#frank herbert's spice world

[mansnooziesmoosmutzel]

“And what is it you do to the face of Arrakis that must not be seen?” “We change it ... slowly but with certainty ... to make it fit for human life. Our generation will not see it, nor our children nor our children’s children nor the grandchildren of their children ... but it will come.” Stilgar stared with veiled eyes out over the basin. “Open water and tall green plants and people walking freely without stillsuits.”

[seanpgilroy]

Wasn't quite happy with the way my Arrakis looked in the background.

Welp, I tried to put this in my redbubble store but it got removed almost immediately, even though I didn't tag it with anything overtly Dune-related. I think some fucker who saw it on insta ratted me out.

[virginiaoflykos]

What to read after Light Bringer? (Series similar to Red Rising)

August 2023 update!

Red Rising is my favorite series of all time, and since I first read it, I have sought series and books similar in both spirit and execution. Some of these recs are books I haven’t read personally, but have often come up in discussions with other users!

1. The Stormlight Archive by Brandon Sanderson

Status: ongoing, expected 10 books in total, 4/10 out at the moment

Book 1: The Way of Kings. The Way of Kings takes place on the world of Roshar, where war is constantly being waged on the Shattered Plains, and the Highprinces of Alethkar fight to avenge a king that died many moons ago.

2. The Craft Sequence by Max Gladstone

Status: finished, 6/6 books out.

Book 1 (in publication order): Three Parts Dead. Comprised of 6 standalone books set in the same universe, the Craft Sequence tells the tales of the city of Alt Coulumb. The city came out of the God Wars with one of its gods intact, Kos the Everburning. In return for the worship of his people, Kos provides heat and steam power to the citizens of Alt Coulumb; he is also the hub of a vast network of power relationships with other gods and god-like beings across the planet. Oh, and he has just died. If he isn’t revived in some form by the turn of the new moon, the city will descend into chaos and the finances of the globe will take a severe hit.

3. Hierarchy by James Islington

Status: ongoing, 1/3 planned books out

Book 1: The Will of the many. The Will of the Many tells the story of Vis, a young orphan who is adopted by one of the sociopolitical elites of the Hierarchy. Vis is tasked with entering a prestigious magical academy with one goal – ascend the ranks, figure out what the other major branches of the government are doing, and report back. However, that isn’t quite as easy as Vis or anyone else thought it was going to be…

4. Suneater by Christopher Ruocchio

Status: ongoing, 5/7 books out

Book 1: Empire of Silence. Hadrian is a man doomed to universal infamy after ordering the destruction of a sun to commit an unforgivable act of genocide. Told as a chronicle written by an older Hadrian, Empire of Silence details his earlier adventures and serves as an introduction to the characters and the setting.

5. Dune by Frank Herbert

Status: completed, 6/6 books out

Book 1: Dune. Set in the distant future amidst a feudal interstellar society in which various noble houses control planetary fiefs. It tells the story of young Paul Atreides, whose family accepts the stewardship of the planet Arrakis. While the planet is an inhospitable and sparsely populated desert wasteland, it is the only source of melange, or "spice", a drug that extends life and enhances mental abilities.

6. The Expanse by James S A Corey

Status: completed, 9/9 books out

Book 1: Leviathan wakes. Set hundreds of years in the future, after mankind has colonized the solar system. A hardened detective and a rogue ship's captain come together for what starts as a missing young woman and evolves into a race across the solar system to expose the greatest conspiracy in human history.

7. The First Law by Joe Abercrombie

Status: completed. 3 books in the original trilogy + 3 standalone books + 3 books in the newest trilogy

Book 1: The Blade Itself. The story follows the fortunes and misfortunes of bad people who do the right thing, good people who do the wrong thing, stupid people who do the stupid thing and, well, pretty much any combination of the above. Survival is no mean feat, and at the end of the day, dumb luck might be more of an asset than any amount of planning, skill, or noble intention.

8. Cradle by Will Wight

Status: completed, 12/12 books out

Book 1: Unsouled. Lindon is Unsouled, forbidden to learn the sacred arts of his clan. When faced with a looming fate he cannot ignore, he must rise beyond anything he's ever known...and forge his own Path

9. Hyperion Cantos by Dan Simmons (one PB’s favorites)

Status: completed, 4/4 books out

Book 1: Hyperion. The story weaves the interlocking tales of a diverse group of travelers sent on a pilgrimage to the Time Tombs on Hyperion. The travelers have been sent by the Church of the Final Atonement, alternately known as the Shrike Church, and the Hegemony (the government of the human star systems) to make a request of the Shrike. As they progress in their journey, each of the pilgrims tells their tale.

[trojanteapot]

Why the Northern Fremen don't believe in the Prophecy

The reason is just an incredibly simple, sociological reason. What do they keep pointing out about Arrakis? That the south is harsh and uninhabitable... to outworlders. We know this harsh environment increases religious fervour to bolster survival, but what does this mean for the north? Why did they lose their faith?

The settler's cities, Arrakeen and Carthag, are situated in the north. The Harkonnens don't believe the south is habitable so they only mine spice in the north. Their brutal suppression of the Fremen are only in the north.

So imagine you are one of the Northern Fremen. You know there's a prophecy about the Lisan al-Gaib, the Voice from the Outer World that would save your people. But here are these outworlders, who rampage your planet, who enslave and brutalize your people, who only see Arrakis as a resource, and its inhabitants as a means to an end, or "rats" that are in the way of their bottom line. Rats to be exterminated. Seeing all of this, of course you would start to doubt the prophecy. If this is how real outworlders are, why would the Lisan al-Gaib be any different from them?

And this is why Chani and the other Northern Fremen stop believing. They see through its manipulation of the Fremen. But they also understand that if the Fremen band together and fight back, they can win battles on their own. The Southern Fremen don't see any of this, because they're essentially protected from the violence of the colonizers by the dust storms near the equator. They might hear stories about the Harkonnens, but that wouldn't shake their faith in the Lisan al-Gaib. They are willing to simply wait for the "right" kind of outworlder, which does come along in the form of Paul and Jessica.

I think this is a really clever explanation of this divide in the thinking of the Northern and Southern Fremen, which is also related to the idea of how the environment that people grow up in shape their beliefs and their culture. Even though this is a departure from the first novel, this change is still true to the spirit of Frank Herbert's Dune.

[facts-i-just-made-up]

The recent Dune movies are not the first adaptation of Frank Herbert's book. An adaptation by Bob Spiers was released in 1997 starring Geri Halliwell as Paul Atreides with the title "Spice World."

[daxwormzz]

Who’s Piter? (Full disclosure, I’m entirely prepared for rambling, I’ve just never heard of this)

HIIIIIIII OKAY SO. Basically. Piter de Vries is this guy from hit 1960s scifi novel Dune by Frank Herbert. He’s the right-hand to the main villain, The Baron Harkonnen. He’s only in the first half of the first book, and some of the bad prequel novels.

Piter’s whole thing is that he’s a Mentat, a human trained to essentially function like a supercomputer and be crazy good at calculating shit. (Because “thinking machines” have been outlawed in the world of Dune, so no computers!) but also he’s specifically this thing called a TWISTED MENTAT, which means he’s a computer who’s evil and has no moral compass. It’s up to interpretation what exactly caused this— there’s sorta two theories with equal amounts of evidence. One: this one evil organization purposefully fucks up Mentats to MAKE them essentially lose faith in morality and humanity as a whole. Like reeeeaaally fucks them up. And two: they’re actually just born like that. Like the mentat was already predisposed to “evil” behavior and that one organization just exploits that and employs them.

I sorta think it was a mix of that for Piter, I think he was born with obvious signs of brain illness and that was exploited and exacerbated by whatever he was put through. I think if he wasn’t “twisted” he probably would’ve grown up to he just some kinda strange asshole, rather than one of the most wretched guys you’ll ever meet.

That being said, the actual gist of Piter’s personality and description is this: eccentric and snarky conniving guy who LOVES to torture. He’s also shown to be very power-hungry, and subtly obsessed with control and death as a whole. And also poisons. He has a passion for poison-making. As a mentat, he’s also an assassin of sorts, cause turns out they’re pretty good at that. He’s described as having a terrifying “silky” voice, so kind of like if a snake was a guy. He’s also described as followed: a short “effeminate” man with frizzy hair, probably wears platform boots, blue-within-blue eyes, and red-stained lips. (“It was like a mask grimace over those eyes like holes”, to quote the book directly.) his eyes and mouth are an important detail, because those come from all the DRUGS he takes. Like so many. He’s specifically takes Spice, the most important substance in Dune basically. That’s what makes his eyes that weird blue! So he’s like… unnerving-pretty. Weird looking but pretty in the way a very toxic sea creature is. Do NOT touch. Sometimes he refers to himself in the third person and he sounds like the Miette cat post.

BUUUUT YEAH so like, weird guy amiright? I’m prone to loving evil right hand man characters, I’ll be for real. But what really got me crazy about his character is how he’s treated in the story by various characters. Sure, he’s a bad awful guy and all that- but he is also CONSTANTLY dehumanized. Specifically by his “employer”, The Baron. Who is a whole other can of worms. There’s even a whole scene where the baron puts Piter on “display” and refers to him as “it”. The baron also explicitly exploits Piter’s drug addiction to get him to comply and stay “loyal”, which is particularly scary I think, because spice withdrawal is incredibly deadly.

Piter and the Baron have some of the most bonkers banter in the entire book. It’s comedically evil in every way. You can tell they HATE each other but it’s hidden under so many layers of scheming and posturing. Piter would take the barony if he could 💪💪💪😔😔😔 Piter is also THE guy who comes up with the entire coup against the main character’s noble house that sparks the main events of the entire book??? Like he states directly that it was HIM. On like page 21 of the book. And this is not talked about much. None of his movie versions really get to the “meat” of his character, especially the newest Dune films. He’s very glossed-over, honestly. Which is a shame because as you can tell, I find him fascinating!

I think…. I’m done now… thank you for coming to my Piter talk… I hope this is enlightening 💚

[steve-needs-a-hug]

As someone who hasn't read any of the Dune books and knew virtually nothing about the nature of the world the story takes place in before watching the Villeneuve films, the particularities of this distant distant future that Frank Herbert created are kind of blowing my mind. (Please correct me if any of my comments below are inaccurate)

This is a sci-fi world in space with no aliens and no computers. Instead, some of the humans have become alien-like or computer-like--by harnessing the powers of the human mind and enhancing them with Spice. The biopunk angle + providing at least a semi-plausible explanation for the development of superhuman abilities creates a fascinating narrative blend that reads more as mythology than speculative science fiction. Who could come up with a future that feels so ancient?

Maybe I need to rewatch the Villeneuve films again (which I'm planning on doing very soon!!), but I didn't quite catch any of this from watching the films alone. Maybe it's a good thing that Denis and co. didn't try to burden the audience with too much worldbuilding lore, but for me, knowing this context makes the story so much more interesting. I just think the role of technology in the Dune universe is a really important aspect to delve into since it explains a lot of things such as why hand-to-hand combat is so prevalent, why Spice matters so much, etc.

(These thoughts were prompted by this article)

[adamwatchesmovies]

Dune (2021)

Even upon a rewatch, 2021’s Dune: Part One is spectacular. The memorable, foreboding score by Hans Zimmer, the costumes that bring this world to life, the scale of the action and the unique sets, ship & weapon designs all come together to complement a story of mythical scale. After seeing this film, two thoughts start competing for your brain’s attention. 1) If Frank Herbert’s Dune was adapted this successfully, then no work is unfilmable and 2) the sequel can’t come soon enough.

In 10191, the universe is ruled by an Emperor who assigns the exploitation of planets to powerful ruling houses. Interstellar travel is possible through “spice” a substance found exclusively on the harsh desert planet of Arrakis. For 80 years, Baron Vladimir Harkonnen (Stellan Skarsgård) and his house have overseen the harvest of spice. Now, Duke Leto I (Oscar Isaac) of House Atreides is the new steward of Arrakis but only for as long as the flow of spice continues. This shift puts House Atreides, particularly the Duke’s son, Paul (Timothy Chalamet), in danger.

At 155 minutes, you’d think this movie would feel long, but it doesn’t. One of the reasons is that there’s a lot within to keep your mind busy. What’s a Freman? What’s a Kwisatz Haderach? What’s “the voice”? If director Denis Villeneuve tried to cram this story into 90, or even 120 minutes, it would move so quickly that all these questions would leave you in the dusty sands of Arrakis (that’s the planet, right?). By taking its time while moving at a good pace the film allows you - in time - to answer all of your questions. Since you understand what’s happening, you’re engaged. It helps that if you can’t remember what each name means, the visuals pick up the ball. The grotesque, scheming Baron Vladimir Harkonnen is clearly a villain. It's particularly obvious once you see his nephew, the psychotic and childish Glossu Rabban (Dave Bautista). You know you can’t trust the Bene Gesserit because their leader, Reverend Mother Mohiam (Charlotte Rampling) makes Paul take a painful, life-threatening test to prove he isn’t a threat himself. These are only a few of the many examples I could choose and they show how the story is both complex and easily digestible.

Even without the gripping story filled with backstabbings, political intrigue, violence, quests for revenge and harrowing struggles for survival, Dune would still have you tightly in its grip. Throughout, Paul’s psychic abilities give him visions. They foretell the future… sort of. They give hints of what’s coming but hints are not the same as clear answers. These all tie to this planet he’s on; a world that doesn’t end where the screen does. The details in the dialogue, sets and costumes make you wish the Harkonnens would just chill, and save their grudge for later. This way, you’d have time to see House Atreides befriend the Fremen and familiarize themselves with their customs.

There’s so much happening in this film that some of it you won’t “get” until later. For example, the early assassination attempt on Paul’s life. The would-be killer? A Harkonnen cutthroat, hidden in a bedroom wall. What kind of wealth, power and/or terrifying influence could persuade someone to take on that sort of assignment, knowing they would have to wait in darkness for weeks, slowly starving to death, just to kill a boy?

The passion within Dune is as clear as its ambition. You’re only getting half of a movie with it, but this choice feels like a necessity, rather than a Breaking Dawn-type of cash-grab or an attempt to start another franchise for a money-hungry studio. It certainly doesn’t feel presumptuous. Everything we see feels important; like it’s building up to not just one, but many bigger character arcs in a world that contains hundreds of stories. You know the threads that are left hanging will be tied up - that’s the kind of confidence all of the artists at work instill in you. Dune/Dune: Part One is a film that’s going to be remembered. (March 1, 2024)

[eros-thanatos89]

some thoughts on Dune

It's 5 AM and I can't get back to sleep, so clearly it's time to ramble about Dune on the internet.

I recently rewatched part one of Villeneuve's movies and then saw part 2 in theaters this week.

I've seen the David Lynch Dune a couple times in the past few years, mostly because I wanted to see the Villeneuve. I love Lynch, but his adaptation is wild--very fun, but it feels like a fever dream, and he has spoken openly about how the studio fought him and the process of making the film was awful for him. It's also such a dense source material, that it's so hard to fit into one two hour movie. Hence, the last 45 minutes try to cover major plot points and it feels rushed and scattered.

So the new Villeneuve adaptations have more time to really introduce to Dune's world of interplanetary Empire, the warring houses and factions under the Emperor, and the planet of Arrakis which is coveted by the Empire for its precious resource of Spice--and therefore exploited and oppressed.

I didn't really catch the very clear commentary on imperialism and extractive capitalism until I saw part 1 of Villeneuve's Dune (because I was just so bewildered by the fun fever dream quality of the Lynch movie). But it's so clear--especially that scene where the Atreides first arrive on Arrakis and leave their ship with their flags flying and an honor guard playing bagpipes and Duke Leto and Paul in ceremonial Caladan attire while Lady Jessica has donned traditional Arrakian clothing. It's so clearly an intentional parallel to the British Empire in the Middle East and North Africa (MENA).

What's wonderful about Dune 2 is now that the stage is set, we really get to dive into the world of Arrakis through the lens of its indigenous population, the Fremen.

A friend and I binged through the SyFy Dune miniseries between part 1 and the release of part 2. And something that has been pointed out in video essays, and was very striking and meaningful to me, is that the novel and every adaptation show us Arrakis through the eyes of Paul Atreides, Princess Irulan, and other outworlders. Villeneuve's Dune is the first adaptation to open with a quote from a Fremen, Chani, who says "My planet Arrakis so beautiful when the sun is low..." in the opening shot of part 1, as the camera pans over a sea of sand dunes, glimmering in the evening light. It really sets the tone for both of the new films: Dune is Arrakis' story; it's the Fremen's story.

And in part 2, we get to watch Paul transform personally and reach mystical, messianic superhuman status (against his own will and intuition) but just as importantly we watch him integrate himself into Fremen culture and learn to fall in love with the culture, language, and ways of the Fremen, as well as falling in love with Chani. It becomes her story as much as his (FINALLY an adaptation where we get to see Chani really become an interesting character in her own right! I don't really remember her from the miniseries; she has an active role, but clearly didn't really stand out to me. And she barely has any lines in the Lynch movie).

Part 2 lets us see the anti-colonial struggle for independence and autonomy and protection of the planet and native culture from the perspective of its native people, and also the harm of outside cultures like the Bene Gesserit co-opting and exploiting the desire for freedom and independence to spread religious zealotry.

The debates between Chani, Stilgar, Lady Jessica, and Paul regarding the messianic prophecy and the counterpoint that the Fremen should save themselves is so compelling and rich!

I was reminded throughout the film of the story (and movie) of Laurence of Arabia. Which I now want to rewatch. In interviews Villeneuve pointed to the film as a direct cinematic influence on not just Dune but his entire process as a film maker. And Frank Herbert cited the real events of Laurence's time with Arabic Uprising against the Ottoman Empire in WW1 as a direct influence on the first novel in the Dune series.

A couple friends and I all started listening to the audiobook recently and have started an accidental book club. I really love the prose and the richness of the world Herbert creates and his focus on the environment and ecology of the planet Arrakis as well as the political intrigues and critique on colonialism and extractive capitalism.

So the other day I was curious about the social context of the novel and other inspirations Herbert may have had, so I consulted my favorite scholarly journal Wikipedia (as the hilarious hosts of the podcast the Bechdel Cast call it. If you like movies, intersectional feminism, and funny people, give it a listen. It's so fun!) and was quite surprised that one of the major influences that inspired the novel (published in 1965) was that in the 1960s that state of Oregon in the USA where Herbert was living was having a crisis of sand dunes shifting and moving, due to the native grasses that anchored them dying out. Herbert had several Native American friends who grew up on reservations in Oregon who were actively writing about ecology and environmental protection and who were activists. He was inspired by the notion of these sand dunes potentially swallowing up whole cities and the crisis of an environment becoming uninhabitable due to human destruction of the environment.

I was fascinated to learn that Dune is regarded as one of the early examples of novels tackling themes of climate change and ecology and environmental protection, along with Silent Spring. (Thanks Wikipedia!)

Anyhow, this is a really long and rambling post so I'll wrap up. But I encourage anyone who's interested in really rich, complex sci-fi or fantasy which grapples with real-world issues like colonialism, capitalism, and the environment as well as the hero's journey to give Dune a watch and/or read. It's such a rich world! And the new films are a stunning sensory experience! The aesthetics alone are captivating. Good shit.

[isaackuo]

Ranling ponderings on Frank Herbert, consequenctialsim, and Tolkien not caring for Dune

If Herbert was fascinated with world building by predicting consequences, the obvious power fantasy would be the perfect ability to predict consequences. The Mentats and Bene Gesserit could calculate consequences pretty well, but the Guild and Paul could perfectly predict consequences.

This becomes both a "superpower" and also a trap. Paul is able to easily exert power over the Guild because they perceive themselves as having no choice but to follow the only path that doesn't result in the consequences of Paul destroying the spice. He doesn't even need to voice his demands - they can perceive the consequences without even perceiving the power dynamics.

Of course, Herbert would further examine the trap of predicting consequences in Dune Messiah, where Paul himself is physically blinded and he can only move forward by obediently following his prescience vision (until he chooses not to … so he has some choice). And then the God Emperor Leto II would embark on a cruel and callous multi-thousand year project purely based on a prescient vision.

It's a huge trolley problem clusterfudge for consequentialists to sweat button meme over.

But that's not something I think would appeal to Tolkien. In his Catholicism influenced world view, prophecy is either true and Godly and good, or it's false and devilish and evil. The acts of Men and Elves aren't good or bad based strictly on their consequences, but whether they are borne out of goodness in one's heart or rot from inner corruption. The morality of TLotR revolves around Gandalf's evaluation of Bilbo sparing Gollum. Gandalf admits that he does not know the consequences, nor did Bilbo, but that should not be the only thing that matters!

I think that Tolkien would have seen Herbert's obsessive consequentialism as utterly removing the quintessential nature of what makes people more than just busybody robots struggling against each other to get ahead.

[iwillreadyourbook]

🌌 Exploring the Epic World of Dune by Frank Herbert 🌌

Today, let’s dive into the intricate and mesmerizing universe of Dune by Frank Herbert. This science fiction masterpiece is more than just a tale of politics and power; it's a richly woven tapestry of ecology, religion, and human ambition.

Why Dune is a Must-Read:

Complex Characters: From the enigmatic Paul Atreides to the fierce Fremen, each character is deeply developed and integral to the plot.

Intricate World-Building: Herbert’s creation of the desert planet Arrakis, with its unique ecosystem and spice economy, is nothing short of brilliant.

Themes of Power and Corruption: The struggle for control over the spice melange mirrors real-world issues of resource scarcity and political intrigue.

Philosophical Depth: Dune challenges readers to think about destiny, leadership, and the human condition in profound ways.

Whether you're a seasoned sci-fi aficionado or new to the genre, Dune offers an unforgettable journey that will leave you pondering long after you've turned the last page.

Have you read Dune?

[abookisafriend]

dune, denis villeneuve: three and three-quarters shattered crysknives

based on the novel by frank sherbet

some spoilers below; i've tried to keep it at the general level that won't actually spoil the viewing experience

the second dune film is recommended for fans of the books. this story is much more faithful to the central themes of the novel than its 1984 predecessor; the subject of the dangers of a charismatic leader is front and center. the film does rework certain central aspects of the plot, though, mainly the relationship between chani and paul (the passionate and steadfast partnership portrayed in the book becomes, here, more fraught and conflicted), and it also has a major change that comes to define the movie: in the book, herbert skips over paul's rise to power, portraying it as inevitable and then showing what comes of it; the film takes that rise to power as its principal subject.

the film is more varied in cinematography than part one, mostly because of its time on geidi prime: the harkonnens' planet is depicted in black and white, given a black sun with ominous rays; the action on that world is dramatized by the washed-out sunlight from that impossible star. arrakis becomes richer than it was in the subleached first film, awash in the cinnamon spice. the fight scenes are a special focus; the movie is basically an action pic, although the political thriller aspects exist as well. one thing the film does well is to capture fast-paced action and -- this is a particular strength -- to give each faction their own distinctive style of combat, each of which combines differently with the others'. (the use of personal shields takes a little suspension of disbelief, as -- like the first film -- they are not excessively concerned with being consistent about the speed at which weapons can penetrate shields.)

villeneuve seems to have been specially concerned with avoiding any overlap with the 1984 movie, perhaps sensing that to do so would trespass into the world of camp humor. the atmosphere of the film is instead mostly grim. fastidious as he is, there is one verbal overlap which sneaks in when paul attempts to ride a worm for the first time. i can't bring myself to spoil it, though. villeneuve does not bring in feyd and rabban.

overall, i'd recommend it; it's hardly destined to eclipse the book, but it's a respectable addition to the dune canon. i hope that this team will continue the series and treat us to the endless parade of duncan Idaho clones that awaits us there.

[episodicnostalgia]

Reading Break - Worms & Spiders

Featured Art: MotaArt: (above) Rick Leonardi & Al Williamson:  Spider-man 2099 #1 Mark Bagley & Art Thibert: Ultimate Spider-man #11 Patrick Olliffe: Amazing Spider-man Family #3

Welp!

It’s been longer since I last posted here than I'd hoped it would be.  Unfortunately, I’ve had to prioritize work for the time being, and it’ll probably be a little while longer before I have the opportunity to post my next episode review [TNG ep. 123 will be next in line, when I do finally get to it].  In lieu of writing, I’ve been trying to be at least bit more mindful with my downtime, avoiding the various social media timewasters, and taking more time to read.

For my "serious" reading, I’ve been slowly picking away at ‘God Emperor of Dune’, which is pretty fucking trippy.  Seriously, If you thought the first book was weird, then I’m here to tell you that whatever "spice" Frank Herbert was using, he upped the dose exponentially for each subsequent entry.  I’ve read a lot of disparaging reviews and comments online about ‘God Emperor’ that led me to believe it might be pompous and dull, but I’ve honestly found it to be thoroughly engaging, though admittedly subject-at-times to some ignorant world views.

For my "fun" reading, my recent reviews of ‘Spider-man: TAS’ have inspired me to peruse through my old Spidey comics, which have been a real trip down memory lane (and very on-brand for this blog). The two series I’ve been bouncing between are the original ‘Ultimate Spider-man’ from the early 00’s, and ‘Spider-man 2099’ (early 90’s).  I remember when each respective series was first being released, and how cutting edge each of them seemed.  Overall, I’d say they hold up decently well, although clearly products of their time.

‘Spider-man 2099’ is unsurprisingly the more noticeably dated of the two, and a lot of that comes down to the now-unmistakeable 90’s aesthetic, along with the somewhat clunky ‘future slang’, which seems to predominantly consist of substituting profanity with vaguely techno-sounding-words.  If you don’t know what the Shock I’m talking about you can go look it up for yourself. But It’s Rick Leonardi’s artwork where the book really stands out to me, though.  I always thought he was an underappreciated artist, and deserved a proper run on ASM, but 2099 probably gave him a better opportunity to flex his talents.

I feel like a lot of people forget today (as I suppose they inevitably tend to) that Ultimate Spider-man was once THE hottest Spider book on the market, and while reboots-featuring-a-teenage-peter-parker may be a dime a dozen today, it was a breath of fresh air in the year 2000.  It’s easy to see why too, Bendis and Bagley work great together, and it didn’t hurt that Marvel spared no expense on the physical presentation of the book.  Simply put, each issue looks sharp, from the digitally painted cardstock covers, to the glossy pages; this was a book with high production values, featuring top tier talent. No expense was spared in making sure the artists were featured in the best possible light.

One thing I’ve can’t help but notice is the differences in attitudes and ideals between the two books. I know a lot of people like to pretend that comics were less political ‘back in the day’ but that’s never been true.  I do think that politics have sometimes been easier to ignore during times of less civil unrest, but clearly the writers have always had opinions and ideals that were being expressed whether they knew it or not.  For instance, Peter David’s work on 2099 seems to lean more politically left, and is notably quite critical of nationalist, corporate, and capitalist interests, depicting a world that feels (in some ways) more relevant now than it was back when the series was being released.

Comparatively, Bendis’ writing seems to play it a bit safer.  He appears largely progressive in his social views, but also less willing to criticize institutions like the military or government beyond anything on a surface level.  I can’t say it’s too surprising, since ‘Ultimate Spider-man’ only began it’s run shortly before the 9/11 attacks, and I can imagine that even if he were inclined to do so, Bendis would have likely received pushback from anything deemed too politically controversial. But some of his writing leads me to suspect he falls towards a more politically centrist stance, resulting in a book that, while being LOADS of fun, has perhaps less to say on certain social issues. Some people might argue it’s for the best, but I kinda like it when writers are willing to get a bit messy, as I think it makes for more interesting discourse.  But then again, maybe I’ll find myself eating these words as I continue my read through.

I think that’s enough musing from me.  The fact remains that each of the artists I’ve discussed in this post are far more accomplished than I will likely ever be.   At any rate these criticisms are really more just meandering observations, about which I could easily change my mind later on.  Hopefully I’ll have more time to focus on my proper episode reviews in the coming months.

But if you’ve made it this far, thanks for hanging out.

[thevisibilityarchives]

Dune: Part Two (2024), Denis Villeneuve

BIPOC

Dune: Part Two and the Discussion of MENA Representation

Review Link: https://www.rottentomatoes.com/profiles/ratings/WYdFQDHR9tGJf9wiWXh8ZFR8iGGCaLHwBhawIZ0ubbCexiapiJVTWOFeeCzdIpjhmXFp4u11CYNTl4fOPSWQfkWC6bIb6SyBFVXfO4TZzc4m/movie

Following its much-anticipated release, the long-awaited second installation of Denis Villeneuve’s Dune adaptation has proven itself a sci-fi spectacle that must be experienced to be believed. 

It’s an outrageous combination of awe-inspiring cinematography, adept writing, and the talents of an all-star cast topped off by a score by veteran composer Hans Zimmer. The result: a feast for the senses that presents the stark realization that films on a scale this epic only come around once or twice a generation.

For those unfamiliar with the source material, the full extent of how truly epic this is may be lost. Part of the beauty of Dune is that Villeneuve simplified the story in such a way that it can be understood by moviegoers with no connection whatsoever to author Frank Herbert’s novel, or ever-having-seen the adaptations by David Lynch or SyFy (f/k/a Sci Fi). Within this simplification, the story of Dune doesn’t become reductive, nor are essential plot points lost. Like all adaptations, there are components lost, however even compared to Peter Jackson’s Lord of the Rings it can be argued that fewer creative liberties have been taken, and the ones that have been are worthy of discussion. 

Some of these changes are adaptations inherent to the modernization of source material written by a white man in the 1960s. While science fiction has arguably been a haven for progressive ideas, it still faces the limitations of the author's society and the popular sentiments of their time. 

Environmentalism, non-traditional relationships, the loss of innocence, and the power of femininity are all topics brought to life by Frank Herbert in his original novel–adeptly at times, sloppily in others. Decades later, Villeneuve irons out some of the flaws: the white savior narrative, the depiction of women, and the dreadful attempts to depict witch children.

These changes along with the skillful dedication to a remarkable piece of science fiction create what will undoubtedly be looked upon as a classic in due time, yet has been met with some degree of controversy for its depiction–or lack thereof of one group. 

Created in their image, the Fremen were shaped after those of the Middle East and North Africa (MENA), with the Islamic faith making up aspects of their religion and the Middle East serving as the very essence of Arrakis. Yet in casting, MENA actors were notably absent from these roles, and the focus on much of the Fremen culture was notably absent, leaving many to question why.

Dune’s Roots in the Middle East

Written in 1965, Dune is considered one of the most remarkable science-fiction books of all time. Part of this significance is because, in 1965, it was a book that attained popularity while being so fervently against the cliches present in normal bestsellers: moral absolutes, Eurocentrism, and Western imperialism. 

For over a decade, we have now come to cherish and normalize media that centers around morally gray and ambiguous characters. We actively seek out things that de-center white, straight, and cisgender narratives. Yet in 1965, a world wherein the United States had barely de-segregated, homosexuality was outlawed across most of the world, and Christian colonialism efforts still ran rampant across many nations? A book challenging the status quo was impactful. 

The representation of MENA culture is intrinsic to everything that Dune is, from its language to its scenery to the music present in Villeneuve’s adaptations. Set primarily on the desert world of Arrakis, Herbert based the topography of the planet on regions of the Pacific Northwestern United States, yet its allegorical implications are clear. 

Arrakis is home to melange or “spice”, a heavily-coveted resource that grants extended longevity, bestows metaphysical abilities, and fuels interstellar travel. The latter is perhaps the most commercially beneficial of the three, and drives colonization of Arrakis, as well as the oppression and subsequent eradication of its Indigenous peoples.  

Within his writing, Herbert created a clear mirror of our own world: a desert region, plagued by war, aggression, and despoilment of the environment all for the sake of natural resources. In our own world, that resource is oil, and our Arrakis is the Middle East. 

Arriving just as environmental advocacy began to take off in the 1970s, The History Channel states “Many environmentalists interpreted Dune as a critique of the oil industry, with Herbert’s friend Willis E. McNelly writing that the empire’s reliance on spice can “be construed as a thinly veiled allegory of our world’s insatiable appetite for oil and other petroleum products” (Greenspan 2024). Perhaps more salient are the linguistics of Dune, which are directly composed of Arabic words. Throughout the book, both the Fremen, the Indigenous peoples of Arrakis as well as other factions of the world are described using Arabic language. Manvar Singh writes:

“The language with the greatest influence in “Dune” is Arabic. In the novel, the Fremen use at least eighty terms with clear Arabic origins, many of them tied to Islam. The Fremen follow istislah (“natural law”) and ilm (“theology”). They respect karama (“miracle”) and ijaz (“prophecy”), and are attentive to ayat (“signs”) and burhan (“proof”) of life. They quote the Kitab al-Ibar, or “Book of Lessons,” an allusion to the encyclopedia of world history penned by the fourteenth-century Arab historian Ibn Khaldun. Central characters are dignified with Arabic names. The colossal sandworms are called shai-hulud (“thing of eternity”). Paul Atreides’s sister is Alia (“exalted”). Paul himself is known as Muad’Dib, an epithet that resembles the Arabic word for teacher (mu’addib), and he is fabled to be the Lisan al-Gaib, translated in the book as “Voice of the Outer World” but which, in modern Arabic, means something closer to “Tongue of the Unseen.”

Then of course comes the music, composed by industry titan Hans Zimmer who broke his longstanding alliance with director Christopher Nolan to focus on Dune and Dune: Part Two. In creating his score, Zimmer explored a full range of instruments in a way he claimed he had not since scoring The Lion King. Utilizing vocalists, an array of culturally diverse instruments, and spending ample time listening to the sounds of the desert, he synthesized the music together to intentionally create a soundtrack intended to mimic the experience of a spice-induced trip in a desert sandstorm, embraced by the energy of the divine feminine. 

An Absence of MENA

With the depth of these roots in Middle Eastern culture, it would stand to reason that Dune would feature a sizeable cast. In addition to the Arabic language, Fremen religion heavily mirrors Islam, and while there are certainly Caucasian converts–we are focusing on a war for Arrakis and its Indigenous peoples.

Upon first glance at the Fremen in the first installation of Dune, we see a spattering of brown and black faces. Most notable are actress Zendaya who is biracial, and Javier Bardem, who is Spanish. Further introduction to the rest of the Fremen reveals similar casting choices among billed actors. 

It’s straightforward: “Despite the film's obvious inspirations, there are no leading actors of Middle Eastern or North African heritage.” (Shah, 2024) 

And why does this matter? When we beg the question of the difference between appropriation and appreciation, the deliberation includes questions about participation. Without the participation of the cultures involved, representation warps into fetishization at best, and appropriation at worst. 

Dune is a tale that warns us about the harms of colonialism, environmental despoilment, and religious extremism. Villeneuve’s version takes care to approach the topic of colonialism with extra caution, approaching painting the Fremen not as a singular unit that can easily be converted by the right white savior, but as a multitude of people with different beliefs. Some fundamentalists believe deeply in their faith and follow the direction of Paul and the prophecy instilled (falsely) by the Bene Gessirit. Then there are the detractors like Chani who have seen attempts at colonialism before, and who shy away from religion for that exact region. They reject Paul’s so-called place as the Chosen One–and any outsider who should lead them. 

To make these changes shows consideration on Villeneuve’s part. To fail to recognize the importance of casting actors of Middle Eastern and North African descent in a story directly inspired by a culture based on the Middle East and North Africa shows a distinct lack of it. 

A New Decade of MENA Representation

So, why such a prolific absence of MENA representation when it would truly make an impact? We need to examine two factors 1.) the overall distancing from Islamic culture within Villeneuve’s adaptation, and 2.) how filmmaking in a post 9/11 world has changed the representation of Islamic characters. 

As an adaptation of Herbert’s novel, Villeneuve takes the traditional liberties with the source material that a director is known for in bringing a book to the big screen. The core tenants remain, and many of the most important phrases and elements are retained. Yet to make the adaptation accessible to audiences unfamiliar with previous adaptations or the book it has been simplified. 

This simplification allows Villeneuve to pour energy into enhancing other aspects of the film. He drastically expands upon the female characters within the film, giving them purpose outside of appeasing Paul, bewitching men, or narrating his life.

With adaptation comes a loss of the “finer details”. In addition to the distinct lack of MENA actors, there is a drastic reduction in the language, and of course, scenes depicting Fremen's way of life and culture. These include rites of inheritance, polygyny (not to be confused with polyamory), and the decidedly not-Islamic-inspired ritual orgy that occurs following Jessica’s confirmation as the new Mother Superior of the tribe. 

These departures (the orgy notwithstanding, undoubtedly shed without a thought to maintain the film's PG-13 rating) are but a few of the cultural aspects sanitized from a story showcasing Arabic inspiration. Though it’s impossible to diminish it completely. Looking back through Villeneuve’s background, we can speculate on his reasons for this and perhaps consider whether it was done with intent. 

Following the September 11th attacks, Hollywood faced years of missteps in the representation of MENA characters onscreen, who were then stereotyped in the roles of jihadists, an imminent threat to the West for years to come. It didn’t matter whether the film took place in the past or present, the ideals were functionally the same. 

A notable example is Zack Snyder’s 300, adapted from Frank Miller’s graphic novel of the same name. Published in 1998, Snyder brought the film to life in 2006, where it received mixed critical reviews, and uproar internationally for its depiction of Iranians in the Spartan and Persian Battle at Thermopylae.

Brazilian actor Rodrigo Santoro portrays the antagonist King Xerxes as an effeminate gold-painted and pompous self-proclaimed God-king who seeks to drive forward a kingdom of sexual slavery. Leonidus, portrayed by Gerard Butler and his 300 men stand fierce to beat back Xerxes' soldiers and defend the good people of Sparta from slavery, the injustice of war, and the bleakness of what Xerxes promises. 

Yet the historical inaccuracy is ripe, and rewritten to appeal to Western notions of glory and sentiment. Historian Gary Leupp of Tufts challenged the film, explaining” In short: 300's depiction of the battle of Thermopylae is not merely inaccurate, as any film adaptation of a graphic novel has the perfect right to be. It's what the Iranians say it is: racist and insulting. It pits the glorious Greeks with whom the audience must sympathize against a "mystical" and "tyrannical" culture posing an imminent existential threat. It is, de facto, an anti-Persian/anti-Iranian propaganda film” (2007). In his statement, he explicitly breaks down the inaccuracies regarding the history of Xerxes and Persia versus the representation seen onscreen, which can be found in the citations link below. 

300 was but one example on the big screen. The late ‘00s/early ‘10s was the period of high-stakes television and as well. Shows like Homeland brought A-list performers like Claire Danes onscreen and normalized Islamophobia. Numerous forms of media following the attacks have depicted Muslims as “extremists, barbaric, insidious, and untrustworthy”. 

What many of us forget about is the very simple passage of time and the birth of new generations. Within a few short years, Gen Z has arisen, all but forgetting the pain and anxiety born of the September 11th attacks and seemingly everything that came with it–after all, none of them can even remember the day. 

In addition to that they are a generation born amidst an era of rapid information cycling and trend generation, and place an importance on publicly presenting their morality on their sleeve. All of this combined means the lessons, hardships, and mistakes of the past–can be forgotten quicker than we can imagine, and expectations to adhere to newly defined ideals of what is politically correct are defined seemingly overnight. 

It can be hard to keep up with. Especially if one is still concerned with the trials that seemed so important–and still are–ten years ago. Given the thought Villeneuve put into expanding upon aspects of Dune, it is difficult to imagine he didn’t put thought into how issues of problematic representation of MENA could arise. 

Ali-Karjoo Ravary writing for Al Jazeera pointed out during the release of the first installation of the film that the brand marketing changed up some of the wording of the film, stating “a crusade is coming” which marked an intentional difference from the book’s statement of “a jihad is coming”. Wording matters, as “Herbert’s nuanced understanding of jihad shows in his narrative. He did not aim to present jihad as simply a “bad” or “good” thing. Instead, he uses it to show how the messianic impulse, together with the apocalyptic violence that sometimes accompanies it, changes the world in uncontrollable and unpredictable ways.” (2020)

Of course, Herbert’s interpretation is an empathetic view and not one shared by many people with biases against those who pray to any god without white skin. While he tries, Paul ultimately succumbs to his will and manipulates the Fremen into following his aims to declare war on the galaxy. As the Fremen are proven to be some of the most formidable fighters we have seen and Paul’s manipulations are aided thanks to religious seeds planted by his mother’s order, this becomes a jihad in every way. He is the prophet. They are his holy avengers.

To cast MENA actors in these roles would once again fill slots of extreme religious fundamentalists, and this time, ones following a white man–no matter how nuanced the film has been made. Granted, as actors, they have a choice. Choosing representation is better than having none, however, if they had the conversation would likely then become “Dune: Part Two is a stereotype of MENA actors”. 

Is there a middle ground? There is of course, and this is where we notice the overt failure of casting directors in Hollywood. Following the criticism of the first film, Part Two touted its hiring of Swiss actress Souheila Yacoub who is of Tunisian descent. She played the role of one of the Northern Fremen, who stand against Paul’s attempts to co-opt their culture. Yet from the beginning, why not more featured characters? Why not Stilgar, Chani, Jamis, or even a surprise role similar to the one Anya-Taylor Joy played? 

While post-9/11 Islamophobia may have ebbed before the War on Gaza, we’ve entered a time where even the Hollywood excuse for “star power” fails when we remember the global world we now live in. Whether they are stars in their land or Americans with parents or religious heritage, there’s little to no excuse for the continued erasure and diminishment of culture onscreen–and in time Hollywood will come to know it. 

Citations: https://www.rottentomatoes.com/profiles/ratings/WYdFQDHR9tGJf9wiWXh8ZFR8iGGCaLHwBhawIZ0ubbCexiapiJVTWOFeeCzdIpjhmXFp4u11CYNTl4fOPSWQfkWC6bIb6SyBFVXfO4TZzc4m/movie

1. Maxwell D. Post-colonial Christianity in Africa. In: McLeod H, ed. The Cambridge History of Christianity. Cambridge History of Christianity. Cambridge University Press; 2006:401-421.

[transamorousnetwork]

How Dune Might Actually Be The Best Trans Movie

It is not possible to say whether Frank Herbert had a transgender agenda in mind when he envisioned Dune in 1965, but his idea of the Kwisatz Haderach, whom his main character Paul Atreides is discovered to be, is a perfect metaphor for the current rhetoric surrounding queer, trans and non-binary bodies.

While Mr. Herbert’s magnum opus has been analyzed and dissected in countless ways and through the lenses of many different philosophical, anthropological and social studies, it is important to point out that ultimately, the author has rested the fate of his galactic world in the hands of a human who transcends gender.

The Kwisatz Haderach, the savior of the Empire, is a trans/non-binary person, and it is actually because and through this subject’s trans-ness that they bring peace to the universe.

What is the Kwisatz Haderach?

Within the magical world of Dune (1965), an elite sisterhood of space witches, the Bene Gesserit, hold to a prophesy: that the sisterhood will genetically cultivate a male member of their sisterhood. That male will end the thousand-year-long feud between royal houses.

The Bene Gesserit, being female, can access only feminine aspects of their consciousness and eternal memories. But this male will be able to access both the male and female regions of knowledge. The Bene Gesserit’s hundreds-of-years-long breeding program eventually fulfills its prophesy: They end up producing their prophet, the Kwisatz Haderach in the human Paul Atreides.

Paul Atreides eventually does evolve female/male consciousness. That consciousness allows him to bridge time and space. With the blending of Paul’s gender also comes unbelievable knowledge and power. By becoming something outside of the gender binary, Paul discovers and launches both a terrifying and thrilling new human reality.

As Elana Gormel says in Science (Fiction) and Posthuman Ethics: Redefining the Human. The European Legacy (2011) “The post-man subject is both a vision of the future and an echo of the past.” (p340) Thus Paul becomes a non-binary, post-human entity capable of all knowledge. With that knowledge comes tremendous power.

Further commonalities with trans people

If gender is indeed a “norm” as Judith Butler says in Undoing Gender, “Gender Regulations,” (2004) and “a norm operates within social practices as the implicit standard of normalization” (p41) Then Paul can be seen as the echo of the gender binary that produced him. The same binary construct that dictates his life. That is, until he assumes the opposite gender’s consciousness.

However, the parallels between Paul’s experience and the trans experience do not end here. Despite being a conscientious person, Paul, like many trans people, is shoved into society’s margins, just as all minorities have been historically shoved in our reality.

Through all this, Paul doesn’t only think like a trans person, his experience very much mirrors the trans experience. Like trans women of color and non-binary folk, he is pushed to the limits of survivability: out into the desert, the wastes of Dune. Dune, also known as Arrakis, is seen as a backwater itself. The Empire only values its spice. The desert waste Paul finds himself in is even more desolate than the planet itself.

But what he finds there is a rich culture, much like trans people find among themselves. A culture that embraces and enriches him, further expanding what he is (the Kwisatz Haderach). It’s in the desert among the Fremen that the Kwisatz Haderach really comes into its fullness. Much like how trans people often blossom once they find their place among those like them.

Exile’s end brings peace

But after many years living and creating a community with all the other unfortunate souls hiding, but thriving, in Dune’s wasteland, it is Paul’s ultimate return to the very mainstream civilization that exiled him that brings an end to an era of conflict.

To quote Butler once again, “Persons are regulated by gender. To veer from the gender norm is to produce the aberrant example that regulatory powers […] may quickly exploit to shore up the rationale for their own continuing regulatory zeal.” Imitation & Gender Insubordination (1990) (p317).

In Dune, the emperor repersents the ultimate of regulatory powers. But he uses the Harkonens and his Sardukar to express those powers. But Paul’s outside-the-binary-norm status grants him sufficient power to resist the emperor. To resist him and ultimately defeat him. In doing so the Kwisatz Haderach introduces a new set of norms.

It could be said trans people undergo a similar path. Not all of them succeed, of course. That must be acknowledged. In fact, a fairly small number do, if we measure success as “significantly influencing a societal expansion beyond binary consciousness.” That influence success often looks like severe push-back from the binary.

And isn’t that what we’re seeing today in the resistance brought towards Dylan Mulvaney and others who achieve mainstream status? How about reactions towards trans kids and their parents?

The rise of the power inherent in trans people

Perhaps this is what Dune’s Kwisatz Haderach represents. After years living on the “outside,” Paul comes back to the palace he once inhabited. He confronts the royals, the Bene Gesserit sisterhood, and the powers that expelled him. He asserts his place as the rightful heir and ruler of the Arrakis. Then he exerts his dominance throughout the empire for thousands of years. It should be noted that his rule goes way off the rails after that. But that’s another story.

We see trans people have this kind of influence today. Laverne Cox, for example and other transgender actresses are influencing Hollywood. Trans women are significantly changing business, science and technology and more. They’re doing so with changes that have altered humankind’s trajectory.

And this is where the metaphor between Paul and the trans experience reaches its apogee. As more trans people own and expresss their authenticity, much like Paul does as the Kwisatz Haderach, we could perhaps bring stability to the increasingly unequal and unbalanced social and economic structures that people find so oppressive. So oppressive they become vulnerable to leaders who use marginalized people as scapegoats for people’s suffering, thereby gaining control over the suffering masses.

Frank Herbert created the savior for his fictional world as the Kwisatz Haderach. Perhaps he was aware that there already is such a being in the real world: the trans people living among us. Perhaps he wasn’t aware. In any case, the comparisons between his Kwisatz Haderach and trans lives are hard to ignore. As is the newest installment of the Dune Franchise, which is in theaters now. Go watch it.

[ironmansbay]

✨ for Asoiaf?

✨ - Worldbuilding or background story elements.

OOOOH ok blame it on my brain’s recent high volume Dune input (Disclaimer: I’m working from the De Laurentiis film, the Villeneuve films, and a detailed plot summary of the original Frank Herbert run of books via podcast bc I am a philistine/slow reader. I OWN THE FIRST BOOK I’LL GET TO IT OK) but I like to think that when people warg they are like. dipping their hands into the ever-streaming infinite current of All The Souls In All The World™️ the same way capital P Prescience is basically telling the future/revealing the past via tapping into all the memories of all the souls who have ever lived/will ever live. It’s like fishing with your bare hands; you reach out and find the animal/unfortunate human in the dark and then you fucking GRAB it.

I also think this is how greensight works to an extent, though tbh I feel like THAT’S closer to spice agony, esp in the case of greendreams/wolf dreams, ditto for R’hllor’s fireside visions. And as far as THAT goes; Bran is in full Atreides mode (Paul AND Alia) regarding spice agony (gimme that sap) and Abomination™️ (gimme that man meat, Hodor I know you’re scared but I’m stronger than you and also I’m 8 years old and constantly in extreme danger and very traumatized and i’m scared too.) Also Coldhands is Duncan Idaho 2 Me. Sorry I made so much of this about Dune 💀.

Anyway yeah tl;dr I like my religion psychedelic and my children psychic and strange 🤘