Mutants, Supermen, New Soviet Men, and Homo Superior: Olaf Stapledon’s Odd John

Odd John

Odd John by Olaf Stapledon is a fascinating science-fictional artifact. Written in 1936, it anticipates much later science fiction and comics developments. The story traces the life of “Odd” John Wainwright, a genetically superior human specimen, a homo superior (Stapledon coined this term). We witness his growing pains as he develops his superhuman intellect and abilities. We also follow his journey worldwide as he tries to find others like him, and eventually, his demise, on a remote island where he sets up a utopian community. This post is not a full review of the book, but I want to note some interesting things.

Odd John. Cover art by Richard Powers

Archaeopteryx

“They do their simple jobs with more style than man shows in his complicated job. Watch a gannet in flight, or a curlew probing the mud for food. Man, I suppose, is about as clever along his own line as the earliest birds were at flight. He’s a sort of archaeopteryx of the spirit.

Odd John (p.33)

Birds have evolved to be birds with style and maturity. Man has only begun on his evolutionary journey. “Odd” John is aware of his evolutionary superiority and already sees ordinary humans as living fossils. While John ordinarily is a kind and peace-loving being, he also contains a Nietzschean core. Maybe he does not quite live up to being an apex predator—a majestic raptor in flight-ready to devour its prey—but walks the tightrope between animal and superman.

Future Shock

“The have-nots with very good reason exercise their hate upon the haves, who have made the mess and can’t clean it up. The haves fear and therefore zestfully hate the have-nots. What people can’t realize is that if there were no deep-rooted need to hate in almost every mind, the social problem would be at least intelligently faced, perhaps solved. Then there’s the third factor, namely, the growing sense that there’s something all wrong with modern solely-scientific culture. I don’t mean that people are intellectually doubtful about science. It’s much deeper than that. They are simply finding that modern culture isn’t enough to live by. It just doesn’t work in practice. It has got a screw loose somewhere. Or some vital bit of it is dead. Now this horror against modern culture, against science and mechanization and standardization, is only just beginning to be a serious factor. It’s newer than Bolshevism. The Bolshies, and all socially left-wing people, are still content with modern culture. Or rather, they put all its faults down to capitalism, dear innocent theorists. But the essence of it they still accept. They are rationalistic, scientific, mechanistic, brass-tack-istic. But another crowd, scattered about all over the place, are having the hell of a deep revulsion against all this. They don’t know what’s the matter with it, but they are sure it’s not enough.”

Odd John (p.77)

The above quote is an interesting analysis of modern civilization. Communism is generally seen as the rational solution to Capitalism. In John’s view, Communism sits at the apex of the mechanized cultural movement. In other words, it is the logical end game of modern civilization. But, Stapledon (via John) detects a more profound revulsion against contemporary society. He doesn’t expound on this further, but one can leap to various similar diagnoses posited by thinkers like Marshall McLuhan or Alin Toffler. He identifies a civilizational shift that McLuhan would probably identify as a movement from a flat literary/visual culture (through electrified technology) back to an immersive oral/tactile culture.

As oral/tactile communication becomes dominant, the culture built on visual/literary communication becomes flat and inadequate. The people living in such a transitional phase become alienated. They instinctively seek new ways of being out of step with established norms. This transitional phase leads to Tofflers Future Schock, a period of social upheaval. Under this model, Communism and Capitalism are both civilizational technologies of the past. They were developed and brought into being under a literary/visual culture, which begins to feel strange and alienating to people immersed in aural/tactile film, radio, telephone, consumerism, etc. Political and cultural norms become unstable, outmoded, and inherently alienating.

The powers of “Odd” John are a kind of internalization of this new civilization’s technical capabilities. For example, he can communicate remotely (radio/telephone), he has prodigious memory (print/library), superior technical ability (modern science/technology), and can split the atom with his mind to power vehicles (electricity/fossil fuels). John’s abilities allow him to participate in the new alienating civilization as if it was natural. For John, modern society is almost as natural as a tropical forest to an apex predator. Eventually, John and his like will create the perfect superior un-alienated Communism.

Homo Superior

“As I was saying, it’s much harder to get in touch with people one doesn’t know, and at first, I didn’t know any of the people I was looking for. On the other hand, I found that people of my sort [i.e., homo superior] make, so to speak, a much bigger ‘noise’ telepathically than the rest. At least they do when they want to, or when they don’t care. But when they want not to, they can shut themselves off completely. Well, at last I managed to single out from the general buzz of telepathic ‘noise,’ made by the normal species, a few outstanding streaks or themes that seemed to have about them something or other of the special quality that I was looking for.”

Odd John (p.107-108)
The Cerebro device. Art by Jack Kirby

Just a quick note that John’s ability to find others like him also describes X-Men’s Cerebro device. Professor X uses the Cerebro to enhance his mental abilities to detect other mutants worldwide. 

Shadow King

“Meanwhile, he continued to improve his supernormal powers, and would sometimes use them to practice psycho-therapy upon his fellow-proletarians. But his chief interest was exploration of the past. At this time, the knowledge of Ancient Egypt was extremely scanty, and Adlan’s passion was to gain direct experience of the great race long ago.”

Odd John (p.131)

There are so many similarities between the homo superior of Odd John and Marvel’s mutants (frequently referred to as homo superior) that it can’t be a coincidence. For example, one of the first mutants Professor X meets is Amahl Farouk (The Shadow King), a powerful Egyptian mutant similar to Adlan in Odd John. They both hide their true abilities by posing as a crime lord (Farouk) and a ferryman (Adlan). Has there ever been anything written on this similarity? Has any of the many X-Men creators talked about reading Odd John?

Amahl Farouk vs. Professor X. Art by John Byrne

New Men

“Indeed one of his favourite occupations, as he plied his oars, was to expound to John with prophetic enthusiasm the kind of world that “John’s New Men” would make, and how much more vital and more happy it would be than the world of Homo Sapiens.” p.133

Odd John (p.133)
New (X) Men. Art by Frank Quitely

Another X-Men similarity! John’s ragtag team is called “New Men.” The words form a kind of mirror palindrome. When Grant Morrison took over X-Men in (2001), he explicitly renamed the team “New X Men” and expressly visualized the palindromic nature of New/Men in the new logo. 

Kill the Unfit

“For to-day the chief lesson which your species has to learn is that it is far better to die, far better to sacrifice even the loftiest of all ‘sapient’ purposes, than to kill beings of one’s own mental order. But, just as you kill wolves and tigers so that the far brighter spirits of men may flourish, so we killed those unfortunate creatures that we had rescued. Innocent as they were, they were dangerous. Unwittingly they threatened the noblest practical venture that has yet occurred on this planet. Think! If you, and Bertha had found yourselves in a world of great apes, clever in their own way, lovable too, but blind, brutish, and violent, would you have refused to kill? Would you have sacrificed the founding of a human world? To refuse would be cowardly, not physically, but spiritually. Well, if we could wipe out your whole species, frankly, we would. For if your species discovers us, and realizes at all what we are, it will certainly destroy us. And we know, you must remember, that Homo sapiens has little more to contribute to the music of this planet, nothing in fact but vain repetition. It is time for finer instruments to take up the theme.”

Odd John (p.147-8)

You can detect shades of so many things to come—the conflicts of the Planet of the Apes, the human-mutant conflict, etc. Of course, Stapledon is playing with ideas already present in his time: Darwinian evolution, survival of the fittest, genetic ideas about race, advanced technology, etc. The way Odd John embodies these often contradictory ideas will prove very influential. John is Professor X (hero) and Magneto (villain) in one. It makes sense that as a species, homo superior (which internalized all the powers of the civilized world) would feel no moral obligation to the inferior homo sapiens. John represents the highest ideals and abilities of technological civilization, and at the same time, he contains all the unspoken terrifying consequences. 

Island

“After many weeks of cruising, a suitable though minute island was discovered somewhere in the angle between the routes from New Zealand to Panama and New Zealand to Cape Horn, and well away from both courses.”

Odd John (p.150)
Map from the Marvel Atlas

Yet another parallel with X-Men. A faction of separatist mutants, led by Magneto, found Genosha, an island where they can live apart from regular humans. The specter of the fundamental incompatibility between the two species haunts Odd John and Marvel’s mutants. 

Individualistic Communism

“Comrades, you have the wrong approach. Like you, we are Communists, but we are other things also. For you, Communism is the goal, but for us it is the beginning. For you the group is sacred, but for us it is only the pattern made up of individuals. Though we are Communists, we have reached beyond Communism to a new individualism. Our Communism is individualistic.”

Odd John (p.183)

Interestingly, when he finally creates his perfect community, John calls it Communist. There are some correspondences between John and the Communist ideal man, also often called a “new man” or “Soviet Man.” The Communist man will be a “new man” with a better consciousness (not false consciousness). This new man can finally experience Communism as liberation (as opposed to oppression) and become a new kind of Communist individual. The idea that Communism can’t be realized with ordinary (read regressive or reactionary) humans is implicit. In Odd John and real-world Communist societies, this fundamental incompatibility ended in tragedy. 

Marx/Nietzsche Complex

As I read Odd John, I started Čeika’s How to Philosophize with a Hammer and Sickle. It’s an interesting book that attempts to find common ground between Marx and Nietzsche—two thinkers usually seen as incompatible. Without going too deep into it, Čeika finds a lot of similarities between the two. Finding the Nietzschean superman inside Marx’s Communism is perhaps not a work of theory but one of archaeology. With Odd John in the mix, I had a kind of synesthetic experience. The two books rhymed with each other across time and space. Together they were dark mirror reflections of each other. By trying to incept Nietsche into Marx (and vice versa), we might be exhuming the undead mummified corpse of Soviet Man. I will try to illustrate this more in a future post.


Jim Starlin’s Dreadstar #3-4 (1982)

This post continues from the previous post which examined Jim Starlin’s Dreadstar #1-2. Some of the concepts and plots discussed here are continuations of the previous post. Dreadstar is a science-fiction space opera comic book, originally published in the 80s by Epic Comics, Marvel’s (now defunct) imprint for creator-owned projects.

Dreadstar #3

Vanth Dreadstar and crew continue to implement something called “Plan M.” We don’t know what the plan is, but it seems exciting and complicated. In issue 3 Willow, Oedi, and Skeevo steal new powerful teleportation tech developed by The Instrumentality.

Meanwhile, light-years away, Vanth & Syzygy try to distract Lord High Papal away from Willow’s activities. It works, but Lord High Papal, in his insane murderous zeal, nukes the city where Vanth Dreadstar & Syzygy are hiding. Vanth & Syzygy just barely manage to survive, but millions of innocents die. Vanth is already racked by survivor guilt (from his backstory told in Epic Magazine) and the nuclear holocaust makes him even more determined to fight.

Dreadstar #4

In issue 4, the crew arrives on Jewel world, where they intend to give the stolen teleport tech to The Monarchy. They want to make sure Monarchy & Instrumentality remain in balance militarily, so their rebellion can keep gaining ground. They end up getting recruited as bodyguards to the king. The Instrumentality sent a super-assassin to kill the Monarch and only Dreadstar & crew can stop him. This becomes Oedi’s turn to shine. His cat-like agility and animal senses detect the assassin where even Willow’s telepathy failed. He kills the bad buy, and in gratitude, the King gives them a bigger and better spaceship.

The Monarch’s Vizir is an interesting side character. He has a mask with breathing apparatus that makes him look a bit like a cross between Boba Fett and Darth Vader. Clad from head to toe in red, Vizir resembles the Crimson Guard from The Last Jedi. The king clearly fears him. The Monarchy isn’t quite what it seems when we’re allowed a peek behind the curtain.

Starlin seems to be having a blast on the series. It’s hard to describe how detailed the drawing there is. This is right up there with George Perez-level panel stuffing. The look of Dreadstar’s universe borrows liberally from various corners. Star Wars I already detailed the Star Wars similarities, but you can also see Moebius style vistas, Kirby-Esque energy crackles, and Magnus The Robot Fighter style robots and cyborgs. This is one of Starlin’s strengths. His work is an eclectic mix of influences that he is somehow able to meld into the setting for a galaxy-spanning adventure.

Dancer Not a Fighter

Starlin’s figure drawing has its own energy and vibe. It has always struck me as awkward, but I could never exactly put my finger on why that is so. His figures often lack the kind of grounded weight that, say, John Buscema is able to imbue into his characters. Starlin’s figures are always weightless. They move more like dancers than fighters. I’ll try to unpack this more in future posts.

Always Be Flexing

You can always see the musculature of the figures at full-flex. Again, this is not unusual, but even when we see the characters relaxing, they are still fully flexed; muscles popping. It gives everyone a constantly tense demeanor. I think seeing this constantly tense body language colors the perception of emotions of the characters. They seem to be over-acting as if always posing in a mirror to practice emoting. I used to dislike this. These days I am drawn to the over-the-top atmosphere created by this kind of figure drawing.

Science Heroes

The clothes are always skin tight. This is not unusual in superhero comics, but it sometimes feels off in a space opera like Dreadstar. In a recent Cartoonist Kayfabe interview, legendary cartoonist, Walt Simonson said that science fiction comic books were often perceived as low sellers back then. Perhaps Starlin is trying the fine line between pure sci-fi and superheroes to avoid this? Surely, the huge-selling Star Wars comics must’ve changed that general perception? Despite the science-fiction trappings, Dreadstar does feel more like a superhero comic. Each member of the team has unique superpowers and the team character dynamics would not be out of place in a typical superhero comic of the time. Ultimately, the vibe of the Dreadstar universe is not too different from Starlin’s Warlock (Marvel Comics). But maybe this distinction is not worth pursuing? The whole Marvel Universe can be seen as a sub-genre of science fiction.

Ditko-esque Starlin. Back cover to Dreadstar #3.

Science Fiction, Music, Comics. The Secret Origin of Comics Criticism.

nostalgia journal comics journal

Cross-contamination

I stumbled on the following a while ago on Blissblog:

“Along with the many cross-contaminations between rock-etc and s.f., one thing that Heller’s book reminded me of was that many of the very earliest rock criticism publications were started by people who had previously done science fiction fanzines.
 
Intensely self-reflexive fields, rock criticism and science fiction share a strange mix of inferiority and superiority complexes. Painfully aware of their marginal position vis-à-vis “proper” journalism and “respectable” literature, they nonetheless believe that they are doing the Most Crucial Writing of Our Time. I can remember from my own days as an adolescent s.f. fanatic being struck by the s.f. writer’s culture of workshops and conventions – by how the writers loved to write essays defining s.f. as a genre, proclaiming its unique contribution to literature. There were even a few volumes of essays by s.f. writers debating s.f. that I remember reading.

Simon Reynolds | Blissblog

This. This exactly describes me during High School. Except replace music with comics. I took pains to let everyone know that comics were the most important thing. I’m sure it was very annoying. Whenever I had to write essays about books in English class, I tried to convince my teachers to let me write about X-Men, Spider-Man, Fantastic Four, and whatever else I was reading at that time. Most of the time I was shut down, but a few teachers indulged as long as I could ‘prove’ to them that comics weren’t just kid’s stuff. Actually that was crucial. It challenged me to look at comics somewhat differently, and probably led to my actively seeking out better comics to impress my teachers.

Every Page a Painting

Kid Eternity by Grant Morrison and Duncan Fegredo

I have a pretty intense memory of showing Kid Eternity to my teacher. This is the Grant Morrison & Duncan Fegredo 90’s revamp with fully painted art. I remember challenging my teacher to look closely at the art. “It’s all painted” I’d say. “EVERY page is a full painting! Imagine if Michaelangelo had to paint the Sistine Chapel, over and over again, and tell the whole story in that famous painting.” I was definitely already a Science Fiction fan at this point. In Poland, I’d collected the magazine Fantasyka, which serialized sci-fi novels and comics. In the US, I read whatever sci-fi my library had on hand. Harry Harrison, Asimov, Pohl, Piers Anthony, David Eddings, Heinlein, Lem, etc.

Sub-Genre of Utopia

To speculate wildly here… if we follow Fredrick Jameson’s assertion from Archaeologies of the Future, and think of Science Fiction as a sub-genre of the utopian novel (not the other way around), then sci-fi retains a utopian imaginary somewhere underneath all of the technological dress up. Sci-fi at it’s core imagines and extrapolates different worlds/futures based on different customs, different technologies, different environments (planets), etc. It’s easy to imagine young brains blown to bits by science fictional speculations.

I don’t think that I was consciously doing this at the time, but in retrospect, I must have been thinking about comics as some kind of major human innovation. The comics I was reading were not perfect, but I imagined a different future, where comics were the dominant literature. It’s a science fictional extrapolation. Take something small and insignificant from today, and imagine it as a dominant form in the future. Or at least, as something that has the capacity to become that.

Inventing a Future

costalgia journal 30 and comics journal 33

I imagine young Gary Groth in a similar mode. He takes over The Nostalgia Journal, a fantasy, sci-fi, comics, fanzine, and turns it into The Comics Journal, the most important magazine in the world. There was an inkling there already, a belligerent insistence on the importance of the medium. And all this without clear evidence for that importance, as The Comics Journal kept reminding us, while frequently berating the industry for failing to make great comics. It comes out of that same era. Sci-fi fanzines, pop/rock fan-zines, comics fanzines – popping up everywhere – creating new critical appreciation for debased art forms; art forms that were new and vital and popular. There was no rule book on how to write about these things. They had to invent it in real time. They were inventing the future in real time.

Post-Apocalyptic Dreams

total melt down mutants end times now

The always interesting Chris Nakashima-Brown at No Fear of the Future posted a link to an interesting Reason article about Science-Fiction as a playground for political ideas. But I found his subsequent discussion more interesting, especially since it touches on something that I’ve been thinking about a lot lately. In the post he says:

“[…] the persistence of post-apocalyptic scenarios (as well as many disaster movies) expresses a latent yearning for the destruction of the state apparatus and the abolition of private property. At a deeper psychological level, […] the idea of roaming a depopulated earth rummaging for useful artifacts articulates the extent of our individual alienation in a thoroughly commodified society.”

No Fear of the Future

I think Chris is correct. I would add that the apocalyptic imagination is symptomatic of an inability to imagine a society different from ours. The Slavoj Zizek quote: “it is much easier for us to imagine the end of the world than a small change in the political system,” is particularly apt. The future event horizon is so saturated by commodities, markets and debt (think about it, every 30 year mortgage is a financial spore which ensures that capitalism keeps blooming in our future) that it becomes increasingly more difficult to imagine a future that is different from the present. It becomes easy to think that some kind of Apocalyptic Event (AE) maybe our only way out.

But, much of this is tied to the continued survival of the capitalist system. Recent events, such as the financial crisis, put that survival in some doubt (I’m not counting out capitalism just yet though). Add to that the boundless optimism sparked by Obama’s victory and all of a sudden you have a license to imagine a different future. I wonder what kind of Science-Fictions the current situation will spawn? Will the apocalyptic imagination be as prevalent? After all, an Apocalyptic Event (real or imagined) is often prerequisite for the dream of Utopia.