2020 was a year that upended all expectations. Though the threats that 2020 brought affected people in a variety of ways, for most it became a year of simple survival. For nerds, of course, we turn to the things that occupy our attention, inspire our imagination, or generate conversation. This year, we are looking at the things that helped us survive 2020. Today, Kyrun Silva––creator at Taurus Comics and co-host of the Con Artists podcast on this very website––shares what kept his spirits up this year.
Okay, let’s get this out of the way: 2020 sucked for most of us. For me it sucked a lot. No comic book conventions, no family gatherings, no martial arts training (which also meant I didn’t get my black belt this year, maybe next year; who knows?), and so many other things. 2020 will be a year that remembered forever, but even through all this turmoil Some things still brought joy to my life. A few of those joys were geeky things. While my family’s love (and the sheer variety) of anime––a mainstay of my 2019––allowed us to explore all of the feelings that came with the pandemic, there was one thing in particular that––aside from annoying my wife for half the year––really hit me hard.
HAMILTON
I have to admit, ever since July happened my family hasn’t been the same.
July 3rd, 2020 was the exact day. It was a warm evening. Dinner had been consumed, and we sat down to relax. Instead of watching more anime, I suggested we watch Hamilton, which had just been released on Disney+.
I heard about Hamilton over the years. I even watched a couple of YouTube videos showing clips of the original cast performing on stage, off stage, and in the White House. For years, my wife and I tried to get tickets to see it live. When news got out that Disney had bought the rights to stream it, I knew I had to watch it. From the opening couple of notes I was hooked. The music, the voices, the pageantry, the dances, I loved every minute of Hamilton. Maybe a little too much.
Source: Disney
The entire musical is three hours long with an intermission in the middle. For my wife it probably felt like an eternity. The problem is, after my first viewing, my love for Hamilton didn’t end. One viewing turned into two, then three, and soon became double digits.
I quickly found the soundtrack and lyrics online and soon began singing the entire musical all day every day. My enthusiasm for this phenomenon spread to my oldest son, who quickly joined me in my madness. He and I started taking different parts of the show––he, as Alexander Hamilton; me, as Aaron Burr. Then my two youngest joined us.
My wife was not amused. She said I was a grifter1 of sorts, tricking them into liking the show. I say they just have good taste.
Presumably, this is Kyrun and his son at least twice a day. At least. Source: Disney
I became a Hamilton zealot, searching from anything I could get my hands on about the musical. My browser history became filled with searches of the cast and crew. Even to the point where I started watching the show Station 19 because Okieriete Onaodowan, an actor from the musical, was now on the show. Side note: I already watched all the episodes of Black-ish that featured another Hamilton cast member in Daveed Diggs.
Hamilton is still played at least once a week in my household. Yes, the enthusiasm may have died off a little, but the love is there.
2020 was a crazy year. Though I wasn’t able to consume my geekdom in ways I had been accustomed to in the past, I found alternatives that filled that void and helped bring my family together. We’ve created new memories together that will strengthen my family’s ties and give us something to look back on years down the line.
WEEK IN GEEK: This week, Andrew enthusiastically plays the 2nd edition of Pathfinder, despite not fully enjoying the first edition, while D. Bethel gets really excited to play an adventure game based on one of his favorite comics, Blacksad, but gets horribly disappointed by Blacksad: Under the Skin.
RELEVANT EPISODES:
“The Volumometer Incident” (10 July 2014): Where Andrew shares his experience playing the Pathfinder card game.
“Starting By Starting” (03 January 2020): Where D. Bethel discusses the noir adventure game inspired by H. P. Lovecraft, Frogwares’ The Sinking City.
“Nature’s Velcro” (03 July 2020): Where Andrew plays the computer RPG, Pathfinder: Kingmaker.
DC DECONSTRUCTED: News of a major restructuring of DC Comics by WarnerMedia last week set the comics world ablaze with speculation and worry. D. Bethel and Andrew try to parse the information and speculate on what it could mean not only for DC Comics but for comics in general.
LOWER THE SHIELD: Over seven seasons, Marvel’s Agents of S.H.I.E.L.D. comes to a close. Our hosts’ appreciation for the show––especially this final season––has not been a secret. Now that is has ended, they finally––finally––talk about the final season and the show it brought to a close. SPOILERS ABOUND for the final season, especially the two-part finale.
The caricatures Dan drew back around 2000-2001, of Andrew and his roommates. The drawing that the SHIELD villain reminded Andrew of is on the bottom right. D. Bethel is in the bottom middle with Andrew at the top left.
WEEK IN GEEK: As is often the case with our hosts: everything old is new again. Andrew plans to take on the psychological strangeness ofAtlus’ Catherine in the recently released “definitive” version of the 2011 game called Catherine: Full Body. D. Bethel actually steps outside the realm of Xavier’s School for the Gifted to try out a different Marvel hero, The Silver Surfer, in the 2019 limited series, Silver Surfer: Black, by Donny Cates, Tradd Moore, and Dave Stewart.
#RELEASETHETAYLORCUT: With a bunch of DC Comics-related news dropping this week, we had to light the Taylor signal to bring in our resident DC expert and Senior Optimist Reporter, Taylor Katcher, to talk about the release of the infamous “Snyder Cut” of 2017’s Justice League on the forthcoming streaming service, HBO Max. Also discussed is the shocking news that Ruby Rose would be stepping down from the lead role on Batwoman after the first season (and had already been renewed for a second).
“Episode 101 – The Black Arts of Algorithms” (05 Aug. 2016): Where Andrew and D. Bethel cover the strange discussion about box office returns in the wake of the rebooted Ghostbusters‘ release.
NEWS BLAST (COVID-19 EDITION): A lot of stuff is going on amid the global pandemic, and Andrew and D. Bethel are here to talk about it (if Dan actually was able to record his audio this time). They talk about the AMC theater chain shunning Universal Pictures amid Trolls World Tour‘s success, Civilization VI‘s bold new plan for a year’s worth of DLC and expansions, Marvel and DC Comics are shipping books again, The Flash has an abbreviated season (ending on somewhat of a downbeat), and New Mutants gets a theatrical release date…again.
SHELTER AT HOME: With both hosts hometowns under a “shelter at home” quarantine, they discuss how they’ve had to adjust their behavior to continue their normal nerdy procedures. To that end, Andrew discusses playing tabletop RPGs online using the Roll20 website and the teleconferencing program, Zoom. D. Bethel, on the other hand, talks about comic book distribution and how the major (only?) comics distributor, Diamond Comics, decreed that it will cease ordering (and shipping) new comics immediately; Dan talks about how this affects him and, more importantly, how it affects local comic shops.
Here is a look at the virtual tabletop Andrew created for his game of Spectaculars:
Also, here is the video made by Sacramento comic shop proprietor, Ben Schwartz––owner of Empire’s Comics Vault––laying out the dilemma of comic shop owners in the time of the quarantine (especially before Diamond stopped shipping):
Shortcast 72 – Little Paper People (02 Nov. 2018): Where Andrew talked about buying, printing, and assembling papercraft figures for tabletop role-play.
Makes a Taste (13 March 2020): Where Andrew discussed his first play-through of Spectaculars.
INFO:
Visit our website at forallintents.net and leave your thoughts as comments on the page for this episode.
CRISIS ON INFINITE TAYLORS: With another, even bigger crossover of the DC/CW shows, we had to have friend-of-the-show and Senior Optimist Reporter, Taylor Katcher, come onto the show to talk with Andrew and D. Bethel about the glorious mess that was “Crisis on Infinite Earths” that saw Arrow, The Flash, Batwoman, Supergirl, and DC’s Legends of Tomorrow fight to save the multiverse.
RELEVANT LINKS:
Katcher, Taylor and Taylor Cassell. “2019: Nerd Endings.” A Website [ , ] For All Intents and Purposes. 13 January 2020.
Where the Taylors wrote about watching all of the nerd stuff during 2019.
“Episode 152 – My Own Finger” (05 January 2018): Where D. Bethel and Andrew brought Taylor on to bring them up to speed on all things DC Comics with his first “State of the DCE-Union.” It is also Dan’s favorite custom show image that he ever made:
“Guestcast 03 – Muted Police Action” (07 December 2018): Where D. Bethel took the week off so Andrew and Taylor could talk about another DCCW crossover event, “Elseworlds.”
INFO:
Visit our website at forallintents.net and leave your thoughts as comments on the page for this episode.
WEEK IN GEEK: This week, Andrew talks about becoming enraptured by the first episode of the new CBS All Access series, Star Trek: Picard while D. Bethel enjoys the poignant but strange end to a creative team’s long run on Batman with the DC Comics’ Black Label series, Batman: Last Knight on Earth by Scott Snyder and Greg Capullo.
INFO:
Visit our website at forallintents.net and leave your thoughts as comments on the page for this episode.
This year we are hosting a variety of looks back at 2019 as hosts and friends-of-the-show offer up the things that defined the year for them. Today we have fellow nerd lawyer and tabletop RPG writer, André La Roche, share the things that stood out to him this year.NOTE: This contains spoilers for the season finale of HBO’s Watchmen and DC Comics’ Doomsday Clock.
Wow. Wow, wow, wow. 2019 was a banner year for geekery. When D. Bethel asked me to contribute this year-end review, I had many options to choose from in my corner of geekery. In particular, I had to resist talking about the following honorable mentions: the release of Avengers: Endgame, the controversial ending of HBO’s Game of Thrones, the drama regarding Sony reclaiming the rights to Spider-Man from Marvel, before ultimately agreeing to share custody (Sony gets weekends and holidays), and the sky-is-falling hubbub around the release of Joker. (To be fair, I already wrote about that one here).
While I’m sure these events and many others will also be a part of others’ 2019 year-end discussions, the next three represent the highlights of my own particular year in geek.
Both HBO’s Watchmen series and DC’s sequel, Doomsday Clock, radically confront the original Watchmen‘s themes in their own ways. Source: (L-R) HBO, DC Comics.
Fixing Boomer Comics: Or, the Story of How Doctor Manhattan’s Heart Grew Three Sizes that Day
Earlier this year, an amusing story emerged regarding the hashtag “#fixingboomercomics.” In it, several artists identified problematic comic strips written and illustrated by Baby Boomer creators. These comics often depicted straight white middle class men puzzling and chortling over issues faced by their wives and children. Independent creators “fixed” these comics by adding a panel depicting the Boomer male protagonist, instead of making fun of others, engaging in the issues that interested them with good-natured curiosity. However, I don’t think the artists behind this movement predicted the highest profile incidence of this: not one, but two “fixes” of Watchmen by Alan Moore and Dave Gibbons.
December 2019 showed the conclusion of not one, but two sequels to Watchmen. The first being the similarly-titled HBO television series, and the second being the comic book Doomsday Clock published by DC Comics. A proper analysis of each of these works independently, or even comparatively, would take more room than I have here. However, for our purposes the following suffices: both works end with a complete and tidying ordering of the moral universe which includes Adrian Veidt (aka Ozymandias) being apprehended for his act of terrorism in the original graphic novel, and the stoically amoral Doctor Manhattan dying after being overcome with feelings of love and hope (respective to the show and novel).
This is one of the few instances where I side with Alan Moore’s notorious hostility towards adaptations of his works. Watchmen, by design, was supposed to be a rejection of the white hats vs. black hats style of comic books. The bad guy killed millions, and got away, and the heroes turned a blind eye for the greater good. Both sequels saw fit to “fix” this carefully considered ending. To my great disappointment. The willingness to defy conventional superheroic storytelling was a large part of why this work stood out, and influenced a generation of comics to come after it. Though I enjoy hopeful and optimistic stories, I also at times enjoy those that end on darker notes. After all, I live in a world where Augusto Pinochet died peacefully in bed in his 90s after killing or disappearing thousands of political dissidents. This is the same world where members of the Bush administration are not presently in jail for waging a preventative war in Iraq, nor likely ever will be. It’s a world where children are being separated from their parents, held in cages along the U.S.-Mexican border, and in some cases reportedly experiencing sexual assault.
Works like the original Watchmen offer the following consolation: “Yes, the world can be a terrible place where justice is fleeting. You’re not alone in recognizing this, and yet, you can still carry on with grace and dignity.”
In the original Watchmen, the Boomer got it right.
This promo image for HoX and PoTen begs as many questions as the entirety of the event itself. Art by Mark Brooks. Source: Marvel
HoX and PoTen
The X-Men franchise was my first true obsessive-compulsive venture into geekery as a child. Sure, I loved Transformers, Thundercats, and Teenage Mutant Ninja Turtles, but when it came to X-Men, I became an encyclopedia of useless knowledge—down to the characters’ heights and weights gleaned from their 1993 Skybox trading cards. After the success of the Marvel Cinematic Universe, the X-Men assumed a less-prominent role in Marvel Comics—that is, until Marvel regained the movie rights to the property. This year, Marvel published an ambitious relaunch of the X-franchise with the intertwined miniseries House of X (“X” as in the letter) and Powers of X (“X” as in the Roman numeral for “ten”). Or, as I like to call them, “HoX and PoTen.” D. Bethel has already discussed what HoX/PoX meant for him, but hey—when you have two X-fans contributing to a website, you’re bound to get some redundancy when X-Issues pop up.
This relaunch completely overhauled the high concept of the X-Franchise—all of mutant kind, including villains, find themselves united and creating their own island nation of Krakoa (the villain from the very first reboot of the franchise in 1975’s Giant-Size X-Men #1), and their own unique culture which includes their own language. On top of this, mutants no longer need fear death, due to the implementation of so-called “resurrection protocols.” Whether Krakoa’s inhabitants are truly able to cheat death isn’t something I’m convinced of.
In HoX and PoTen, Charles Xavier found a way for mutants to avoid––or at the very least, invalidate––the threat of death. From House of X #5, by Jonathan Hickman (words), Pepe Larraz (lines), and Marte Gracia (colors). Source: Marvel
HoX and PoTen and the “Dawn of X” phase that followed them, have all been imperfect. Despite this, though, the ambition behind this wide-ranging relaunch is undeniable. And in the hands of skilled storytellers, those gaps in the premise will no doubt meet with eventual patching. Overall, it’s good to see Marvel’s Merry Mutants receiving some tender love and care.
Patent drawings of the (L-R) “Craft Using an Intertial Mass Reduction Device” and the “High-Frequency Gravitational Wave Generator.” Source: TheDrive.com/USPTO.GOV
Technology is More Advanced Than You Know
“Technology is more advanced than you know.” This enigmatic statement, devoid of any other context, was uttered to me many years ago by a contact in the defense sector. At the time, I found this statement incredibly curious. After all, I consider myself reasonably well-informed. I get my news from a variety of sources with a variety of political and world views. I have friends who are researchers in many fields or employees at leading tech companies and ask them about the work that seems interesting and daring. I always had a rough sense of what was coming down the pike. Or so I thought.
Now, as much as I wish this were evidence of extraterrestrial life, I can’t claim that it is. What it is evidence of, is a technology so radically advanced that it defies conventional wisdom of the known laws of physics and their mechanical applications, and represents a quantum leap (not the Bakula kind) between current understandings of what is scientifically possible, and what science can actually achieve.
After the story of the 2004 video broke, my curiosity was piqued and I continued to do research into the subject of UAPs. What I found was equally as shocking as the Navy-corroborated video.
Earlier this year, the Navy filed a series of patents that, if accurate, could mean that we are on the precipice of attaining Star Trek-like levels of technological development.
These patents were developed by a Naval scientist, researcher, and aerospace engineer named Salvatore Cezar Pais located at the United States Navy’s Naval Air Station Patuxent River. Dr. Pais’s patent applications are for the following devices: an “electromagnetic field generator and method to generate an electromagnetic field” with the principal stated application of deflecting asteroids that may hit Earth; a “craft using an inertial mass reduction device” that could be a high speed “hybrid aerospace/undersea craft” that could “engineer the fabric of our reality at the most fundamental level”; a “room temperature semiconductor” that would enable “the transmission of electrical power with no losses”; a “high frequency gravitational wave generator” used for the purposes of “advanced propulsion, asteroid disruption and/or deflection, and communications through solid objects”; and a “plasma compression fusion device” that would effectively represent the holy grail of energy sciences—nuclear fusion.
Of interesting note, was that the Navy’s patent application for the craft using an inertial mass reduction device was originally rejected by the patent examiner at the United States Patent and Trademark Office as being scientifically impossible. It was then that the Navy appealed the patent officer’s determination with the Chief Technical Officer Dr. James Sheehy testifying that not only was the patent application operable or near operable (the requirements for a patent being granted), but that the Chinese Government was close to perfecting such technology. Similar appeals were filed by the Navy in response to other patent rejections.
Many commentators were unconvinced that the Navy was actually close to implementing the described technologies. Some believed that this was actually an elaborate disinformation campaign, designed to trick rival governments into wasting resources pursuing impossible technologies. That may very well be the case. But I also wonder how many of these commentators were being held back by their own possibly imperfect perceptions of what is scientifically possible—the nay-saying old guard to Dr. Pais’s modern-day Galileo. The technologies described in Dr. Pais’s patents are definitely the stuff of Star Trek—but so too were cloning, gene editing, hand-held mobile communications devices, tablet computing, augmented reality gaming, and real-time high definition video-conferencing. All of those technologies have since come to fruition.
If you’re interested in reading about Dr. Pais and the Navy’s patents in greater detail, www.TheDrive.com has been dogged in publishing a fantastic series of articles with each new development over the past year. Each of these patents and the stories and commentary around them far exceed the scope of this year-end review’s ability to do them justice, and are worth spending a lazy Saturday afternoon reading. Who knows—alongside the credible reports of UAPs, they may convince you, as they did me, that there’s hope that technology is more advanced than you know.
In Conclusion
For me, 2019 had two great highlights—a return to prominence of my first geeky love, and a renewed hope for realizing technological marvels that I once thought were limited to the world of fiction. It also brought with it some disappointment, as the custodians of the one of the most influential graphic novels repudiated the moral ambivalence that was its most important artistic legacy. On the whole though, these developments of 2019 have left me more than eager to see what 2020 will bring us beyond perfect hindsight.
