Thursday, October 17, 2024

Genesis

 
 
Genesis
The Evolution of Biology
by Jan Sapp
2003 
 
 
My reading this month got off to kind of a slow start because I was finishing kind of a heavier text, Genesis: The Evolution of Biology by Jan Sapp, which is both a history and a historiography, a look at how others have told this same history, of the science of biology, from the Lamarck and Darwin, through Mendel, and up to the start of the 21st century.
 
Along the way, Sapp describes key experiments and explains the prevailing consensus that governed various eras of research. He tells us what biologists thought, and how they came to be convinced of it, again and again, as the way they understood the natural world changed over the course of about 150 years. He notes major disagreements and competing paradigms alongside times of scientific consensus, and gives a lot of attention to why biologists believed various things, and how they sought to convince one another, both with empirical evidence, and with stories told to one another about other scientists. Sapp looks at not only how scientific ideas changed, but how the reputations and the accounts shared about important scientists changed, as their role in the history of the discipline got reimagined in light of current beliefs.
 
Sapp divides his book into four sections, and the two longest are about Darwinian evolution and Mendelian genetics. Those were also the two sections where I was already most familiar with the popular, textbook version of the history, and so probably the sections that were easiest to read and that I felt like I got the most out of. The other two sections - about cell biology between Darwin and Mendel, and about the search for a molecular basis for genes after Mendel, plus all the discoveries that became possible once we found DNA - were more new to me, so I was introduced to a lot of ideas, but Sapp's approach makes Genesis not the ideal format for a novice learner.
 
Sapp gives Darwin credit for the thoroughness and quality of his research. The idea that species change over time and new species emerge due to evolution was already a hypothesis by Darwin's time. One thing he provided was a mechanism, natural selection, that would provide a reason why evolution occurs - an idea he got while thinking about Malthus. In turn, social theorists later used Darwin to justify domestic inequality and international colonialism as necessary forms of competition. Throughout the book, I was struck by how conservative (and often racist) biologists have been whenever they've talked about politics. Darwin himself was probably a Social Darwinist too.
 
The other thing Darwin's work provided was a lot of meticulous evidence, combining paleontology and field biology. One of the biggest changes he proposed was that the traits individual are real while 'species' are just statistical averages, as opposed to the older Aristotelian idea that each species had an set ideal form with individuals exhibiting variations due to imperfection. Darwin specifically thought that mutations that gave advantages were the main cause of speciation. By the mid-20th century, the consensus was that each species contains a lot of variation, and that geographic isolation is the main cause of the formation of new species, as each population randomly ends up with a different mix of those variant genes, which then diverge further when they can't remix by interbreeding.
 
Cell theory came later. It holds that cells are the basic unit of life - they're the simplest, smallest thing that can truly be said to be 'alive,' and every living thing is made up of cells. It also holds that every cell that exists came from the division of an earlier cell. (Sapp doesn't say, but it seems to me that you have to believe in evolution to accept that.) Cell biologists wondered how genetically identical cells, all born from the same egg cell, could give rise to all the differentiated tissues of the human body. For generations, they believed it was the cytoplasmic structure of the cell, not the genes in the nucleus, that was responsible for successful cell division. That was another thing I noticed - scientists arguing that their specific object of study was the single most important thing, the ultimate cause that everything else followed from.
 
Amazingly, to me at least, biologists theorized 'genes' as things that hold and transmit information before they knew any of the physical basis of genetics. A gene was a tiny little black box for a long time before anyone knew what it was made of or how it worked. Which reminds me, at least, of some of the black box concepts in contemporary physics, like dark matter.
 
Mendel is remembered as a virtual hermit, a monk who conducted experiments on pea plants and discovered dominant and recessive genes, only to be ignored at the time and forgotten until he was rediscovered much later. Sapp notes that Mendel was a Lamarckian, and though a monk, he was 'isolated' by the dominance of Darwinism, not because he was at a monastery instead of a university. And he was 'rediscovered' by two competing scientists doing lit reviews only after they'd both independently replicated Mendel's findings. Both were happy to credit the dead guy rather than let their living rival get the glory, but if I understand correctly, we'd still have the finding even if Mendel had never published at all.
 
The last section, about molecular biology, which uses methods borrowed from chemistry and physics to understand what's going on inside cells at the level of proteins, enzymes, and acids, including DNA and RNA. Sapp gives a chapter to the discovery of the double helix, but spends more time on the revolutionary discoveries enabled by these techniques, including figuring out how genes actually cause anything to happen, sequencing the human genome, and a whole host of discoveries made by finally expanding away from mostly studying plants and animals to paying a lot more attention to bacteria.
 
The study of microbial life is really fascinating to me. It was sequencing bacterial genes that revealed the existence of the archaea, extremophiles that thrive in Earth's least hospitable environments; that proved lateral gene transfer; that showed that eukaryotes came into existence when certain bacteria started living inside other cells as permanent internal symbionts, eventually becoming our mitochondria and plants' chloroplasts; and that showed the importance of bacterial and fungal symbionts in the microbiome of every multicellular organism. That last idea really was ignored! Someone thought of it in 1918, and Sapp goes on for about 2-3 pages showing all the times someone else reconsidered the hypothesis and dismissed it, only for it to become orthodoxy 80 years later.
 
I feel like I've had a good overview of the major discoveries and successive theories of the science of biology. I also feel like this was maybe not the best way for me, a non-expert, to try learning these things. I would've gotten more out of Genesis if I were already more familiar with that history, and using Sapp to supplement and enrich my existing knowledge.

Friday, September 27, 2024

Raven Girl

 
 
Raven Girl
by Audrey Niffenegger
2013
 
 
Although she's best known for The Time Traveler's Wife, most of Audrey Niffenegger's books are more like Raven Girl - shorter illustrated books, that tell strange fairytale-like stories, blending hope and sadness, supernatural romance with realistic concerns.
 
Raven Girl is about the daughter of a postman and a raven who fell in love. She's born from an egg and has hollow bones, but otherwise looks human. She can read and write, but can't speak, and she longs to fly, she feels there's an innate wrongness with her body because she can't.
 
The raven girl grows up and goes to college. She catches the attention of a boy - I wouldn't go so far as to say she actually meets him, at least not for awhile - who has a crush on her from afar, who thinks he knows what's best for her, and who, like so many boys, is willing to commit acts of violence that he tells himself are for her benefit, although I'm getting ahead of myself.
 
At college, the raven girl also meets a biology professor, a plastic surgeon who performs rather outré surgeries for people who want them. He listens when she tells her about her body dysmorphia, and he's willing to try to replace her arms with giant raven wings if she thinks that will reduce her discomfort in her own skin, although he warns her, they might not be fully functional, and she might never fly.
 
Yes, that means Raven Girl is kind of a fantastical transgender allegory - something I had no idea of when I picked it up, solely on the basis of the author's other works and the cover art - and a shockingly good one at that.
 
Often, when scifi or fantasy stories include trans-like characters, they can use technology or magic to fully and completely become a cis-gender person in a way that avoids the way that real-world bodily changes are slow, partial, incomplete, painful, the way that you can change your body's future but not its past, that you can become a palimpsest but never a blank page. The surgical intervention in Raven Girl is much more like reality than it is like magic.
 
I'm also usually very hesitant about metaphors that relate being transgender to feeling like another animal species. I think these comparisons are often made in bad faith, and are used to belittle the transgender experience by making it sound akin to young children being unable to distinguish their imaginative dress-up play from adult decision-making. (The kids' book Fox the Tiger for example, reads to me like it's trying to convince trans kids that it's okay to play at being another gender as a game, but that after the costumes come off, Fox will always still be a fox and will never really be a tiger.)
 
I worry that even good-faith animal metaphors might be written from a place of ignorance, or might be too easily taken up and re-used in bad faith. But again, Raven Girl is thoughtful an emotionally realistic in a way that lets its metaphor capture something real.
 
So - the raven girl sets to work with the surgeon. The boy who likes her from afar tries to stop her, because he refuses to distinguish what he wants for her and what she wants for herself, and he manages to cause some harm. The raven girl's parents are surprised, but still love and accept her. And other ravens, now that her wings help them to see what's inside her, accept her too.

I'm very impressed with what Niffenegger has managed to create here!

Monday, September 23, 2024

Paintings of Japan Autumn & Paintings of Japan Spring


 
Paintings of Japan - Autumn
by Angela Pan
adapted from the zine 21 Days in Japan by Angela Pan 
2019, reprinted 2023
 
Paintings of Japan - Spring
by Angela Pan
2023
 
 
Paintings of Japan - Autumn and Paintings of Japan - Spring are a pair of art books by Angela Pan about two trips she took to Japan in 2019 and 2022. Autumn is an expanded reprinting of Pan's earlier art zine 21 Days in Japan, and Spring is wholly new. On both trips, she was based in Tokyo, and took additional day-trips by train.
 
In each book, Pan pairs essays about each site with a series of paintings she made there. Mount Fuji and historic Kyoto get plenty of space in both. Spring also features a lot of cherry blossoms. Each book is only about 40 pages long, so while these are bigger than zines, they're still quick reads.

Pan paints in acrylics. Her art is bright and colorful with lots of pinks and oranges, blues and purples. I felt like I noticed some improvement over the two books. The images in Spring seem a both tighter and more detailed than the ones in Autumn.

On the other hand, the art in Autumn seems a bit more varied and experimental. Pan includes images of food, people and cats she saw, and even inserts herself into some scenes. In Spring she focuses exclusively on cityscapes and broader landscapes. Those are the most common images in Autumn too, but not the only ones. Perhaps Pan's refinement of her technique has included a conscious decision to restrict her subject matter and focus on the larger scale. Or perhaps her goal of viewing the cherry blossoms on that trip made her want to give all her attention to the landscapes.

Friday, September 20, 2024

City of Folding Faces

 
 
City of Folding Faces
by Jayinee Basu
2019
 
 
City of Folding Faces is a literary scifi novel set in the near future. It introduces us to kind of a shocking new technology, one that seemingly redefines what it means to be human, and shows us, on an intimate scale, a microcosm of how that technology affects society. Author Jayinee Basu starts with a very high-concept premise, but then allows its consequences to play out in the everyday lives of a dating couple.
 
The future tech that drives the action in City is known colloquially as Roulette, a machine and a process housed in a building called the Casino. We do eventually learn was Roulette was intended to be, but initially, it seems like a technology without a purpose, its capital-D Disruptive effects foisted off on society without regard for its consequences basically just because it exists, and having invented it, the corporation that owns it can't just not release it. (Or rather, they could, but they're not willing to, because the profits go to them, and the problems go to everyone else.)
 
So, Roulette is described as a game. You wager money, you step in the booth, some time later you emerge and collect your winnings. We're told that the larger the wager, the bigger the payout, and the shorter your time inside. We're told that the median time within is 3 weeks, but it can be months, possibly years. Roulette works like a Star Trek transporter, but with a shocking lag time between when you dematerialize and when you reappear. In between, something happens to your consciousness, although no one seems to be able to say what. When people reappear, they're physically the same but mentally and emotionally transformed.
 
This isn't really gambling, not in any traditional sense. It's like a carnival ride that maims its riders, a virtual reality game that inflicts disabling brain damage on everyone who plays it. By all rights, the Casino should be seen as a disreputable menace; Roulette held on par with commercial suicide booths.
 
The people who emerge are called 'Ruga,' and they're a new breed of humanity. They struggle to resume their former lives, many unable to relate to their friends and loved ones, or unable to hold jobs, or both. Ruga people experience their senses and emotions heightened to an overwhelming, almost unbearable degree, they lose some or all of their memories, and to form new memories, they have to discover a new way to encode information for themselves.
 
Many Ruga feel an unbearable bodily dysphoria related to their new emotions, an inability to express themselves with their old faces and voices. Fortunately, the Casino also sells a surgery that allows the facial and vocal muscles to wrinkle and fold in a much more finely-controlled way. 'Ruga,' I assume, comes from the word 'rugose,' which means wrinkly.
 
Roulette is a technology that it's easy to imagine appearing in one of Iain M Banks's Culture novels, or maybe on an episode of Star Trek. But it would be used very differently in those stories than it is here. Basu uses Roulette as a kind of inciting incident for her domestic drama, then drops us into it halfway through, when everything is falling apart.
 
Mara is one of the Ruga, and the book opens with her receiving the surgery that will let her face express her new emotions. What happened before the beginning is that Mara and her long term boyfriend Arlo moved cross-country for Arlo's work as a biologist. While Arlo spent all his time in the lab, Mara decompensated. She never made new friends, never found a new job, never got used to the new city. She and Arlo fought often. Eventually, Mara gave up on her life and played Roulette in the Casino, though afterward she can no longer remember exactly why. Instead of solving her problems, becoming Ruga initially worsens them. She stops dressing or feeding herself, and spends all day trying to relearn how to form memories and endure her emotions. The surgery is kind of a last resort.
 
So the novel starts with Mara finally able to crumple and wrinkle her face in ways that only other Ruga can understand. From Mara's perspective, it's a success. Able to express her emotions again, she no longer feels so overwhelmed by them, and by building nests and cages out of wires and found objects, she's able to create a model of her own mind that functions as a diary, so she finally has a some help holding onto her memories. From Arlo's perspective, it's a failure, because his girlfriend still can't leave the house or function socially, and he can't interpret her new expressions.
 
Mara spends the book working on her healing process, including, at one point, moving into a group home with other Ruga, helpfully sponsored by the Casino. Arlo spends the book deciding if he wants to stay with Mara, or if the grass might be greener with his attractive coworker Hanne. I don't know if he could've hidden his cheating from anyone; but he certainly can't hide it from an emotionally hyper-aware Ruga woman. Mara is partially motivated by her desire to repair her relationship. She wants to win Arlo back, and never considers breaking up with him, even when she moves out, although I sort of think she should.
 
Interwoven through Mara and Arlo's story are various media accounts of the effects of Roulette on society - commercials, news reports, daytime talk shows, press releases by scientists. We also check in on some workers for the Casino corporation, including the person who runs the group home. A lot of what we learn about Roulette comes through these interludes, including the story of how it was invented. And if you thought it sounded like irresponsible capitalism run amok in its present form, wait til you learn what it was supposed to do, and how they hoped to make money from it! This part reminded me of a similar revelation about the planetary AI in the show Mrs Davis.
 
These events of City of Folding Faces are mundane, basically ordinary, but they're consequential for the people involved. In Roulette, Basu has a powerful metaphor, and one that's flexible enough to remind you of many possible technological innovations. The relationship problems Mara and Arlo face are highly specific, but also recognizable as similar to a number of real-world difficulties couples might have.

Monday, September 16, 2024

Witch Hat Atelier 8

 
 
Witch Hat Atelier 8
by Kamome Shirahama
2021
 
 
Last time on Witch Hat Atelier, the girls and their teachers returned home from the Great Tower, and Tartah, the wand maker's grandson, invited them to help him run a stall at the upcoming festival. We also learned that Coco has been struggling with her feelings about forbidden magic. Any spells cast directly on the body are forbidden - so there might not be a way to rescue her mother from being turned to stone without breaking witch law.
 
Now in volume 8, the girls talk Master Qifrey and Olruggio into letting them help out. Agott's the only one who's not excited - I think because she's not looking forward to seeing her family at the festival, and Tartah's prominent booth makes a run in that much more likely. Tartah was planning to assist his grandfather in running the booth like usual, but his grandfather took a fall and is healing up in the hospital. Tartah isn't an apprentice yet, so Coco and the others are the only other witches he knows to ask.
 
Also, I was right, this is a date. Or at least, kind of. Tartah clearly does like Coco, and she likes him too. They're both like 10 or 12 though, so these feelings are new and unfamiliar to both of them.
 
Tartah and the girls will need to work together to prepare for the festival. Coco goes back to the wand shop with him, and they stop by the hospital to visit his grandfather. (There's no mention of it here, but I wonder if Qifrey erasing a bit of the wand maker's memory might be part of why he got dizzy and fell...)
 
In the hospital, they also see Custas, the boy who was injured when the bridge washed out back in volume 2. He's got a walking chair now, like Master Bel, and without realizing what it means, he mentions to Coco that Tartah's been teaching him to read and helping him learn about medicine. Because they're forbidden to use magic on the body, witches are also forbidden to learn medicine. Tartah confesses to Coco that he has been studying, and he has serious doubts about the laws that forbid, for example, magical healing. Coco doesn't confide her own doubts back (yet?) but she does help Tartah keep his secret.
 
Coco and Tartah work together to make an alternative to the walking chair for Tartah. He and his adopted father are traveling entertainers, and the terrain they cover is simply too rugged for him to return to that life with the walking chair as his only mobility aid. They make him a cloak that lets him hover off the ground, and has built-in crutches for when he wants to stand. Custas really wishes he could be healed, but Coco and Tartah lie and assure him that it's impossible, that magic only works on objects and not on living things.
 
I find the representation of disability in this comic interesting. We've now seen three people with physical disabilities - Tartah is profoundly colorblind, and Master Bel and now Custas need walking chairs to get around. In most other stories, magic healing means that we don't usually see lifelong injuries or assistive technology.
 
I'm not sure if Coco and Tartah are going to date or be friends, but I suspect they're going to become a conspiracy of two. They're both thinking about breaking the rules, and witch society is draconian, so much so that they could be punished just for speaking their doubts aloud, let alone acting on them. It's a place where they might only be able to rely on each other.
 
Throughout the series so far, we've seen that forbidden magic cause terrible individual harm and wreak destruction on a geographic scale. So there's a reason witches have their rules, and a reason they keep it a secret that anyone could do magic ... with the right tools and the right techniques. But the rules are enforced with violence - by erasing people's memories to censor any forbidden knowledge. The memory erasure spell isn't just used on witches who cast forbidden magic, it's used on non-witches who learn the secret, and on anyone who's been a victim of it. (The memory spell should, by all rights, be forbidden too.) Potentially helpful forms of magic are forbidden alongside the obviously dangerous stuff. It's no wonder Coco and Tartah have doubts. I have them too.
 
At the end of the volume, Custas reunites with his dad and they get ready to resume their traveling show. They're attacked by bandits, and the father left for dead. Afterward, a young witch, a girl who might be Coco's age, finds Custas and his dying father, and offers them true magical healing. She's one of the witches who uses forbidden magic...

Thursday, September 12, 2024

EarthBound

 
EarthBound
by Ken Baumann
2014 
 
 
When I was a kid, in the 90s, I had a Super Nintendo, and for awhile, a subscription to Nintendo Power magazine. Games had basically the same price back then that they do today, usually $50 new, which is sort of incredible when you consider how much inflation has happened since then, and the general purchasing power of 1990s dollars. Even more incredible, a lot of the SNES games I owned, I got by saving up my allowance, $5 a week, for like 2½ months per game. Because of Nintendo Power, there were a lot of games I knew about and was fascinated by that I never had the opportunity to purchase. One of those was the game EarthBound, a weirdly postmodern rpg about modern American kids who awaken psychic powers, and travel the country saving it from aliens.
 
EarthBound the book is the first in the Boss Fight Books series, and the author, Ken Baumann, is the graphic designer for the whole series. I read another of these last year, for the game Spelunky, that was written by the game's creator, Derek Yu. The Spelunky book was excellent, combining insight about the game and the decisions that went into making it with biographical details about was going on in Yu's life at the time, and how that impacted the game too. EarthBound also blends writing about the game with the author's memoir, but the problem here is that Baumann isn't the game's designer, he's just some guy.
 
Technically, Ken Baumann is a very minor celebrity. He was an actor on the show The Secret Life of the American Teenager, and when the show ended, he helped found this book series, and created Sator Press, which has since been acquired as an imprint of my favorite Ohio indie press, Two Dollar Radio. In his early 20s, he had a major health scare that almost killed him. His life story is moderately interesting, moreso than mine. But with respect to EarthBound the game, he's just some guy, and all the pages he spends talking about his biography are pages he doesn't spend talking about the game, its influences, its cultural impact, etc.
 
Some of it seems relevant! Baumann is about a decade younger than me, a Young Millennial instead of an Old Millennial, but he was also a 90s kid, and he did buy a copy of EarthBound and play it back then. He bought it again and played it again when, after about 20 years out of circulation, Nintendo re-released EarthBound as a downloadable game for the WiiU, which gave the game a new and much larger audience, including a lot of people like me and Baumann, who remembered our childhood fascination with it. So the parts about Baumann's life when he first got the game do help to inform his reactions to it, especially things like his engagement with things like horror movies and 90s gross-out humor that were part of the same cultural milieu that gave rise to EarthBound. But a lot of this felt like Baumann used the existence of the book as an opportunity to write about himself in a way that only occasionally contributed to the ostensible purpose of the project.
 
EarthBound is a game about kids on a journey. The hero, Ness, discovers he has psychic powers the same night a meteor crash lands in his town, and aliens kidnap some of his neighbors. Ness uses baseball bats and yo-yos as weapons. He stays in hotels, calling home when he needs money, or feels lonely or homesick. He joins up with a psychic girl who he rescues after she was kidnapped for her powers, and later with a child prodigy and a young Tibetian monk-in-training. The mechanics of the game are similar to the Final Fantasy series, but the visuals are a distorted 1950s Americana (50s revival was an important element of 80s culture), and the style is surreal and parodic, closer to Thomas Pynchon or Philip K Dick than to Tolkein or D&D. And at several key points, the game breaks its own rules to create unique, patience-testing challenges, like a door that can only be opened by not touching the controller for several minutes, a special item you can only receive as a random drop by defeating hundreds of extra enemies, or a boss fight that's won not by fighting, but by prayer.
 
Baumann structures the book around a walkthrough of the game, and his dual experiences playing it as a kid and an adult. He does talk about cultural influences on the game, and its tepid reception in the American market in 1994. I would have liked more of that, honestly, especially since he had no real access to information about how the game was made, or any way to interview anyone involved with making it. (Though both would've been nice, if he could've managed it!) And while I found the amount of autobiography to be excessive and distracting, he did at least manage a close parallelism between the events of the game and the way he ordered telling the events of his own life. Someone a little more interested in the author than I was might read this and see a real achievement. It's definitely a better book about Ken Baumann than it is a book about EarthBound. I'm left wondering if Yu's was the best book in the series, and if all of them lean so heavily into memoir, or if others more closely resemble the journalism of the 33⅓ series.

Monday, September 9, 2024

Aquaman: Andromeda


 
Aquaman: Andromeda
by Ram V
art by Christian Ward
2023
 
 
Aquaman: Andromeda collects a 3-issue standalone miniseries from DC's Black Label line of mature comics. Based on the title, I was kind of expecting this comic to be Aquaman ... in spaaace!, but instead we get a mix of horror and scifi in the deep ocean.
 
Aquaman as he's depicted here seems kind of old and tired, and his armor looks encrusted like metal from a long-ago shipwreck. There's no overt tie to other DC continuity; Aquaman is more like a myth than a celebrity. What makes this one mature, I think, is the backstory of one character who committed a realistic war crime during the Bosnian War. There are also a few present day killings that might be too graphic for a regular comic, although 'regular' comics are plenty violent, the causes of death tend to be more fantastical than getting stabbed by a coworker you trusted.
 
So, the setup here is that a team of scientists has been dispatched on the Andromeda - an advanced, futuristic submarine - to go to Point Nemo - the spot on the Pacific furthest from land, where all space programs try to send their returning spacecrafts - to investigate the seafall of an extraterrestrial craft. They're hoping to make first contact with any intelligence onboard, and maybe learn from the alien technology. The supervillian pirate Black Manta wants to steal from both ships. And Aquaman is there to investigate the mystery as well. Almost immediately, a Kraken appears and wrecks the Andromeda's support ship on the surface, before being defeated by Aquaman.
 
After that, the pace slows down as the scientists start to investigate the mysterious, and seemingly empty spacecraft. We get flashbacks from several of them, including the woman who knows of Aquaman as 'the King Under the Sea' from folktales she heard as a child, and the Bosnian War veteran I mentioned earlier. The ship is not empty, of course. I won't spoil what's on it except to say it's something scifi authors have done before, but not often, and Ram V handles it compellingly and well.
 
As crew members start dying, the survivors make desperate plans to save themselves and keep what's on the alien ship from escaping any further. Black Manta is undeterred and wants to steal anyway. Aquaman acts to protect the people still alive and helps with their plan to deal with the threat posed by the ship. I almost think Black Manta was superfluous to this story, although I guess his presence adds even more pressure to an already tense, volatile situation.
 
Ram V's writing is very good. These are competent adult characters dealing with something that overwhelms them, not because they're foolish, but because it's so far outside what they've prepared for. Christian Ward's art is excellent and beautiful. His 'old man Aquaman' looks ancient and alien himself. The contrast between the futuristic submarine, the alien vessel, and the organic, oceanic visuals are great. The fight between Aquaman and the kraken, only a few pages long, is particularly well-done.