all had to occur just so and in precise sequence, like a once-in-a-lifetime alignment of the planets, without which Tanya and Jay’s trip wold have concluded uneventfully and there would have been no BOLO [a “be on the lookout” advisory], no manhunt, no case at all. First there had to be a broken furnace on Vancouver Island. Then a usually reliable Canadian heating supply company had to fall through, and a Seattle supplier had to have just the right vintage furnace and parts. There had to be a customer who needed that installation before the weekend and a business partner who could not make that happen. Jay had to have just lost a job so he had time to go to Seattle, and Tanya’s best friend had to be sick so she could not come and provide strength in numbers. The travelers had to reject a simple, foolproof route in favor of a complicated scenic course where a wrong turn was practically inevitable. Jay and Tanya had to arrive in Bremerton hours late, yet in time for the last ferry to Seattle. Omit or change any one of these links in the chain of events, and the couple from Vancouver Island would never have reached the same spot at the same time as a stranger determined to do evil.

Perhaps because Talbott was such an oddity and the murders a one-off, and perhaps because of the unfortunate series of accidents leading up the killings, the case remained cold for a very long time. But then came what Humes refers to as the third revolution in DNA profiling: snapshot DNA phenotyping (generating an image of a suspect based on their DNA) and even more significantly genetic genealogy.

Humes provides a good backgrounder on the history of the science behind genetic genealogy. Basically it means identifying a source of DNA by using vast online genealogy databases. Previously, using DNA “fingerprinting,” you could only match DNA found at a crime scene with the individual who shared the exact DNA – that is to say, the very person the police were looking for. If that individual’s DNA wasn’t already on file somewhere as a previous offender, you were out of luck. With genetic genealogy investigators could drill down to virtually any individual by way of their family DNA. It wasn’t even that hard. What was originally thought impossible turned out to be simple. It took CeCe Moore, the DNA detective on this case, only a couple of hours sitting on her couch at home with her laptop to identify Talbott, an individual with no prior record.

It all sounds like science-fiction. When combined with the snapshot image generator it’s even a bit like Minority Report. But there’s no denying it’s effectiveness. What concerned people was the potential for misuse in such a technology. Who had the right to such information? What could they do with it?

I’ve always had two responses to these concerns. In the first place, the toothpaste is out of the tube. Now that we have the technology available, we’re going to use it. Or at least somebody’s going to use it. And how and why did things get to this point? Not because of governmental overreach but because we voluntarily gave up all this information. I’ve never understood why people complain about the government invading our privacy when we’ve been more than willing to let private companies invade it even more. I’ve gone on about this before, and had made notes to say more on the subject here, but at the end of the book Humes himself says it better and he’s worth quoting at length because this is important:

Focusing on law-enforcement use of DNA databases as a major threat to privacy is like regulating matches in order to address the problem of rampant wildfires. Attention is being misplaced – or diverted from – much larger potential threats to privacy and democracy.

While we obsess on what the police are up to when ferreting out a few names and emails from public genetic databases, millions of Americans are blithely uploading their complete genomic information to largely unregulated private profit-making companies who monetize customers’ precious, extremely valuable DNA in a multitude of ways, including highly lucrative biomedical research. And, rather incredibly, the DNA donors are paying these companies to do it.

More than forty million people had taken a consumer DNA test by the end of 2021. That’s nearly double the number reached in 2018. What the police can access in their searches is nothing compared to the vast information these millions of customers are giving to the private companies. It may go out the door as just a tube of spit in the mail, but to these companies, your spit is liquid gold from which your most sensitive, private self and secrets can be extracted: Are you prone to heart disease? Cancer? Alzheimer’s? Mental illness? Depression? Do you have children with more than one spouse? Are you adopted? Are you related to a criminal?

People are giving away the keys to stuff even they may not know about themselves to profit-making companies who answer only to their shareholders. And the information you turn over to these corporations also informs them about your children and your parents and your other close relations – everyone who shares your DNA. You might as well send them your diary, your checkbook ledger, and your tax returns. But all the critics want to talk about is what the police are going to do with those names and emails they extract while hunting for serial killers.

It would only take one Enron of DNA, in an otherwise respectable industry – or one well-lace database hack of companies whose vulnerability has already been demonstrated – to cause more damage than anything imagined by those who worry about cops using genetic genealogy. What would the data be worth to an insurance company looking to deny coverage? To companies looking to screen their potential hires? To lenders and underwriters who make millions for every fraction of 1 percent of risk they can avoid? What would sensitive private information be worth to political operatives, domestic and foreign spies, to those who would blackmail leaders or manipulate and game an election? And the DNA doesn’t have to be from the person being coerced. Malefactors can get to them through a cousin. Or an aunt. Or a child.

It’s painful when your credit card is hacked. But you can cancel it and get a new one. Once your genome is hacked, there’s no undoing it. It’s the only one you’ve got.

There is much here that needs to be flagged. What the police can access in their searches is nothing compared to the vast information these millions of customers are giving to the private companies. People are giving away the keys to stuff even they may not know about themselves to profit-making companies who answer only to their shareholders. You might as well send them your diary, your checkbook ledger, and your tax returns. Once your genome is hacked, there’s no undoing it.

The possibilities for using these new tools to catch bad guys are endless. But the downside is also unimaginable.

Noted in passing:

Humes mentions at one point that the series finale of Roots was watched by 71 percent of households in the country. This struck me as being very high. I found a list of the most watched television broadcasts in history and the numbers quoted were all for the number of viewers. Apparently the Apollo 11 Moon landing was the most watched broadcast ever (around 125-150 million viewers), which I can believe. The next eight shows on the list were all Super Bowls, then Richard Nixon’s resignation speech. The top primetime program was the series finale of M*A*S*H. The series finale of Roots came in tied for sixteenth with The Day After.

But, as I said, these rankings are all for number of viewers, not percentage of households. If you’re talking about that latter figure, 71 percent is incredible. Given the splintering of the audience today and the fact that streaming viewing has largely taken over from television it’s a number we’re not likely to see again.

Takeaways:

In the twenty-first century, we’re all just part of the database.

True Crime Files

 

Batman: Cacophony

Batman: Cacophony

A banner across the top of the cover says KEVIN SMITH. This is in even bigger lettering than the title which is immediately beneath it. So you can call it a Kevin Smith production. Indeed, it demands you call it that.

There’s nothing wrong with a comic trying to cash in on a celebrity name (think of Keanu Reeves and BRZRKR), and since Smith is a sometimes able screenwriter and die-hard comic fanboy, I didn’t go into this one with any misgivings or, for that matter, particularly high expectations.

Smith himself is self-deprecating about his efforts in his Introduction. “By series’ end, I realized it wasn’t the best Batman story I could write; nor was it Walt’s finest hour.” Walt being Smith’s buddy and series artist Walt Flanagan. The most he’ll say for Cacophony is that it provided useful experience for his later efforts. So that’s setting a pretty low bar.

I thought it was just OK. Only three issues, so there wasn’t much there. The storyline has Onomatopoeia (a Kevin Smith supervillain creation) breaking the Joker out of Arkham Asylum so that together they can hunt down Batman. Or at least I think that was the plan. Ono doesn’t say much and needless to say things don’t work out.

If the story is a weak sauce at least the writing has some of Smith’s distinct personality and brand of humour. Which is either a good or a bad thing, depending on how big a fan you are. And so the Joker is a mouthpiece for various semi-obscure cultural references, and even a couple of Maxie Zeus’s security guards get into an argument over the original Clash of the Titans. For the most part I thought this stuff fell flat. When the Joker says at the end that “I’m Glover, Circle Jerk’s Mel, Broodin’-Ruben’s Busey, and this is the end of Lethal Weapon,” I just couldn’t figure the comparison out. Nor could I understand the Joker’s big line at the end about how “I don’t hate you [Batman] ‘cause I’m crazy . . . I’m crazy ‘cause I hate you.” These are just words. Then there’s also some politics thrown into the mix, mainly in the opening pages where a lack of funding has made Arkham Asylum even easier to break into and out of. I did love Maxie Zeus saying that he’s done a lot of good with “some of the profits” from his drug operation (a philanthropist very much in the modern mode), but the Joker’s fascination with Ayn Rand’s The Fountainhead was another joke that went over my head. And I wasn’t sure what to make about the television broadcast being presented out of its original order the second time it’s played. Was that a mistake or was I missing something?

The art too was just OK. It looks quite generic. Action is handled pretty well, but Flanagan has a lot of trouble with Bruce Wayne’s face the few times we see it. The Joker’s sad excuse for a beard though is memorable.

Not a write-off or a disaster then, but nothing very special about it either. I got the feeling Smith wanted to go a little deeper into the Batman-Joker connection, but that’s been done so many times now that he really doesn’t have much to add. As comics go it’s the sort of thing that might leave you curious to see more, but not necessarily eager. Nevertheless, Smith does promise that he was getting better and learning on the job so I’ll probably check in later to see how that turned out.

Graphicalex