Author Archives: Evan

World War Z Minus the History

In 2006 Max Brooks’ novel World War Z: An Oral History of the Zombie War hit bookshelves across North America. As a sequel to his previous book, The Zombie Survival Guide, it was guaranteed to acquire cult status, with zombie-lovers all over the world treating its predecessor as a bible for the imminent undead apocalypse. Fans were thrilled when it was announced just the following year that the rights to the film adaptation had been bought by Plan B Entertainment, Brad Pitt’s film production company.¹

Although the film struggled early on financially2, filming finally went underway this summer. It wasn’t until just three days ago, however, that Paramount released their official synopsis for the film, which goes as follows:3

“The story revolves around United Nations employee Gerry Lane (Pitt), who traverses the world in a race against time to stop the Zombie pandemic that is toppling armies and governments and threatening to decimate humanity itself.  Enos plays Gerry’s wife Karen Lane; Kertesz is his comrade in arms, Segen.”

Cue instant uproar from the entire internet.

To be fair, film adaptations of books have often changed substantial plot points to the benefit of the film’s reception, et cetera. Stuart Little was a hit with children because it didn’t feature what is essentially a mouse who acts like a little man who was born of a human womb. Teenagers enjoyed A Walk to Remember because it was set in the 90s and not in the mid-1950s.World War Z, however, is not a novel that required such significant changes.

In reference to the latter part of the title, An Oral History of the Zombie War, the novel consists of a number of interviews conducted just ten years after the last country was officially deemed victorious over the undead hordes. What makes the scope of the novel so grand is who is being interviewed.

Beginning with Chinese doctor Kwang Jingshu and the minor outbreak in New Dachang and reaching as far as Xolelwa Azania of South Africa, reading through World War Z is a global experience. Tying the novel together are several interviews with Todd Wainio, a former U.S. Army infantryman who had taken part in the greatest military defeat of the Zombie Wars.

Pitt’s adaptation with himself as a modern-day Cassandrais not the story that needs to be told. By omitting the latter part of the title the film will ultimately fail to capture what made the novel stand out among the rest: an almost uncomfortable sense of peace after a decade at war and one man questioning why exactly it all happened.

The film will be watched by many because even those who haven’t read the book have heard the title World War Z. They were probably raved to about the novel and how it captured the horrors of a zombie pandemic in a way that was both realistic and emotional. It’s too bad that they won’t realize the film is just another fast-paced action thriller with a bit of zombie thrown in until they’re sitting in their seats.

1. Plan B Entertainment was originally founded by Brad Pitt, Jennifer Aniston, and some other dude. Which had to have been awkward, especially for the other guy.

2. It’s hard to believe the amount of fun these newswriters must be having coming up with these titles. Source: http://nymag.com/daily/entertainment/2011/03/world_war_z_brad_pitt.html

3. From the reliably titled site, Movies.com: http://www.movies.com/movie-news/world-war-z-movie/3869

4. As well as significant deviations from the plot as well as Shane West as a rebellious badboy, etc etc.

5. King Priam’s daughter, soothsayer of Troy. Warned her countrymen the danger that was the Trojan Horse, to no avail. Just in case you were wondering.

Guilt in The Congo and the Koprulu Sector

Fairly spoilery.
                                                                                                                                                                      

No matter the medium, there have always been dominant themes in literature. Whether it be the theme of adulthood in About a Boy or the exploration of childhood in Calvin and Hobbes, writers have long voiced their opinions in their work, stating their viewpoints on universal experience. This can clearly be seen in the real time strategy game StarCraft II: Wings of Liberty and the novel The Poisonwood Bible. Though [literally] worlds apart in format and subject matter,  the two are bound together beneath the overarching theme of guilt.

Wings of Liberty‘s Jim Raynor is a man haunted by the ghosts of his past. The sector’s current tyrant, Emperor Mengsk, rules with an iron fist and sits proudly upon his throne due to the former-marshal’s aid in the first war. This despot betrayed Raynor’s love, Sarah Kerrigan, by ordering her to place a device on the capital planet which would lure in the voracious Zerg like moths to a flame, and then abandoning her to them. The Zerg would later transform Kerrigan into a creature known far and wide as the Queen of Blades, a malicious killing machine who would later terrorize the sector and kill Raynor’s closest Protoss ally and friend.

Four years later Raynor is taking steps to topple the government he helped establish. His band of rebels is working to right the wrong that is the Terran Dominion, but even in spite of this the loss of Kerrigan and his guilt over her abandonment remain. These feelings are exacerbated when his old friend Tychus Findlay walks back into his life. Years earlier Tychus took the blame for both of them and was incarcerated for nine years. His reappearance in Raynor’s life brings back countless memories of the good ol’ days, and Raynor is forced to constantly defend his friend against the suspicions and accusations of his crew.

As victories accumulate an opportunity arises, a chance to reclaim the Queen of Blades and restore Sarah Kerrigan to her former self arises. However, the source of the offer is Mengsk’s son, bringing him dangerously close to the man he wants dead. The gripping conclusion of the first chapter of the StarCraft II trilogy involves Raynor having to choose between two regrets, two immense sources of guilt, and his decision holds the fate of their world in its hands.

The Poisonwood Bible is the story of the Prices, a Baptist family who moves from Georgia to the unfamiliar wilds of the Congo. Narrated by the five women of the family, the tale is seen and told through the eyes of Orleanna, wife of preacher Nathan Price, and their daughters, Rachel, the eldest, Leah and Adah, the diametric twins, and Ruth May, the youngest. Originally planning on only staying for a year, their missionary tenure in the village of Kilanga is set awry by political upsets, many of which are caused by their own government.

The Prices do not adjust well to life in Africa, and the strain of life in an unfamiliar land is evident in their interactions with one another. While guilt is not present in their lives from the get-go, things take a sharp downhill turn once Nathan Price begins to force Christianity upon the villagers in a manner which borders on antagonistic. Their lives are placed in danger when political unrest begins to encroach on the borders of their existence in Kilanga and natural disasters such as a drought and the resulting famine cause many of them to wish they had never travelled to the Congo in the first place. Guilt’s immense weight finally falls, however, at the death of one of the Price daughters. None of the narrators are exempt from this event, and all are bowed beneath its burden as they move on with their lives, never quite leaving the past behind them.

The second wave of guilt is felt only by some, and it directly involves the once-hopeful nation of the Congo. America’s desire for cheap diamonds and cobalt leads to a scheme that will put the leader they want in charge of the country, a plan which will overthrow the newly-elected Patrice Lumumba, voice of the Congolese. Western guilt lies leaden on the shoulders of most (but not all) of the Price women, the actions of the Belgians in the colonial era and the actions of their own American countrymen in the post-colonial. Lives and hopes lost at the hands of their Western brethren force them to reconsider who they are as people, and to try their best to come to some sort of reconciliation.

Jim Raynor and Orleanna Price both have lines which, while appearing simple on the surface, speak volumes about who they are and what they’ve done with their lives. Facing his final decision Raynor says, “We are who we choose to be,” a line almost stupidly simple at first glance. In it, however, these seven words manage to encompass his decision to turn away from a life of crime to become a marshal, and then a rebel freedom fighter, a path Tychus looks upon scornfully. These words contain within them his choice to set aside revenge for closure, to save lives instead of sit back, and, finally, his decision to choose between what appears just and what could be redemption.

Orleanna, in the first few pages of the book, tells the reader, “One has only a life of one’s own.” This straightforward statement means more and more as the narrative progresses, yet from the beginning it reveals that she does not really feel needed or loved, and thus has only herself as company. As the novel goes on Orleanna makes her own pivotal decision, one that directly affects her remaining daughters and their lives to come. Opting to set aside her weak-willed self and to put on strength and intensity, she becomes a woman motivated by the eventual safety of what family she has left.

StarCraft II: Wings of Liberty and The Poisonwood Bible both feature protagonists who are riddled with guilt and yet seek freedom from it, who are forced to face it and move on, and who make their largest decisions in the midst of disaster, panic, and betrayal. Both have lived lives full of regrets, yet firmly choose to make one less mistake, for the sake of others and not for themselves.

Kingsolver, Barbara. The Poisonwood Bible. New York: Harper Flamingo, 1998. Print.

StarCraft II: Wings of Liberty. V 1.0.1.16195. 31 July 2010. Blizzard Entertainment. 31 July 2010.

Everyone’s Talking About Miles Morales

It doesn’t matter if comics are something you keep up with or not, you’ve probably heard the news: Spider-Man is black. Yes, you’re reading it here for possibly the third or fourth time, but it’s true. Our resident wall-crawler is now a person of colour, and people are not happy.

In case you haven’t heard anything at all about this change, allow me to restate what’s been said a thousand times already. In the Ultimate Marvel universe Peter Parker has died, and replacing him is a half black, half Latino teenager by the name of Miles Morales.

Ever since this news was announced by USA Today five days ago the internet has erupted in outrage. Many see Marvel’s decision as the purest example of forced diversity, that in the politically correct culture we live in this is just one more addition to a long line of changes made to make us more accepting.

What’s really riling people up, though, is the media. Erik Hayden’s article for The Atlantic Wire entitled “The Backlash to the Backlash of a Multiracial Spider-Man” informs us that the way the news is being portrayed is strongly affecting how we react, whether it be Glen Beck tying this change to something Michelle Obama said or Scott Mendelson of the Huffington Post pointing out that “[. . .] Parker Had To Die To Make It Happen.” As media consumers people are taking on opinions and making them their own.

The most upsetting article so far was one I found on The Daily Mail website entitled “Marvel Comics reveals the new Spider Man is black – and he could be gay in the future.” My problem with the article was not that they misspelled his name and omitted the dash, it was the gross assumption implied by the title, and the fact that said title would both pull in and incite readers.

The title is based on a quote [found in the article] by Sara Pichelli, an artist who created the new Spider-Man’s look. It goes as follows: “Maybe sooner or later a black or gay – or both – hero will be considered something absolutely normal.” Nowhere does she mention that Miles Morales might be gay. Nowhere in that statement does she even hint at it. All Pichelli did was muse that perhaps one day our comic book heroes will have a little more diversity.

My ire at faulty journalism aside, allow me to lay down a few facts that may be able to extinguish any flames of frustration over this change in character. Miles Morales is the new Spider-Man in the Ultimate universe. Peter Parker died in the Ultimate universe. It’s not regular Marvel continuity and as far as anyone is concerned in the regular comics Pete’s still donning those red and blue webbed tights and trash-talking the petty thugs of New York City.

If you can’t cope with the very fact that Marvel had the audacity to kill Peter Parker in the first place check out the Wikipedia page on Ultimatum. People die in the Ultimate universe all the time, and it’s almost always permanent. If key members of the X-Men can bite the bullet then really anyone’s fair game.

On the off chance that you’re still upset tune in to MGK [Mightygodking] and what he has to say about the topic. He’s got a point.

Being Erica Soon to Be American

The American entertainment industry has long been dominated by remakes, a fact that’s easily backed up by a quick glance at the last year in film.¹ What’s less well-known to most people, however, are the amount of television shows on the air that have their origins elsewhere. The UK, in particular, is responsible for American Idol, Sanford and Son, American Gladiators, Being Human, and Whose Line is it Anyway?, to name a few. And let’s not forget about The Office.

It makes total sense that the game shows were taken and adapted for an American format²; if people are going to watch other people make money, they’d prefer it if it was at least the same currency. The other shows, however, were adapted because of cultural differences. As far as Being Human goes, the characters remain a vampire, werewolf, and ghost, yet attempt to live normal lives in an American setting. Cultural differences also encompass humour, and it should be clear to most people that what makes the British laugh won’t necessarily do the same for Americans.

On December 16, 2010, ABC announced that they were planning on rebooting the Canadian series Being Erica3. First airing at the beginning of 2009, Being Erica is a show that follows the life of Erica Strange, a thirty-something year old woman whose life is turned around when she begins an unorthodox form of therapy. Her sessions essentially consist of her being sent back in time to relive past regrets, a smooth blend of science fiction and comedy-drama that seems almost believable at times. Continue reading

The Batgirl of San Diego: Diversity in the DC Universe

Yesterday I was blessed with the opportunity to interview “The Batgirl of San Diego,” a woman who was at this year’s SDCC [San Diego Comic-Con] dressed as Stephanie Brown’s alter-ego. While she was there she appeared at every DC panel and asked questions which were met with responses ranging from indifference to open hostility. Gotham’s Batgirl may have rid the city streets of crime, but San Diego’s fights to ask why there aren’t more women in comics.

She responded with more thoroughness and thoughtfulness than even I expected, so I asked as many questions as I could before our time was up.

Evan: You made quite a scene at this year’s Comic-Con. Could you explain to us in a few short sentences what exactly went down?

SDB [San Diego Batgirl]: I don’t know that I would say that I ‘made a scene.’ I attended several of the DC Comics panels and asked questions about what I saw as a lack of female presence, both in comic books and on the panels. The audience, while receptive initially, eventually seemed to grow angry that I was asking these questions.  The main questions were simple: “Where are the women?” in response to the fact that there was not a single solo title cover featuring a woman in the entire Justice League line-up (though I believe Wonder Woman is supposed to be included), “Are you committed to hiring more women?” in response to the fact that the panels I attended were entirely male with only two exceptions, and one addressed to the room asking whether people there would buy and read a comic written about a strong, intelligent female protagonist.

Evan: Do you believe that DC has a large number of strong female characters?

SDB: The female characters DC has are definitely strong.  But let me give you some statistics presented by another women at one of the panels. She went through and counted, and out of 98 prominent figures on the covers, 27 were women.  Out of 28 single character titles, six were women.  As you can see, about a quarter of the DC universe lead characters are female – which means that the other 75% are male.  On the other hand, there are many existing female characters that aren’t being used or are being underused.  If DC were to bring these existing characters more prominently into the spotlight, it would be easy to make this ratio a little less extreme. Continue reading

The Representation of East Asian Characters in Two Popular Western Comic Strips

Familiar to almost anyone who grew up in America, Archie Comics has told the stories of a fairly interesting group of teenagers living in the town of Riverdale for decades. First established in 1939 these comics are still published today, 72 years of panels featuring that insipid redhead Archie Andrews and his friends [who I actually don’t mind]. The comic strip Zits, on the other hand, was first published in 1997, and has for 14 years chronicled the misadventures of much-more-modern teenager Jeremy Duncan and his own group of eclectic young people.

It’s not difficult to see how the two [a single strip and all those created by an entire company] are similar to one another. Both are about American teenagers and their day-to-day lives, albeit living in very different eras. Having originated in the late 30s Archie and his friends have moved forward generation after generation, yet stick to a much lighter tone in regards to issues that teenagers have to face. Zits, starting at the turn of the 20th century, has a more realistic view of the high school years, addressing such topics as the disconnect between teenagers and their parents, the short attention span of today’s youth, and so on.

What I would like to explore and elaborate upon is the representation of Asian characters, specifically those of East Asian descent. Both of these comics are [or, at the very least, have been] immensely popular, and as a result their content is in part representative of what the West [in this case Canada and America] is familiar and comfortable with. Continue reading