Gold Rush ducks (rushed in Monday)

2s rhyme nicely with 7s

Academic papers are a tough nut to crack. Apart from the prerequisite of expertise in the field (acquired or ongoing, real or imaginary), there is some ritualistic, innuendo stuff, like the author list. I always keep in mind this strip from PHD Comics:

It came handy when MR suggested this paper, A Golden Opportunity: The Gold Rush, Entrepreneurship and Culture.

Now, I cannot even pretend I read the thing. But eight listed authors popped-up to my eyes. And the subject is catchy enough in cementing the hard way what may seem as a pretty evident proposition

The term “Argonauts” (used for the gold rushers of 1849) irked me somewhat at first, since the crew of legendary, talking ship Argo was an all-star Fellowship of Justice Avengers team, featuring the baddest champions around (warfare, navigation, pugilism, wrestling, horse riding, music, to note the most renown, some of them later fathered other heroes), human or demi-god. But there is a sad story behind it, and also the Greek myth can be understood as a parable for ancient gold hunting, so I indeed learned something (on-top of quit charging to the void without good reason).

Argonautica notwithstanding, there is an even more telling reference for the theme of the paper. That would be no other than Scrooge McDuck, the creation of Carl Barks, the richest duck in the world. Per his biography, a gravely underappreciated graphic nov comic book (originally a series of twelve stories, published thirty years ago, other stories were added as a Companion edition later) that frustratingly keeps falling off best-of lists (I mean, apparently there is So MucH DePtH in costumed clowns, but not in anthropomorphic animals without pants) he was a gold rusher AND and an entrepreneur extraordinaire. The book, The Life and Times of Scrooge McDuck by Don Rosa, tells Scrooge’s life before his first official appearance as a depressed old recluse who meets his estranged nephews in Christmas 1947. The duck adventures we all are familiar with followed that meeting. Rosa collected all the smatterings of Scrooge’s past from these endeavors, memories, quotes, thoughts, and reconstructed a working timeline (with the inevitable and necessary artist’s liberty, of course). The resulting prequel is all the more impressive given the sheer volume of detail, the breezy rhythm and the context it gives to a deserving character.

According to the Life and Times, Scrooge struggled from child’s age. The Number One Dime was not “Lucky”, it was earned by polishing boots. It deliberately was a lowly US coin (instead of the expected Scottish one), by a well-meaning ploy to inform young Scrooge that there are cheaters about. It was this underwhelming payment for tough work that lead him to drop this signature line and decide on how to conduct his business:

Well, I’ll be tougher than the toughies and sharper than the sharpies — and I’ll make my money square!

Scrooge McDuck, The Last of the Clan McDuck

This fist “fail” was followed by a series of entrepreneurial tries, each failing and each teaching our hero a lesson. Scrooge moved to the US to join as a deckhand, and then as a captain, a steamboat just as railroads were picking up. His cowboy and gun slinging chops went down the drain when the expansion to the West ended. He rose, fell, and still kept coming back. He became rich in the Klondike Gold Rush in 1897, 20 years after the Number One Dime affair (and a little late for the California Gold Rush, my bad).

Scrooge finding a gold nugget the size of a goose egg, thus “making” it after 20 years (the cover of the Greek version – source)

As the paper technically puts it, the personality traits of those involved in gold prospecting associated with openness (resourceful, innovative, curious), conscientiousness (hardworking, persistent, cautious) and emotional stability (even-tempered, steady, confident), underpinned by low risk aversion, low fear of failure and self-efficacy. This constellation of traits, the authors note, is consistently associated with entrepreneurial activity. Indeed, from that point Scrooge demonstrated considerable acumen and expanded his business across industries and countries. A trait that serves him in building and maintaining his wealth (and seems lacking in his peers) is prudence (perceived as stinginess) and a very laconic lifestyle.

He casually brawled and stood his ground against scum. His undisputable morals lapsed only once, when ruthlessness briefly overtook decency. Though he made amends and corrected course, this failing, coupled with a hard demeanor, made his family distance themselves from him, adding a tragic – and very humane – edge to the duck mogul.

The hero, “born” 155 years ago (8 Jul 1867), stands as an underrated icon of individual effort and ethics.

Some Monday Links

How to Tell Africa’s History? (LA Review of Books)

Lost in Translation (Commonweal)

The Attack of Zombie Science (Nautilus)

Yogurt’s Long Journey (Tablet)

Diego Rivera by Francisco de la Mora and José Luis Pescador review – rumbustious hymn to a radical artist (The Guardian)

Rivera has been featured in NOL a few times.

Book list triple threat

Neither new books, nor in any particular order. Hell, did not even read them all in 2021.

Fiction

  • Mistborn trilogy – Gripping enough, long slog, well-thought magic system. (Brandon Sanderson)
  • The Alloy of Law, a sequel that became the 1st part of another Mistborn trilogy. Gritty steampunk setting, the mix & match of magic powers didn’t do it for me. Meh. (Brandon Sanderson)
  • Reckoners trilogy – Almost fine for YA. Forgettable. (Brandon Sanderson)
  • Earthsea Quartet – Rich and beautiful, seems a bit dated or familiar, since it set standards encountered in later works in the genre. (Ursula Le Guin)
  • Farseer trilogy – Intricate world building, the 1st person POV suits. Curiously, the 2nd book is the best of the series. (Robin Hobb)

Prose-wise, Le Guin and Hobb lead by a wide margin vs Sanderson. The two also go beyond the usual hack-n-slash and shed light to the more mundane labors of daily life in a largely medieval world. A documentary on castles/ forests/ ports could certainly use a few of Hobb’s descriptions and terms.

  • The Lacquer Screen – A detective novel set in Imperial China, of a particular subgenre called gong’an. I enjoyed the ambience of Tang period, while the whole read is quite old-fashioned. (Robert van Gulik)

Comic Books

  • Watchmen – Superb. (Moore/ Gibbons)
  • Batman: The Dark Knight Returns – I expected to like it more, I think. (Miller)
  • Blacksad (#1-5, integrated version) – Sublime artwork, storylines good but uneven. I had already read #1-3 some 15 years ago. (Canales/ Guarnido)

On the pile

  • The dispossessed (Ursula Le Guin)
  • Watership Down (Richard Adams)
  • Ship of Magic (Robin Hobb)
  • Superman: Red Son (Millar/ Johnson/ Robinson/ Wong/ Plunkett)
  • Batman: White Knight (Murphy)

And a sole non-fiction entrant to the pile:

  • The Body: A Guide for Occupants (Bill Bryson)

(Monday’s) comic book edition

The Code is dead, to begin with. Watchmen (DC) is awesome, a near-Orwell experience. On comics historical curios and intellectual drifts. Here goes.

Vol. 1 – That other 50s scare and all

Somewhere somehow I picked up the Comics Code Authority story. It goes like this: The rise of mass-media in early 50s saw a creeping moral panic against the more “graphic” content of comic books (think horror, violence and the like). In 1954, the Senate Subcommittee on Juvenile Delinquency investigated the supposedly detrimental influence of comic books, taking into account speculative, biased evidence. The emerging threat of government regulation prompted the creation of the Code by the comic publishers, so that they could check content themselves. The self-censoring initiative could use some tuning: It was overly strict, shaking-up and aggressively downsizing the industry. Thus, a government “nudge” led to a private sector (over)reaction, with ill effects. The sector, however, adapted and continued, underground or otherwise.

*The* seal – source

Ironically, it was another government nod that galvanized a Code overhaul in 1971, as the Nixon administration asked Stan Lee of Marvel to incorporate an anti-drugs storyline in Amazing Spiderman. The arc proceeded without CCA approval in mid-1971 (funnily, just before the international monetary system entered turmoil). And it was in 1973 (say hello to the first oil crisis) that the depiction of murder in a popular comic book (Amazing Spiderman, again) marked the passage from the campy superheroes of the Silver Age (c. 1956 – 1970) to a more diverse and socially attuned bunch in the Bronze Age (c. 1970 – 1985). As the disillusionment of the 70s gave its place to cynicism in the 80s, so did the comic heroes matured, with works like Watchmen and The Dark Knight Returns. The archetypes formed in the period (Dark Age, typically 1985-1996), grim and complex, redefined the genre and are still here today.

The Code was updated again in 1989, but failed to stay relevant in the face of increasing bypassing/ sidelining via new distribution methods (all hail the market in action). Just 20 years ago, Marvel abandoned it. 10 years later, in 2011, the last adherents, DC and Archie, finally desisted, too.

Vol. 2Randian Quests & Answers

Α couple of (relatively) fresh articles flashed from The Comics Journal:

Mysterious Travelers: Steve Ditko and the Search for a New Liberal Identity

How Ayn Rand Influenced Comic Books

Not an exactly nuanced analysis, the second one (it contains a few useful links though), but still, both presented things to consider. As it turns out, the co-creator (along with aforementioned Stan Lee) of f – Spiderman, Steve Ditko, endorsed objectivist ideals in early 60s (he even contributed a piece to Reason back in 1969). Here is another scholarly short paper on his impact:

“A Is A”: Spider-Man, Ayn Rand, and What Man Ought to Be (PS: Political Science & Politics)

If mid-60s Peter Parker, “[c]old, arrogant, detached from the lives of others, but driven to follow his purpose and pursue higher ends”, seems objectivist enough, then the Question and Mr. A., Ditko’s creations in late 60s, are the real thing. These two were featured in smaller publications, and later provided the inspiration for Rorschach (Watchmen).

Fists will fly – source

The character was intended not only as a tribute to Ditko, but also as a stark criticism for randian convictions, meant to make a bad example of them. However, the controversial fictional zealot resonated (a bit too well perhaps) with the audience. Indeed, the character delivers some of the most memorable quotes ever, his unflinching crusade against the morally bankrupt (political class included) is iconic, and his damaged humanity invites some sympathy.

Depending on priors and inclinations, one can certainly discern smatterings of Rand’s ideas in Rorschach (“no gray”, believing in “a day’s work for a day’s pay”, among others). But I think that his trope could be assigned to other venues, too. For example, a fantasy aficionado will see a Paladin gone (very) wrong, maybe, or a casual will stick to the apparent right-wing leanings per se, and so on.

The other route of Rand influence is traced to Frank Miller and his Dark Knight take on Batman. The arc of a lone (capitalist) hero versus media-induced apathy and the corrupted establishment (and said establishment’s lapdog, Superman) has a libertarian facet, yes. I will get it (next week probably), read it and, then, return.

Some Monday Links

Madison’s Consistency on the Bill of Rights (National Affairs)

Reading Wealth of Nations and Meeting Adam Smith (The Hedgehog Review)

Not everyone (Verfassungsblog)

Philosophers Rebuild Society (Existential Comics)

Joker: an evidence-based criminology review (spoilers)

joker-phoenix-1135161-1280x0

Last Friday, Joker hit cinemas to much acclaim and some anxiety. Hot takes claim it glamorizes violence while the Slate pitch is that it’s boring. Having seen it over the weekend, I don’t see anything more transgressive about it than the various Batman films to which Joker is a sort of prequel, but it is more entertaining.

 

The film uses both narrative and moral ambiguity driven by the theme of mental illness. We are not quite sure what’s real and what’s not. And what (if anything) is responsible for catastrophic events that turn wannabe standup-comedian Arthur Fleck into the Clown Prince of Crime. This ambiguity is in league with contemporary criminology. Many researchers now suspect that crimes are typically the result of multiple, incremental causes (little things going wrong) that together add up to sometimes catastrophic outcomes.


So with spoilers already skulking in the alleyways over the fold, let’s review some of 
Joker’s overlapping narrative alongside some theories of crime (some of which I draw from my forthcoming book chapter on evidence-based policing).

 

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