Here’s another classic SF novel we’ll be discussing on an upcoming podcast. Read by the irreplaceable Grover Gardner!
We
By Yevgeny Zamyatin; Translated by Clarence Brown; Read by Grover Gardner
MP3 Download – Approx. 7 Hours [UNABRIDGED]
Publisher: Tantor Media
Published: March 2011 Set in the twenty-sixth century A.D., Yevgeny Zamyatin’s masterpiece describes life under the regimented totalitarian society of OneState, ruled over by the all-powerful “Benefactor.” Recognized as the inspiration for George Orwell’s 1984, We is the archetype of the modern dystopia, or anti-Utopia: a great prose poem detailing the fate that might befall us all if we surrender our individual selves to some collective dream of technology and fail in the vigilance that is the price of freedom. Clarence Brown’s brilliant translation is based on the corrected text of the novel, first published in Russia in 1988 after more than sixty years’ suppression.
Metropolis, an astoundingly great radio dramatization of a famous novel that was turned into a famous movie, is nuanced, deep, surprising, and totally, idea based.
I’m astounded, really and truly astounded and amazed too at the depth and power an hour long program is able to achieve.
The script has humor, skepticism, cynicism, hope, sex, romance, informative infodumps, and a city full of pathos.
The production, acting, pacing, and composite audio experience is completely awe inspiring.
What gets me most is that even though it is based on a 1926 novel by Thea von Harbou, this version of Metropolis is, arguably, even more relevant than either Brave New World (1931) or 1984 (1949).
Those two classics don’t feel wholly and completely modern – this production of Metropolis does. It’s modernity is ripe, it’s like an episode of Black Mirror, and it should be on your radar.
Still not sold? Then imagine a Science Fiction version of Fight Club but set in the world of The Space Merchants or Judge Dredd and imagine it written by either Philip K. Dick or Frederik Pohl.
An audacious portrayal of a futuristic city as much as a state of mind, and an iconic film to boot, Metropolis (Radio 4, Friday) doesn’t exactly scream radio adaptation. But writer Peter Straughan and director Toby Swift, who won the Prix Italia in 2004 for their adaptation of Fritz Lang’s M, clearly aren’t put off by such hurdles. Their Metropolis was all deliciously claustrophobic intensity and dark interiority; their mega-city full of bubbling, menacing sounds you soon wanted to shut out. Without the famous visuals, you never really got a sense of the scale of Lang’s vision – you didn’t believe in the 62 million workers in Metropolis – but you did get the chilling psychological dimension of the dystopia. Edward Hogg, as Freddy, though sounding like a young Woody Allen at times, convinced as the alienated, lonely outsider who manages to subvert the mega-state from within. There were laughs, too, at least early on. “When was the last time you slept?” a therapist asks a suicidal Freddy. “About eight years ago,” says Freddy. “No,” the therapist concludes, “I don’t think that’s significant.”
Peter Straughan, the adaptor, and Toby Swift, the director, have achieved a classic for our time and for the ages – this is highly, highly recommended!
Thea von Harbou’s Metropolis
Adapted by Peter Straughan; Performed by a full cast
MP3 via TORRENT – 57 Minutes [RADIO DRAMA]
Broadcaster: BBC Radio 4 (Friday Drama)
Broadcast: March 24, 2006
Available via RadioArchive.cc Freder, the protagonist of Metropolis is an underworked “captain” in a high level position in the futuristic consumer society of the mega city named Metropolis. Feeling suicidal, but unable to understand why, Fredor switches identities with a low level “product insertion” – a kind of telemarketing – but failing at that Fredor soon finds himself working for Maria, an imperfect beauty with all the answers. Maria plunges Fredor into the depths of her underground conspiracy to disrupt the workings of society.
Directed by Toby Swift
Cast:
Freder – Edward Hogg
Maria – Tracy Wiles
Josaphat – Damian Lynch
Schmale – Peter Marinker
Arguably: Essays
By Christopher Hitchens; Read by Simon Prebble
24 CDs – Approx. 28.5 Hours [UNABRIDGED]
Publisher: Hachette Audio
Published: September 1, 2011
ISBN: 9781611139068
Themes: / Non-fiction / History / War / Biography / Science Fiction / Fantasy / Iran / Afghanistan / Germany / North Korea / France / Dystopia / Utopia / Religion / Tunisia / Piracy / Terrorism / Feminism / Pakistan /
The first new collection of essays by Christopher Hitchens since 2004, Arguably offers an indispensable key to understanding the passionate and skeptical spirit of one of our most dazzling writers, widely admired for the clarity of his style, a result of his disciplined and candid thinking. Topics range from ruminations on why Charles Dickens was among the best of writers and the worst of men to the haunting science fiction of J.G. Ballard; from the enduring legacies of Thomas Jefferson and George Orwell to the persistent agonies of anti-Semitism and jihad. Hitchens even looks at the recent financial crisis and argues for arthe enduring relevance of Karl Marx. The audio book forms a bridge between the two parallel enterprises of culture and politics. It reveals how politics justifies itself by culture, and how the latter prompts the former. In this fashion, Arguably burnishes Christopher Hitchens’ credentials as-to quote Christopher Buckley-our “greatest living essayist in the English language.”
Here’s a question I was thinking about while listening to Arguably.
What is fiction for?
One answer, the bad one, is that it’s for entertainment. That’s certainly where many readers are willing go, and the fiction writers who write it too. Maybe that’s precisely why so much fiction is just so very shitty.
To me, if you aren’t exploring ideas in your fiction, then you really aren’t serving a greater purpose. Idea fiction, fiction with ideas rather than just action and plot, is to my mind a kind of supplement to the wisdom found in writings on history, biography and science.
Of the many lessons learned I in listening to the 107 essays in Arguably I was particularly struck by the wisdom Christopher Hitchens gleaned from his reading of fiction. Hitchens reviews many books in this collection, nearly half of the essays are book reviews. Books like 1984, Animal Farm, Flashman, The Complete Stories Of J.G. Ballard, Our Man In Havana, and even, surprisingly, Harry Potter And The Deathly Hallows all get fascinating, critical, and reverent reviews.
Yet Hitchens also takes the lessons with him into his writing about his travels. Hitchens writes about visits to such places as North Korea, Cyprus, Afghanistan, and Kurdish Iraq. When talking about his visit to Beirut we see what comes when Hitchens, a man of ideas, acts upon them. The essay, The Swastika and the Cedar sees the convictions of the commited anti-fascist Hitchens beaten and nearly kidnapped for an act of vandalism on a prominently displayed swastika. Writes Hitchens:
“Well, call me old-fashioned if you will, but I have always taken the view that swastika symbols exist for one purpose only—to be defaced.”
In a review of two books, Lolita and The Annotated Lolita, Hitchens applies the controversial subject in a real life look at the modern, and very non-fictional oppression and objectification of women. Indeed, the ideas he appreciated in fiction helped Hitchens to come to grips with the real world.
I think the worst essay in this collection is the one on the serving of wine and restaurants, Wine Drinkers Of The World, Unite. It was simply a waste of the talent, too light, too easy a target. And yet, even that essay, the worst essay in all 107 has a memorable anecdote: “Why,” asks Hitchens’ five year old son, “are they called waiters? It’s we who are doing all the waiting.”
As to the narration of the audiobook. I’m ashamed to admit that I was initially dismayed when I saw that Christopher Hitchens had not narrated this audiobook himself. I was wrong to worry. Incredibly, Simon Prebble seems to have have become Hitchens for this narration. Prebble perfectly captures the erudite words, so eloquently performs them, and with an accent so like that of Hitchens’ own so as to make me think that it was Hitchens who had actually read it.
I think the worst essay in this collection is the one on the serving of wine and restaurants, Wine Drinkers Of The World, Unite. It was simply a waste of the talent, too light, too easy a target. And yet, even that essay, the worst essay in all 107 has a memorable anecdote: “Why,” asks Hitchens’ five year old son, “are they called waiters? It’s we who are doing all the waiting.”
Here’s a list of the book’s contents, with links to the original etexts when available, along with my own notes on each:
The Private Jefferson – a review of Jefferson’s Secrets: Death And Desire At Monticello by Andrew Burstein
Jefferson Vs. The Muslim Pirates – a review of Power, Faith, And Fantasy: America In The Middle East: 1776 To The Present by Michael B. Oren
Benjamin Franklin: Free And Easy – a review of Benjamin Franklin Unmasked: On the Unity of His Moral, Religious, And Political Thought by Jerry Weinberger
John Brown: The Man Who Ended Slavery – a review of John Brown, Abolitionist: The Man Who Killed Slavery, Sparked The Civil War, And Seeded Civil Rights by David S. Reynolds
Abraham Lincoln: Misery’s Child (aka Lincoln’s Emancipation) – a review of Abraham Lincoln: A Life by Michael Burlingame
JFK: In Sickness And By Stealth – a review of An Unfinished Life: John F. Kennedy, 1917–1963 by Robert Dallek
Saul Bellow: The Great Assimilator – review of six novels by Saul Bellow (The Dangling Man, The Victim, The Adventures Of Augie March, Seize The Day, Henderson The Rain King, and Herzog)
Vladimir Nabokov: Hurricane Lolita – reviews of Lolita by Vladimir Nabokov and The Annotated Lolita edited and annotated by Alfred Appel, Jr.
John Updike: No Way – a review of The Terrorist by John Updike (with reference to The Coup too) John Updike: Mr. Geniality – a critical review of the affable Due Considerations: Essays And Considerations by John Updike
Vidal Loco – Gore Vidal went crazier, more elitist and perhaps more racist as he got older (with attention and quips for Quentin Crisp and Oscar Wilde and Joyce Carol Oates)
America The Banana Republic – Hitchens on the “socialistic” bank bailout of 2008 (“socialism for the rich and free enterprise for the rest”)
An Anglosphere Future – a review of The History Of The English Speaking Peoples by Andrew Roberts (with reference to both Sherlock Holmes and The White Company by Sir Arthur Conan Doyle as well as to Cecil Rhodes and Rudyard Kipling)
Political Animals – a review of Dominion: The Power Of Man, The Suffering Of Animals, And The Call To Mercy by Matthew Scully
Old Enough To Die – on capital punishment as applied to children In Defense Of Foxhole Atheists – a visit to the United States Air Force Academy and the tax funded proselytizing
ECLECTIC AFFINITIES Isaac Newton: Flaws Of Gravity – a stroll through the medieval streets of Cambridge with the scientists, mathematicians, and philosophers who worked there
Gustave Flaubert: I’m With Stupide – a review of Bouvard et Pécuchet by Gustave Flaubert translated by Mark Polizzotti The Dark Side Of Dickens – a review of Charles Dickens by Michael Slater a biography (Hitchens was a not uncritical admirer of the subject)
Marx’s Journalism: The Grub Street Years – a glowing review of Dispatches for the New York Tribune: Selected Journalism Of Karl Marx edited by James Ledbetter, foreword by Francis Wheen (Marx admired the United States, and other fascinating facts about the father of communism)
Rebecca West: Things Worth Fighting For – an introduction to Black Lamb and Grey Falcon: A Journey Through Yugoslavia by Rebecca West
Ezra Pound: A Revolutionary Simpleton – a review of Ezra Pound, Poet: A Portrait Of The Man And His Work: Volume I: The Young Genius, 1885-1920 by A. David Moody (a biography of the fascist poet)
John Buchan: Spy Thriller’s Father – a review of John Buchan The Presbyterian Cavalier by David R. Godine (with discussion of The 39 Steps and a fantasy novelette The Grove Of Ashtaroth)
Fraser’s Flashman: Scoundrel Time – a look at the George MacDonald Fraser series of Flashman books and the connection with The Adventure Of The Empty House
AMUSEMENTS, ANNOYANCES, AND DISAPPOINTMENTS Why Women Aren’t Funny – a controversial essay on why more comedians are male and why women laugh at them the way they do
As American As Apple Pie – a literary and chronological history of the blowjob, with reference to Valdamir Nobokov’s Lolita
So Many Men’s Rooms, So Little Time – a fascinatingly insightful argument on what’s was going on with the Larry Craig bathroom airport scandal and related phenomena
A War Worth Fighting – a persuasively systematic review of Churchill, Hitler And The Unnecessary War: How Britain Lost Its Empire And The West Lost The World by Pat Buchanan
Just Give Peace A Chance? – a critical review of Human Smoke by Nicholson Baker
Don’t Mince Words – the disenfranchisement of south Asians in Britain isn’t the cause of bombings, hatred of women is.
History And Mystery – al-Qaeda in Iraq, jihadists, or “insurgents”? Do words matter? Of course they bloody well do.
Words Matter – political slogans make of “every adult in the country” an “illiterate jerk who would rather feel than think”
This Was Not Looting – how can a government “loot” it’s own weapons manufacturing facility? The government of Iraq managed it according to The New York Times.
The “Other” L-Word – a lighthearted piece on the prominence of the word “like” and it’s use
The You Decade – what’s wrong with you (marketing to the selfish)
Suck It Up – the Virginia Tech shootings prompted the wrong response from the world (namely that it prompted one)
A Very, Very Dirty Word – the English empire, in centuries to come, may only be remembered for soccer and the phrase “fuck off”
Last year somebody* pointed out that a list of “The Top 100 Sci-Fi Books” (as organized by the Sci-Fi Lists website) was almost entirely available in audiobook form!
At the time of his or her compiling 95 of the 100 books were available as audiobooks.
Today, it appears, that list is approaching 99% complete!
I’ve read a good number of the books and audiobooks listed, and while some of them are indeed excellent, I’d have to argue that some are merely ok, and that others are utterly atrocious.
That said, I do think it is interesting that almost all of them are available as audiobooks!
Here’s the list as it stood last year, plus my added notations on the status of the missing five:
01- Ender’s Game – Orson Scott Card – 1985
02- Dune – Frank Herbert – 1965
03- Foundation – Isaac Asimov – 1951
04- Hitchhiker’s Guide To The Galaxy – Douglas Adams – 1979
05- 1984 – George Orwell – 1949
06- Stranger In A Strange Land – Robert A Heinlein – 1961
07- Fahrenheit 451 – Ray Bradbury – 1954
08- 2001: A Space Odyssey – Arthur C Clarke – 1968
09- Starship Troopers – Robert A Heinlein – 1959
10- I, Robot – Isaac Asimov – 1950
11- Neuromancer – William Gibson – 1984
12- Do Androids Dream of Electric Sheep? – Philip K. Dick – 1968
13- Ringworld – Larry Niven – 1970
14- Rendezvous With Rama – Arthur C. Clarke – 1973
15- Hyperion – Dan Simmons – 1989
16- Brave New World – Aldous Huxley – 1932
17- The Time Machine – H.G. Wells – 1895
18- Childhood’s End – Arthur C. Clarke – 1954
19- The Moon Is A Harsh Mistress – Robert A. Heinlein – 1966
20- The War Of The Worlds – H.G. Wells – 1898
21- The Forever War – Joe Haldeman – 1974
22- The Martian Chronicles – Ray Bradbury – 1950
23- Slaughterhouse Five – Kurt Vonnegut – 1969
24- Snow Crash – Neal Stephenson – 1992
25- The Mote In God’s Eye – Larry Niven and Jerry Pournelle – 1975
26- The Left Hand Of Darkness – Ursula K. Le Guin – 1969
27- Speaker For The Dead – Orson Scott Card – 1986
28- Jurassic Park – Michael Crichton – 1990
29- The Man in the High Castle – Philip K. Dick – 1962
30- The Caves Of Steel – Isaac Asimov – 1954
31- The Stars My Destination – Alfred Bester – 1956
32- Gateway – Frederik Pohl – 1977
33- Lord Of Light – Roger Zelazny – 1967
34- Solaris – Stanisław Lem – 1961
35- 20,000 Leagues Under The Sea – Jules Verne – 1870
36- A Wrinkle In Time – Madeleine L’Engle – 1962
37- Cat’s Cradle – Kurt Vonnegut – 1963
38- Contact – Carl Sagan – 1985
39- The Andromeda Strain – Michael Crichton – 1969
40- The Gods Themselves – Isaac Asimov – 1972
41- A Fire Upon The Deep – Vernor Vinge – 1991
42- Cryptonomicon – Neal Stephenson – 1999
43- The Day of the Triffids – John Wyndham – 1951
44- UBIK – Philip K. Dick – 1969
45- Time Enough For Love – Robert A. Heinlein – 1973
46- A Clockwork Orange – Anthony Burgess – 1962
47- Red Mars – Kim Stanley Robinson – 1992
48- Flowers For Algernon – Daniel Keyes
49- A Canticle For Leibowitz – Walter M. Miller – 1959
50- The End of Eternity – Isaac Asimov – 1955
51- Battlefield Earth – L. Ron Hubbard – 1982
52- Frankenstein – Mary Shelley – 1818
53- Journey To The Center Of The Earth – Jules Verne – 1864
54- The Dispossessed – Ursula K. Le Guin – 1974
55- The Diamond Age – Neal Stephenson – 1995
56- The Player Of Games – Iain M. Banks – 1988
57- The Reality Dysfunction – Peter F. Hamilton – 1996
58- Startide Rising – David Brin – 1983
59- The Sirens Of Titan – Kurt Vonnegut – 1959
60- Eon – Greg Bear – 1985
61- Ender’s Shadow – Orson Scott Card – 1999
62- To Your Scattered Bodies Go – Philip Jose Farmer – 1971
63- A Scanner Darkly – Philip K. Dick – 1977
64- Lucifer’s Hammer – Larry Niven and Jerry Pournelle – 1977
65- The Handmaid’s Tale – Margaret Atwood – 1985
66- The City And The Stars – Arthur C Clark – 1956
67- The Stainless Steel Rat – Harry Harrison – 1961
68- The Demolished Man – Alfred Bester – 1953
69- The Shadow of the Torturer – Gene Wolfe – 1980
70- Sphere – Michael Crichton – 1987
71- The Door Into Summer – Robert .A Heinlein – 1957
72- The Three Stigmata Of Palmer Eldritch – Philip K. Dick – 1964
73- Revelation Space – Alastair Reynolds – 2000
74- Citizen Of The Galaxy – Robert A. Heinlein – 1957
75- Doomsday Book – Connie Willis – 1992
76- Ilium – Dan Simmons – 2003
77- The Invisible Man – H.G. Wells – 1897
78- Have Space-Suit Will Travel – Robert A. Heinlein – 1958
79- The Puppet Masters – Robert A. Heinlein – 1951
80- Out Of The Silent Planet – C.S. Lewis – 1938
81- A Princess of Mars – Edgar Rice Burroughs – 1912
82- The Lathe of Heaven – Ursula K. Le Guin – 1971
83- Use Of Weapons – Iain M. Banks – 1990
84- The Chrysalids – John Wyndham – 1955
85- Way Station – Clifford Simak – 1963
86- Flatland – Edwin A. Abbott – 1884
87- Altered Carbon – Richard Morgan – 2002
88- Old Man’s War – John Scalzi – 2005
89- COMING SOON (October 15, 2012) – Roadside Picnic – Arkady and Boris Strugatsky – 1972
90- The Road – Cormac McCarthy – 2006
91- The Postman – David Brin – 1985
92- NEWLY AVAILABLE – Stand On Zanzibar – John Brunner – 1969
93- VALIS – Philip K. Dick – 1981
94- NEWLY AVAILABLEThe Cyberiad: Fables for the Cybernetic Age – Stanisław Lem – 1974
95- NOT AVAILABLE AS AN AUDIOBOOK – Cities In Flight – James Blish – 1955
96- The Lost World – Sir Arthur Conan Doyle – 1912
97- The Many-Colored Land – Julian May – 1981
98- Gray Lensman – E.E. ‘Doc’ Smith – 1940
99- The Uplift War – David Brin – 1987
100- NEWLY AVAILABLE – The Forge Of God – Greg Bear – 1987
In case you were wondering, the list was compiled using the following criteria:
“A statistical survey of sci-fi literary awards, noted critics and popular polls. To qualify a book has to be generally regarded as science fiction by credible sources and/or recognised as having historical significance to the development of the genre. For books that are part of a series (with some notable exceptions) only the first book in the series is listed.”
The “Next 100”, as listed over on Sci-Fi Lists, has a lot of excellent novels and collections in it too, check that out HERE.
Talked about on today’s show:
Science Fiction and Fantasy sort of undercut the scholastic meaning of metaphor, my friend Bill, metaphors come in two parts – the vehicle and the tenor, giants vs. ogres, denuding the metaphor, Aldebaran 6 has astonishingly beautiful humanoids, unknown vehicles deliver us, The Monsters by Robert Sheckley, The War Of The Worlds, a Tolkienesque task, A Voyage To Arcturus by David Lindsay, Dark Universe by Ron Goulart, Plato’s cave, blindness, dead metaphors, the Burning Bush, Saul vs. Paul, a sound idea, Germanic grounds for divorce, Star Maker by Olaf Stapledon, The Door Into Summer by Robert A. Heinlein, 1984 by George Orwell, “the clock stuck thirteen”, constructing meaning, William Shakespeare, awful as in creating awe, Moses and Mount Sinai, “shining like the sun”, a sun god, Sampson, hairy like the sun, bald like the moon, Genesis, “you may look upon my hindparts”, Childhood’s End by Arthur C. Clarke, unconscious metaphors, Frankenstein by Mary Shelley, wretch, catwomen from Venus, voluptuous sex objects, building up the vocabulary, Halting State by Charles Stross, Neuromancer‘s opening line, text adventure, Enoch lived 365 years (the sun god), The Tower Of Babel by Ted Chiang, comparing the constructed worlds of video games with the constructed worlds of Science Fiction, Battlefield 2, a meta-metaphor for understanding what Science Fiction does for understanding our world, hamartia needs range finding, The Time Machine by H.G. Wells, “any fool can see”, a system of metaphors for the characters and the reader provides meta-uses, metaphor means “carry across”, Greek moving vans are called metaphore, the Morlocks are the workers, the Eloi are the owners, the Time Traveler is the manager, Get That Rat Off My Face by Luke Burrage, Science Fiction as thought experiment, Michael Crichton, deus ex machina, The War With The Newts by Karel Čapek, Finnegan’s Wake, experimental novels, Germinal by Émile Zola, Flatland by Edwin A. Abbott, allusion vs. metaphor, Sampson vs. Goliath, Luke and Eric prime each other, is Science Fiction useful?, should SF be useful?, Science Fiction and Personal Philosophy (SFBRP #100), reading only the Bible, The Cold Equations by Tom Godwin, the hard lesson namely: “sometimes you’re just fucked”, Star Trek II, cannibalism, Eric objects, the physical world vs. unconditional love, NASA staff need to read The Cold Equations, Steve Jobs (and his reality distortion field), a world full of things other than minds, smart by accident, Apollo 13, give the astronauts poetry, the title itself crystallizes the meaning, The Scarlet Letter by Nathaniel Hawthorne, a parametric center, how do we maintain individuality in the face of fascism?, the vehicle/tenor heuristic, The Great Gatsby by F. Scott Fitzgerald, Nick Carraway, the car is the parametric central of The Great Gatsby, martian vampires, Apollo 1 disaster, Velcro and oxygen, “a failure of imagination”, learning from the past, the metaphor falls and leaves behind a lesson about reality.
There’s a fascinating article by Kurt Kuersteiner HERE titled “OTR: The Evil Influence Behind EC.” In it Kuersteiner maps some of the many stories swiped from radio drama series and turned into EC Comics.
It came to me at the perfect time too. I’ve just been getting into EC comics over the last few months. Having grown up under the censorship of the Comics Code Authority I didn’t really know what I was missing. Now though, reading these pre-code comics, I can now see that my intellectual growth had been greatly stunted.
I’d have been a far smarter person if I’d been able to buy and read comics like these as a kid.
My favourite such tale so far was published in the July/August 1953 issue of Weird Fantasy (issue number 20). It’s called The Automaton. At first it seemed to me like a mashup of a Philip K. Dick’s The Electric Ant, Alfred Bester’s Fondly Fahrenheit and George Orwell’s 1984. But looking at the chronology that can’t be what it is. First off Philip K. Dick was just getting started around then. And while he was a comics reader The Electric Ant wasn’t published until 1969.
And while by 1953 Bester had already been working in comics – he hadn’t yet written Fondly Fahrenheit. So the story is definitely Orwellian and very cool, and certainly like a couple of Dick and Bester tales that were yet to be written. But then again, maybe it was inspired by a radio drama that I’ve not heard yet. Anybody know of one like this?
As it stands The Automaton is set in the futuristic dystopian world of Los Angeles in 2009. Our protagonist is XT-751, a man recounting his story of being sent to a northern labour camp after a suicide attempt. Suicide is illegal in this world because the state owns every person from the cradle to the grave.
I actually have been thinking about The Automaton for months now. And after reading Kuersteiner’s article it somehow gelled into a post. It’s just been something I could’t quite shake. The story is not only extremely thought provoking, and still timely, but also extremely frightening. And maybe a lot of the rest of it is that it is about as far away from superhero comics as you can possibly get. Best of all it’s told in just seven pages – that’s a highly distilled story.
The only credit for The Automaton is for the artist, Joe Orlando, but maybe he wrote it too?
We
