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7 Soldiers, Small-World Networks, and DCU sentience

 
 
Andrew Hickey
15:24 / 24.07.06
This is something I wrote (but haven't yet posted) for my blog. I'd very much appreciate comments from the people here, as if anyone could pick this argument apart (or indeed find evidence to strengthen it) it would be the people at Barbelith. It's written for a non-fan audience, so ignore the bits that you already know:

One of the things Grant Morrison has spoken about in interviews, which comes off as Morrison being new-age wacky, is the idea of giving sentience to the DC Universe. This may not be as odd as it sounds, and Seven Soldiers may well be one of the ways in which he is planning to achieve this.

I don’t know how much, if anything, Morrison knows about network topology, but he does appear to read a lot about science and mathematics (the science in his comics is far more accurate than most, although tending to the pop-wacky end of science – he’s made good use of Bohm’s Hidden Variable hypothesis and Sheldrake’s ‘morphic resonance’ (a concept I dislike, but one that is more interesting than the usual stuff trotted out by comics writers)). If he’s read anything on the subject, I think a rather crucial piece of the Seven Soldiers puzzle, that just looks like a storytelling device, may have a more significant meaning…

Seven Soldiers is intended to revitalise seven fairly obscure DC comics characters, only two of whom – Zatanna and Mister Miracle – have any real connection to the DC universe as it stands. Each character gets a relatively large supporting cast, and the supporting casts sometimes turn up in issues of more than one miniseries. The story as a whole requires the seven of them to work as a team, but without the seven of them ever meeting.

Now, before I get on to the network topology stuff, some of you might find it rather unlikely that the stuff I’m talking about could be subtext in what are, on the surface, fairly standard superhero comics. But Morrison’s comics have a whole hidden network of symbols under the surface – many of them are designed as magical sigils, and he puts more ideas into the work for people to dig out than most writers short of Joyce. As an example, one panel description from the script to his Batman comic Arkham Asylum manages to discuss Bohm’s hypothesis, medieval church architecture, a 16th century book of folk tales and astrology (I would type out the full panel description – a fascinating insight into the man’s mind – but that would double the length of this post).

Anyway, I was recently reading Critical Mass by Philip Ball, a book on the physics of society, and he was talking about Small World Networks. Small World Networks are so called because they can very accurately model normal social networks. I once went to a party at the house of an internet friend of mine, where another friend also turned up – someone I knew from a completely different set of friends/acquaintances. During the party he started talking about the cleavage of the singer in my band, and I was quite surprised because she was a real-life friend in Manchester and these were internet friends in London, who I met through completely different social circles. This kind of situation is, in fact, rather common – as the Kevin Bacon Numbers game (and the Erdos numbers game used by mathematicians) shows.

A Small World Network is a network where you find a large number of highly-connected clumps, each of which is connected to the other clumps by only one or two members. The way in which this relates to social circles is rather obvious – most of my friends know most of my other friends, but some of them also have large groups of other friends who don’t know me or my friends.

Small World Networks turn up quite regularly in highly-connected systems, as they’re a very good compromise between, on the one hand, total connection of every node to every other node, and on the other hand, connecting every node to one or two hubs. They are, in effect, a distributed network and allow information to pass very quickly even if several elements of the network get destroyed. This is the way in which the Web works – it wasn’t designed that way, it grew up that way by a series of accidents – but this is why the Web is able to cope with the massive growth it has seen over the last decade.

More importantly to this discussion, small world networks, because of their efficiency, often turn up in biological systems. The neural connections in the brain appear to be fairly accurately modeled by small world networks, and short-term memory in particular is very well modeled by them.

Now, I already knew this, but Ball mentioned, in passing, and in connection with something else, that the Marvel universe had been studied and found to have some of the properties of such a network, but to be missing some (he claimed this shows the difference between fictional and factual networks, but I disagree with his conclusions).

Of course, after allowing this to percolate in my mind for a while, I went off and read the paper itself. The conclusion the authors come to is that the Marvel universe has many of the properties of a small-world network, but is different in two respects:

It appears that the MU is more clustered than a random network, but not as clustered as a real small-world network. In other words, if Bruce Banner knows Peter Parker, and Peter Parker knows Tony Stark, then in the real world there should be a good chance that Bruce Banner knows Tony Stark, while in the MU that chance is higher than random chance but lower than a ‘realistic’ chance.

The second thing is that the stats for the MU are very, very distorted by a couple of big names like Captain America and Spiderman (as you would expect given that those characters guest-star all over the place to boost sales).

Now, we can assume that the DCU is pretty much like the MU (although I would guess it is slightly more clustered, given the whole ‘generational’ aspect and the fairly segmented team books – but the order of magnitude would be the same). Assuming you had the stated aim, as Morrison does, of helping the DCU achieve sentience, one thing you would want to do would be to make it into a small-world network similar to the human brain. To do that, you would want to do a few things:

Make a lot of smaller characters more prominent.
Give those characters supporting casts that crossed over, so that a character who knows Agent Helligan would have a higher chance of knowing Scarface.
Give some of them connections to the main DCU (like being former members of the JLA, or fighting Darkseid, but make most of them as unconnected as possible.
And create a few extra links in odd places, like having one of them meet Etta Candy in a therapy group, or another be at the same convention as Booster Gold.

Now, does that remind you of anything?
 
 
Mr Tricks
23:34 / 24.07.06
real quick.

If these are non-comic reading folks you might want to explain a bit about what 7 soldiers the series is and how it's fdifferent than just a bunch of comics...

I suspect Wolverine might make for a better illustration of a point than Capt. America.

And Tony Stark and Bruce Banner have propbably had a number of stories crossing over as well as having both founded the Avengers. There's probably a better example using Powerman & Iron Fist knowing the X-Men through Coleen Wing or something.
 
 
PatrickMM
23:40 / 24.07.06
It's definitely interesting stuff. If you wanted to develop the paper more, you could contrast the experience of reading just one miniseries versus reading the entire project. For me, a lot of the joy of the series came from seeing the pieces connect across the disparate series. I didn't enjoy Mister Miracle as much as the others because it was rather disconnected from the overall narrative. However, read as a stand alone piece, that's probably one of the more successful series.
 
 
Imaginary Mongoose Solutions
01:01 / 25.07.06
This is something that's crossed my mind. (More from a complexity theory angle, but still...) But I think you're dead on. Morrison seems to be using models like these (both in Seven Soldiers and 52) to make the DCU resemble a more and more complex simulation which seems to have a higher chance of more and more complex emergent subsystems.

Between that and the various techniques he uses to place the reader in a different sort of reader/audience dynamic with the text, I think he's using a LOT of different techniques to make the DCU into a "real" place.
 
 
Andrew Hickey
05:29 / 25.07.06
Thanks - for those of you who suggested explaining more about 7S, this is one of a series of posts I'm going to be doing on my blog, so I've laid the groundwork to an extent in the previous post.

The complexity theory thing is something I want to look into as well, but that ties in with this stuff - according to complexity theory, most networks will naturally arrange themselves into something like a small-world network. The DCU, though, wouldn't, as it's driven by things like putting Batman on every cover to sell comics... what Morrison might be doing, I think, is trying to remove artificial distortions...
 
 
Eskay Uno
07:16 / 25.07.06
Couldn't it be argued that characters like Batman, Superman, Wolverine and Spidey function like celebrities (or even politicians) in the real world? They each affect and appear in more people's lives than "regular" people. Politicians especially influence a vast territory of individuals, through media appear to be in many different places seemingly at once - essentially "guest-starring" in millions of peoples' lives. In theory, what is the difference between Wolverine's many different looks & adventures and Oprah's?
 
 
Alex's Grandma
08:37 / 25.07.06
Wolverine, even though he carves up notional individuals for breakfast, and then has a beer, and laughs while he's doing it, is I dare say still more real to a lot of the young people people these days than what the goverment is. Is the same true of Oprah?
 
 
Sniv
12:40 / 25.07.06
I like this idea, it's pretty cool, but I do have some reservations that perhaps you smarties can help me with. Firstly, I don't know much (read=anything apart from what you just told me) about small-world networks. Perhaps for the layperson you could include a couple of links or a more detailed explanation of what this is or how it works (a diagram, perhaps, maybe even two, one for the 7S comparisons).

Also, you talk about these networks as if they are self-emergent entities that kind of create themselves, but they're not, are they? They're created, in this case by a very skilled writer. Now, we all know what a clever creature Mr Mossleman is, but what's to stop, say, Chuck Austin from coming in in two years time and fucking with these carefully laid foundations (aside from the obvious reason that DC won't hire him anymore, course)? Surely the characters are subject to the whims of more hack writers than is good for them? Although, I guess that the actions of 10-20 years worth of crappy writing has a certain element of randomness to it, so perhaps you still have a point.

I suppose that, following this model, the main characters of the series are really on the periphery of this network, and it's their supporting casts that really do the networking and have more relationships with more people. Of course, this kinda means that the central characters are just pawns, being moved by the capricious whims of the people around them (and one writer who thinks much too much, obviously - and he's done this before, see Audrey Murray, the deus ex that was there all along). I still think the real central characters of 7S are the golden-age newskid army - does that change the reading of theory at all?

What are the aims of making the DCU or any fictional universe 'sentient' though? The comics aren't going to write themselves are they? They're still going to need a writer that puts words in the characters mouths, thinks up the relationships and the actions, and at any point, they can make them do horribly out-of-character things just because 'big' Dan DiDio told them too, or because they have to stretch/compress the story or work it into a crossover or any number of reasons we get sub-standard stories.

So, my point (I think) is what's the point?
 
 
Phex: Dorset Doom
13:22 / 25.07.06
My point too. What exactly would distinguish a 'sentient' comics universe from their non-'sentient' counterparts, sentient being defined as: "1. Having sense perception; conscious./ 2. Experiencing sensation or feeling/endowed with feeling and unstructured consciousness" (Source= Dictionary.com)? How would we as readers experience Sentience in a text (an individual comic or a multi-part narrative) or hyper-text (An entire comics 'Universe')?
 
 
Simplist
21:26 / 25.07.06
What are the aims of making the DCU or any fictional universe 'sentient' though? The comics aren't going to write themselves are they? They're still going to need a writer that puts words in the characters mouths, thinks up the relationships and the actions, and at any point, they can make them do horribly out-of-character things just because 'big' Dan DiDio told them too, or because they have to stretch/compress the story or work it into a crossover or any number of reasons we get sub-standard stories.

So, my point (I think) is what's the point?


GM (or some sympathetic Barbelith poster's imaginary internal construct of GM) might say that the "point" would be the eventual appearance of higher-order consciousness as an emergent property when the connections within the network reach a certain complexity. Said consciousness would subsequently act via downward causation, shaping and influencing the development of seemingly fictional characters and/or narratives. Individual "authors" would still be needed to implement specific tasks, but would function much like quasi-independent cells or organs in a larger organism, unaware of the systemic influences directing their creatives processes (cf. white blood cells -- were they conscious, they'd still do their job with no awareness of the larger system of which they're an integral part, and which couldn't function without them). Dan DiDio (and indeed, DC Comics Inc.) would be as much a part of the larger organism as any given writer or artist, so despite appearances, top-down corporate directives and editorially-mandated crossovers would also emerge from the higher-level sentience of the Post-Fictional DCU.

This leads to a secondary consideration -- would the PFDCU itself experience subjectivity in the form of an "I" of identity? A "DCUniversal" personal self with a thought stream, memory, reasoning ability, etc.? Or would it be more that the individual characters themselves become sentient and the "U" exists as the space in which they manifest as agents? If the latter, the PFDCU would be a "real" universe emerging from our own in a postphysical noospheric space, experienced by its residents however as quite physical (though its cleverer denizens might well be able to deduce the existence of the fictional substrate from which it emerges, which has in fact happened in certain of GM's works come to think of it). Ultimately, this second order universe could become sufficiently complex as to birth postphysical noospheric spaces of its own emerging from collective fictions created by now-also-real characters within the PFDCU, and so on.
 
 
Phex: Dorset Doom
22:03 / 25.07.06
And the award for 'Least appropriate Barbelith screen-name' goes to...
 
 
Imaginary Mongoose Solutions
01:53 / 26.07.06
"what Morrison might be doing, I think, is trying to remove artificial distortions..."

Exactly. I think you're 100% on the money here. I don't think it's the only technique he's using, but I think it's a big one, if not the big one.
 
 
Sniv
13:11 / 26.07.06
Dude, heavy.

I like your idea of comparing writers to white bood cells, that's an excellent comparison. So really, no matter what the writers on a specific title will do there is a homeostatic nature to comics book universes and they'll eventually return to the status quo or something closely resembling it (like in 8C - new earth isn't that much different from the old one and lots of the relationships that would go towards making the DCU more 'sentient' were still in place).

This bit made my head ache though - his second order universe could become sufficiently complex as to birth postphysical noospheric spaces of its own emerging from collective fictions created by now-also-real characters within the PFDCU, and so on.

I'm not entirely convinced by this. I understand that despite the writers' interventions and designs a comic universe is still pretty chaotic and could well become a self-emergent sentience. I rationalise this to myself by realising that if there are a stable of 50 writers, their seperate actions (and the machinations of the editioral dept) can be read as working together unknowingly towards some kind of goal, much like in 7S itself. However, what I can't get my head around is the idea of characters writing their own books or even fictional universes. I can't accept that this would be the work of the characters and not of the 'real-world' writers pulling an Alan Moore with an embedded narrative. Have I got the wrong end of the stick here?

I mean, yes it makes for a cool story (like in the Filth), but is it really possible, or just the enthusiastic musings of a good writer and his even-more-enthusiastic fans?

Hmm, lots to think about and my lunch hour is up, so I've got to go. I may come back to this though when I have more time.
 
 
Sniv
13:12 / 26.07.06
Oh yeah, woss 'noospheric' mean too?
 
 
Aertho
13:40 / 26.07.06
Noosphere
 
 
Aertho
13:56 / 26.07.06


Geosphere > Biosphere > Noosphere
 
 
John Octave
17:28 / 27.07.06
I think if you're having problems with the "characters writing themselves" aspect, whether "magical" in nature or derived from systems/complexity, you can strip all that away and say that this is all an attempt to make the DCU behave in a more "naturalistic" manner.

Not realistic, as you won't have that in a world with Superman, but naturalistic. Using continuity in a positive way (suggesting future stories rather than restricting possibilities) ie, if Hero A has fought Villain X before and Hero B has to fight Villain X and Hero B knows Hero A, it follows that Hero B could ask for Hero A's assistance and thus create a natural, logical basis for a crossover (which could be lucrative if Hero B is the Blue Beetle and Hero A is Batman, for example). It's as though it's writing itself, as the connections and prior story elements will naturally suggest pathways into future stories. That's my take on it, anyway.

Of course, the whole thing still hinges on creative teams willing to engage with the system. A writer can say fuck it and have Hero B fight Villain X by him/herself and not even acknowledge the connection. Retcons also seem like they would be detrimental to the system, as they make it so that the "rules" the writers, as agents of the system, have been playing by have secretly been wrong all along.

"Sentience" also isn't without its flaws, as the Identity Crisis -> Infinite Crisis storyline I thought flowed in actually quite a naturalistic manner, but it meant DC comics were kind of a drag for a few years as it all worked itself out. But you could also blame that on the mindwipe retcon for messing with the system and introducing the bad elements that were not present in the system beforehand.
 
  
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