The Thrilling Adventures of Lovelace and Babbage
It's by Sydney Padua and it's based on her web comic that ran for several years. Padua worked in Hollywood as animator for years before writing the webcomic and it shows; her illustrations are effortless, consistent, accurate and full of expression and life, which (take it from me) takes absolutely donkeys years and a bazillion hours to master. I must note that the book isn't a graphic novel; instead, it is a series of short stories about Ada Lovelace (seen by many as the first computer programmer) and Charles Babbage (seen by many as the inventor of the first computer) in an alternative universe created by Padua in which Lovelace doesn't die young and they both get to make the Difference Engine and the Analytical Engine. Along with each page of these stories are a big pile of footnotes, showing how much research Padua has done on the subject.
This might a good moment to compare and contrast the new version with the old one. Here's my original version of the page, drawn in 2013:
I remember being very pleased with it. I felt I'd gone up a level. Now, eighteen months later, I'm trying to work why I honestly thought it was good. I seem to have drawn a child's toy tugboat and tried to pass it off as an ocean-going passenger liner. Also, the buildings on the right seem to be made out of Lego and half the passengers have clothing made from plasticene. The logo and the left-hand crate aren't bad, but that's about it. Ow!
There's definitely an embarrassing side to making progress as a writer or illustrator. In the early stages, you think you're doing great work and you can't understand why you're not being picked up for publication. 'What's wrong with those publishers, why aren't they interested!?' A year-or-so later, after several hundred more hours of practice, you look at the same work again and the reason is painfully clear. D'oh!
Greetings! It's cold here in Blighty but it's beautiful in the sunshine.
The beginning of February is only a week away. I was planning to bring out the second issue of 'Visiting Alien' magazine. Unfortunately, there haven't been enough downloads to justify putting out another issue at the moment; but that's okay, as putting the magazine together and working on its contents has already reaped creative dividends.
While assembling chapter 2 of 'Chloë solves the Universe', I delved a little deeper into the history of the Neumann-Wigner hypothesis. This is the idea, put forward by two brilliant scientists, that our minds must be outside of the physical system and influencing it, in order for ghostly quantum superpositions to turn into real objects like photons and electrons. I discovered that this viewpoint wasn't just the view of two mavericks. It was actually fully or partly supported by a host of famous quantum physicists, astrophysicists and mathematicians. Wolfgang Pauli, John Von Neumann, Max Planck, Arthur Eddington, Erwin Schrödinger, Eugene Wigner and Werner Heisenberg were all of the view that materialism was no longer valid. Quantum physics had effectively killed that belief. Instead, they concluded that reality had to be dependent on the mind, either being a creation of the mind or a separate construction to the mind that the mind actively influenced. They debated about this matter for decades. Like any long-running debate, the views of those involved shifted but for many of them, the mind-first idea became more valid over time, rather than less.
I think it's very surprising that this important debate has never been written about in a popular science book (as far as I know). That may be because popular science books are usually written by senior scientists who are still active in science. The problem with this approach is that it may lend weight to the scientist's views but nowadays, any scientist who espouses a view that isn't materialist is endangering his or her scientific career, whether or not the evidence supports such a view. In recent decades, many senior scientists, doctors, biochemists and neurologists have produced evidence strongly indicating that the materialist view is wrong but in most instances, they've been careful not to make any statements but simply present the evidence. This is a shame, and it's not scientific, but there you go. Eugene Wigner, who won a Nobel Prize in 1963, wrote of this problem in his article 'remarks on the mind-body question':
"In the words of Neils Bohr, 'the word consciousness, applied to ourselves as well as others, is indispensable when dealing with the human situation'. In view of all this, one may well wonder how materialism, the doctrine that 'life could only be explained by sophisticated combinations of physical and chemical laws' could so long be accepted by the majority of scientists. The reason is probably that it is an emotional necessity to exalt the problem to which one wants to devote a lifetime. If one admitted anything like the statement that the laws we study in physics and chemistry are limiting laws, similar to the laws of mechanics which exclude the consideration of electrical phenomena, or the laws of macroscopic physics which exclude the consideration of 'atoms', we could not devote ourselves to our study as wholeheartedly as we have in order to recognise any new regularity in nature. The regularity which we are trying to track down must appear the all-important regularity, if we are to pursue it with sufficient devotion to be successful."
That'll be my job for the next couple of months. Roll on Spring!
The amazing Blackstone came to town when I was seven, and I saw how he came alive onstage and thought, God, I want to grow up to be like that! And I ran up to help him vanish an elephant. To this day I don’t know where the elephant went. One moment it was there, the next — abracadabra — with a wave of the wand it was gone! In 1929 Buck Rogers came into the world, and on that day in October a single panel of Buck Rogers comic strip hurled me into the future. I never came back.
It was only natural when I was twelve that I decided to become a writer and laid out a huge roll of butcher paper to begin scribbling an endless tale that scrolled right on up to Now, never guessing that the butcher paper would run forever.
Snoopy has written me on many occasions from his miniature typewriter, asking me to explain what happened to me in the great blizzard of rejection slips of 1935. Then there was the snowstorm of rejection slips in ’37 and ’38 and an even worse winter snowstorm of rejections when I was twenty-one and twenty-two. That almost tells it, doesn’t it, that starting when I was fifteen I began to send short stories to magazines like Esquire, and they, very promptly, sent them back two days before they got them! I have several walls in several rooms of my house covered with the snowstorm of rejections, but they didn’t realize what a strong person I was; I persevered and wrote a thousand more dreadful short stories, which were rejected in turn. Then, during the late forties, I actually began to sell short stories and accomplished some sort of deliverance from snowstorms in my fourth decade. But even today, my latest books of short stories contain at least seven stories that were rejected by every magazine in the United States and also in Sweden! So, dear Snoopy, take heart from this. The blizzard doesn’t last forever; it just seems so.
“Writing a book is a horrible, exhausting struggle, like a long bout with some painful illness. One would never undertake such a thing if one were not driven on by some demon whom one can neither resist nor understand.”
They even have house-martens! :-)
Still no sign of Arc Magazine issue 2.1 containing my story. I’ll post a note when it appears on the digital (and possibly physical) news stands. They did pay me a very substantial prize for the short story and things are going on in the background, so I’m guessing it will appear soon!
I’ve added a new article to the Strange Anomalies section called The Tryptamine Key; something for those of you out there interested in the borders of reality, dreams and ayahuasca. I’ll also add an article about maize soon, along with info on near death experiences.
Schrodinger’s Shed, an illustrated story exploring the logical consequences of quantum physics is still progressing well.
That’s all I can think of for now. Enjoy the long days!
I mentioned in the last blog entry about creating a graphic novel with a 'clear line' style. I used Tintin as an example of this method. For those who are interested, there's a very useful article about Herge's methods on the National Maritime Museum website of all places. Check it out here. It's fascinating to see how the page develops; where the 'life' of the story appears and at what point it looks polished and professional.Read More...
Just a squidgen of news to tell you that after months of other things taking priority like submissions, television comedies and other bits and bobs, I've finally got started on a graphic novel. After doing the excellent Arvon foundation graphic novel course last Autumn, I've been all fired up to write and illustrate a graphic novel. (I've blogged about the Arvon course here) and I'm still keen. The plan is to spend March to September doing the novel. It's a long time but it's a big undertaking. There'll be about one hundred and sixty pages to draw.
At the moment, I have a first draft of the script and I'm producing sample pages exploring the various different ways I can illustrate the graphic novel. There are many possible approaches. For example, I could paint each page with gouache or watercolour. That is the approach taken (I think) by the excellent graphic novel Blacksad, talked about here. Alternatively, I could pencil draw a page, ink it manually, scan it in and colour it on the computer. That's the approach used by Kazuo Ishiguro for his Copper series, explained here. A third approach is to do the pencil sketch, scan it in, create a vector art black line version of the illustration and then colour that on the computer. Which one is best? I've no idea. I think it'll almost certainly be a trade-off between quality vs time. Beautiful fine art on every page would be good, but not if each page takes a week. That would stretch the time spent on the graphic novel to three years! I need to aim at a page a day.
I'll soon be posting sample work on this site. Feedback is most appreciated!