Captain America is not a serious scientific film. Nearly every piece of technology is furious hand-waving. Vibranium? Vita-rays? Rocket-powered propellers? The cosmic cube? Awesome, yes, but not real. These, however, are narrative tools, not attempts at hard scientific prediction and therefore not something to be critiqued. What the comic-book-tech of Captain America allows for is an exploration of the ethics of enhancement. Here, more than perhaps any other fictional film I’ve seen, Captain America displays striking balance and nuance – it gets enhancement right.
Based on your knowledge of the film and/or comics, this post may contain *spoilers*, so consider yourself warned. And if you’re looking for review of why it’s a fun movie, A.O. Scott in the NYT captures my sentiments about the film perfectly: pulpy Nazi-punching goodness. Now, on to enhancement!
There are three major factors that make the enhancement of Steve Rogers and his crimson domed antithesis, the Red Skull, unique among comic book lore. The first is that Steve Rogers was deliberately enhanced by someone. There is no accident, no crisis-as-catalyst-and-crucible event, no mystic charm, and no superhuman heritage to explain or justify Rogers’ becoming superhuman. Rogers is superhuman because Dr. Abraham Erskine develops a superhuman serum for that express purpose. Here, the science of enhancement is itself portrayed in a positive light. In what seems like every other superhero origin story, powers are acquired through scientific hubris. Be it the unintended consequences of splitting the atom, tinkering with genetics, or trying to access some heretofore unknown dimension, comic book heroes invariably arise by accident. The super serum, the vita-rays, and the outcome of the experiment on Rogers are all a scientific success. They happen precisely the way every person in the room hopes they will. Dr. Erskine is not a madman but a humble, ethical, and brilliant scientist trying to make better people. As such, he looks for the best in the humans he hopes to enhance. In short, Steve Rogers might be the only major superhero who is the result of scientific experimentation going to plan.
Second, Steve Rogers deliberately chooses to become enhanced. I had expressed my doubts about Rogers’ consent being genuine, but the film makes his determination and clarity of thought evident. Unlike many heroes, who seem to acquire their powers out of recklessness around science (Banner, Parker, Richards, I’m looking at you), Rogers very consciously decides to go through with Dr. Erskine’s procedure. He, in fact, might be one of the only heroes who ever knew he was going to be come a hero before his transformative event. That foreknowledge is critical for demonstrating that enhancement isn’t something that is only desired by egomaniacs. Rogers seeks strength and speed to defend and protect others. His body did not match how he saw his true self. Again, we see an anti-science motif of comic books turned on its head. Normally, those who seek superpowers are unworthy because they believe they deserve to be better than others, thus, the experiments go wrong. This attitude is embodied in the Red Skull, whose evil quite literally boils to the surface when he injects the super serum. However, Rogers’ reasoning is that others deserve to be protected and defended. Altruism, not egoism, is the driving force behind Rogers’ desire to become enhanced.
Third, and most important, is that enhancement in the film is not merely “functional” enhancement. That is, Rogers is not just stronger and faster. In a private moment, Dr. Erskine explains to Rogers that the serum and vita-rays affect “everything that is inside. Good becomes great. Bad becomes worse.” Erskine is not talking about physical traits here. Rogers’ “bad” traits (i.e. his laundry list of medical issues) are not aggravated by the serum, but cured. The good/bad that becomes great/worse are moral qualities and capacities of the person. Captain America is literally super-moral. His already above-average sense of moral clarity and determination to do what is right becomes amplified in the same way that the lust for power and pleasure from slaughter are magnified in the Red Skull.
Moral enhancement, a fairly recent talking point among thinkers in the bioethics community, is handled deftly in Captain America. Enhancements do not change who we are or from where we come, but serve to empower and improve traits which we already possess. For Steve Rogers, those traits are what we wish for most in our heroes: beneficence, altruism, and humility. Note, among his list of valued traits are not unwavering loyalty to national authority (despite his irritating flag fetish) or deference to some commanding power. Instead, Rogers’ own judgment causes him to defy orders at almost every turn. Why? Because Captain America’s sense of ethics is itself enhanced. He is a better human being because of Dr. Erskine’s process.
I haven’t seen a movie that was this pro-science and pro-human goodness in a long time. I may not have seen a movie that was this pro-enhancement ever. Did I mention it also involves Nazi-punching?
Promotional Image of Captain America via Marvel.com
Steve Rogers, the man who would become Captain America, was not subjected to an accidental burst of gamma radiation or the bite of a radioactive spider. Instead, he willingly enlisted and subjected himself to an experimental process for the creation of super-soldiers. His superpowers were deliberate and intended. However, the circumstances of Captain America’s enlistment into the army are, at best, questionable. After my chat with Maggie Koerth-Baker on bloggingheads, I got thinking about how the super-solider experiment holds up under the scrutiny of medical ethics. I’m not so sure that Steve Rogers gave his consent to the experiment in an informed and uncoerced manner.
For any medical research to be considered ethical it must adhere to basic standards. A global standard for medical ethics is the Declaration of Helsinki. Devised and published by the World Medical Association in 1964, the Declaration of Helsinki is a guiding framework for all medical research involving human beings. It has been revised over the years to meet modern needs, with the most recent and 6th revision being published in 2008. There are three points of the Declaration that appeal directly to the type of experimentation done to create Captain America. They are:
#6. In medical research involving human subjects, the well-being of the individual research subject must take precedence over all other interests.
#8. In medical practice and in medical research, most interventions involve risks and burdens.
#9. Medical research is subject to ethical standards that promote respect for all human subjects and protect their health and rights. Some research populations are particularly vulnerable and need special protection. These include those who cannot give or refuse consent for themselves and those who may be vulnerable to coercion or undue influence.
Can you really say with confidence that General Chester Phillips had Rogers’ best interests in mind, that Rogers’ wasn’t under any sort of coercion (coughpropagandacough), and that the good ‘ol US-of-A wasn’t bending some rules to build a better soldier?
Let’s take each of these points from the Declaration of Helsinki in turn. Read More
Do you ever worry that Steve Rogers (aka Captain America) wasn’t really giving informed consent when he agreed to become enhanced? Or are curious as to why someone might choose a bionic hand over a real one? The awesome Maggie Koerth-Baker of boingboing.net and I had some of the same questions. We chat about the ethics of superheroes and our perception of science in this week’s Science Saturday on bloggingheads.tv. Enjoy!
If you haven’t seen it yet, Thor is a ridiculous and entertaining superhero spectacle. All the leads did a great job, particularly Hopkins as Odin. If you can take a man seriously when he’s standing on a rainbow bridge wearing a gold-plate eyepatch, he’s doing something right. Kenneth Branagh’s interpretation of Asgard was visually overwhelming, but weirdly believable.
The reason? Branagh leans heavily on the magi-tech rule of Arthur C. Clarke, which Natalie Portman’s character quotes in the film, “Any sufficiently advanced technology is indistinguishable from magic.” So what is the difference between really-really advanced technology and actual magic? Sean Carroll, who did some science advising for the film, clears the idea up a bit:
Kevin Feige, president of production at Marvel Studios, is a huge proponent of having the world of these films ultimately “make sense.” It’s not ourworld, obviously, but there needs to be a set of “natural laws” that keeps things in order — not just for Iron Man and Thor, but all the way up to Doctor Strange, the Sorcerer Supreme who will get his own movie before too long.
In short, the Marvel universe is internally consistent, which makes me all the more excited for the Avengers film. Clarke’s rule of magical tech helps create some of that consistency. I both love and loathe Clarke for that statement. Love because it strikes at the heart of what technology is: a way for humans to do things previously believed not just implausible, but impossible. Loathe because it creates an infinite caveat for lazy authors and screenwriters. It seems like anytime some preposterous technology is injected into a narrative either as a McGuffin or a deus ex machina, that damn quotation from Clarke gets trotted out as the defense. So does Thor live up to Carroll’s hopes or abuse Clarke’s rule? Read More
Transhumanism is a big, complicated, sprawling idea. The central concept – that humans can be made better with technology – touches on a lot of hopes and fears about the future of humanity. Though I’m always going on about how great human enhancement could be, I’ve got my fair share of fears myself. But my fears are probably way different than many of your fears. But how in the world can we represent those concerns? As it turns out, I’ve found a pretty good set of archetypes that represent our hopes and fears: Marvel Comic’s Avengers.
How we frame scientific progress changes how we see individual technologies. When we think about science changing people, our minds naturally go to that group of individuals constantly being bombarded by gamma radiation, genetic mutagens, cybernetic interventions, and biological acceleration. I’m talking, of course, about superheroes. Superheroes are modern mythology. And because of that, they make great metaphors for understanding big issues. With The Avengers movie officially announced, I can’t help but notice that the four main members* of Earth’s Mightiest Heroes – Thor, the Hulk, Captain America, and Iron Man – are great examples of the different ways different people understand (or misunderstand) enhancement. Respectively, they are The God, The Monster, The Soldier, and The Robot.
Now, in the case of the Avengers, I don’t mean that they each represent a kind of enhancement, like cognitive enhancing pharmaceuticals or genetic engineering for athleticism. I am talking about the mindset people have around enhancement. Will transhumanism make people into monsters or Gods? Is science on the right track or out of control? The Avengers represent how you think enhancement works. Not only that, each Avenger symbolizes the hopes, fears, and problems enhancement may have. Whatever your dreams or nightmares about enhancement are, at least one member of Marvel’s wonder team has got you covered. So which Avenger represents you? Read More
Halloween is a-comin’ and this Sunday brings us AMC’s The Walking Dead. In honor of that, we’re discussing The Ethics of the Undead here at Science, Not Fiction. This is part II of IV. (Check out parts I, & III)
Before we can start investigating whether or not something that craves brains has a mind or should be pitied, we need to define just what, exactly, we’re talking about when we talk about zombies.
I’m going to start by ruling out the 28 Days Later zombies and the voodoo/demonic zombies of Evil Dead. First, the name of this blog is Science, not Fiction, which means any religious hokum is right out the door. Demon possession, souls back from Hell, and voodoo are not going to be considered in this investigation. On the other end of the spectrum, in 28 Days Later anything infected with “Rage” becomes a “fast” zombie. In essence, Rage is rabies only way, way scarier. Thus we aren’t dealing with the “undead” so much as the violently insane. So non-fatal pathogens don’t count either. If the pathogen doesn’t first kill you, then re-animate you, then you aren’t a zombie.
Which leads us to the next question: how does the pathogen work? I am not denying here the multitude of variations and nuances among zombie plague viruses, so we have to come up with a generic, realistic version to have our discussion. Zombies generally meet three important criteria. They are 1) stimulus-response creatures that seek flesh 2) continually decomposing and 3) contagious via bodily fluids. If we can explain, reasonably, how and for what reason a pathogen might cause/allow these conditions, we can describe a realistic zombie pathogen.
Halloween is a-comin’ and this Sunday brings us AMC’s The Walking Dead. In honor of that, we’re discussing The Ethics of the Undead here at Science, Not Fiction. This is part I of IV. (Check out parts II, & III)
Zombies are everywhere! Zombieland, Shawn of the Dead, and 28 Days Later in the movies; World War Z and Pride and Prejudice and Zombies on the bookshelf; Left 4 Dead, Dead Rising and Resident Evil in your video games – not to mention the George A. Romero and Sam Rami classics in your DVD collection. And this Sunday Robert Kirkman’s epic The Walking Dead lurches from the pages of comic books onto your television thanks to AMC.
Where ever you turn, zombies are there. We can’t seem to get enough of the re-animated recently departed. But why do we love these ambling carnivorous cadavers so?
Zombies are horrifying. An outbreak would almost certainly lead to global apocalypse. Unrelenting, unthinking, uncaring, undead, they are a nightmare incarnate. They remind us of mortality, of decay, of our own fragility. Perhaps worst, they remind us of how inhuman a human being can become.
Zombies are familiar. Refrains of “Brains!”, guttural groans, and mindless shambling instantly trigger the idea of a zombie in our mind. We all know, somehow, that decapitation – that is, destruction of the zombie brain – is our only salvation. I bet you’ve dressed as one for Halloween. Every time “Thriller” comes on you probably dance like a zombie. Some mornings I feel like a zombie. Even philosophers talk about zombies. We know zombies. They are hilarious, they are frightening, they are part of us. And that is why we love them.
But have you ever asked yourself: is a zombie still a human? is a zombie dead, really? can it feel pain? does a zombie have dignity? Has the question ever popped up in your quite-live brain: is it ok to kill a zombie? Could a zombie be cured? If you could cure it, would you still want to? In honor of Halloween and our culture’s current love affair with brain-eating corpses, I present The Ethics of the Undead, your universal guide for answering all of your most pressing zombie questions. Stay tuned for posts throughout Halloween weekend!
The chasm between science and the humanities is nowhere more blatent than the lack of work on how science fiction is reprocessed and used by those of us securely strapped into the laboratory. It’s a topic that attracts some heat: Some scientists take to suggestions of inspiration between their creations and those in preceding Sci-Fi with the excitement of a freshman accused of buying their midterm essay off the internet. In Colin Milburn’s new work on ways of thinking about this interaction, he refers to Richard Feynman’s 1959 lecture “There’s plenty of room at the bottom.” This lecture is a key event in the history of nanotechnology. In it, Feynman refers to a pantograph-inspired mechanism for manipulating molecules. It turns out that he most likely got this idea from the story “Waldo” by Robert Heinlein, who in turn probably got it from another science fiction story by Edmond Hamilton. Rejecting the suggestion of influence, chemist Pierre Laszlo writes: “Feynman’s fertile imagination had no need for an outside seed. This particular conjecture [about a link between Feynman and Heinlein] stands on its head Feynman’s whole argument. He proposed devices at the nanoscale as both rational and realistic, around the corner so to say. To propose instead that the technoscience, nanotechnology, belongs to the realm of science-fictional fantasy is gratuitous mythology, with a questionable purpose.”
Ray Bradbury is the last living of the great early titans of science fiction, now that Isaac Asimov and Arthur C. Clarke have passed. He said he’s attended every Comic-Con since the first one, when he went to the El Cortez Hotel and spoke to a few of the 300 attendees that year. These days, 125,000 people turn out for Comic-Con every year, and I had to wait 30 minutes to get in to see Bradbury speak. He’ll be 90 in August, and he’s hard of hearing, but he’s still sharp, and he’s forgotten nothing.
The Bradbury panel featured Bradbury talking to his biographer, Sam Weller. I’m just going to share select quotes from his remarks. These are in order, but incomplete.
“The Internet to me is a great big goddamn stupid bore.”
“I got a call from a man who wanted to publish my books on the Internet. I told him, prick up your ears and go to hell.”
[Bradbury has met most, if not all, of the Apollo and Gemini astronauts.]
“All those astronauts had read the Martian Chronicles. When they were young men, they read my books and decided they wanted to become astronauts.”
Where do budding, even experienced, science-fiction writers learn about the science behind the science fiction? Going back to school and getting a university degree in a scientific discipline is an option, but that’s going to take quite a while. You could short-circuit the process by spending a week at Launch Pad at the University of Wyoming!
Launch Pad 2010 Attendees
Launch Pad is a free, NASA-funded workshop for established writers held in beautiful high-altitude Laramie, Wyoming. Launch Pad aims to provide a “crash course” for the attendees in modern astronomy science through guest lectures, and observation through the University of Wyoming’s professional telescopes.
The workshop’s mission is to:
…teach writers of all types about modern science, primarily astronomy, and in turn reach their audiences. We hope to both educate the public and reach the next generation of scientists.