Surrogates—which opens September 25—features a world where people jack into robotic avatars and send the bots out into the world in their stead (trailer here). Not only was this Venditti’s freshman graphic novel, but it’s publisher Top Shelf’s first credit as a film producer.

“Bruce Willis is one of the few actors who can do the action sequences and personal moments,” Venditti told me during a break signing his novel at Comic-Con. “A big theme in the book is the relationship the main character has with his wife. He’s a police detective who can do his job without worrying about the hazards of his job. He’ll go home to his wife and she’ll only react with him through her surrogate, because she’s uncomfortable with aging. So it’s a strain on their marriage.”

The story (illustrated by Brett Weldele) mines the psychology of wanting to be something than who we are. Venditti got the idea from books on Internet addiction and TV shows like Extreme Makeover and Dr. 90210. But its theme was eerily prophetic.

“What would society be like if there was a technology that enabled us to stay in our homes and send these idealized versions of ourselves to the real world?” said Venditti. “Since I wrote the book in 2002, fans have sent me articles about some of this technology starting to take place,” such as long-distance surgery through robotic arms and electrodes that enable individuals to move items by thought. “Some sociology professors told me the used the book in their classrooms.”

His next project—The Homeland Directive, a political medical thriller out next summer, also from Top Shelf—examines another technology-oriented theme. “Do we live in a time when personal privacy and national security can coexist?” he said. “But that’s as much as I can tell you right now…”

One hopes he’s including a role for Willis—wouldn’t want to freeze out his big Hollywood connection.

—Guest-blogger Susan Karlin

Dr. E. Paul Zehr, a professor of neuroscience and kinesiology at the University of Victoria, presented his analysis of the possibility of developing Batman skills at Comic-Con, and he concluded that most of what Batman does can be achieved through long years of training, a fair amount of cash, and the right genetic traits promoting excellent coordination and strength. But getting there will take a long time:

• 3–5 years of physical training (meaning, weight lifting, increasing bone density by punching heavy things, acrobatics)
• 6–12 years of skill training and refining. This is Batman’s wide and deep mastery of numerous martial arts. Zehr showed comic panels depicting batman performing moves from judo, kung fu, and what he called “basic fisticuffs.” He also showed scenes of Batman taking out whole groups of ne’er-do-wells and engaging in long fights with single foes, demonstrating the breadth of his ass-kicking knowledge.
• 6–8 years of poise, experience, seasoning. If you ask me this period could overlap with the start of Batman’s crime-fighting career, but Zehr argues that this still counts as training, and he’s an expert in the field.

So, to sum, that’s a minimum of 15 years, and a maximum of 25 years, before Batman ever hits the street.

And once there, Zehr basically gives him a maximum of a three-year career. Zehr argues that Batman’s life of crime-fighting would just put so much on abuse on his body that he would eventually be unable to defend himself fast enough—too much repetitive stress (like bloggers, but with your whole body instead of a couple fingers), too many concussions, not enough time to heal. Batman goes out most nights, so his body wouldn’t have time to heal. And Batman’s suit wouldn’t be enough to protect him. Even if the suit prevented penetration by knives and bullets, it can’t protect him from the sheer blunt force of the punches he receives and delivers. (”Delivers”? Yes: Zehr had some excellent video showing the stress on the arm and fingers of a punch.)

But what will really limit Batman’s career, Zehr said, is that he can’t lose. A martial artist can lose a bout in the ring and live to fight another day. If Batman loses, he’s dead. Just another reason the citizens of Gotham should be damn glad to have the guy.

The trio paraded out a series of cases: Maximillian “Maxie” Zeus, who thought he was Zeus and above the law; Victor Zsasz, who killed people to spare them from the misery of life; Joker groupie Dr. Harleen Quinzel (aka “Harley Quinn”); and the Joker himself. The charges were your standard supervillain fare: kidnapping, conspiracy, murder, a raft of unpaid parking tickets, etc. The docs broke down the scientific criteria needed to gauge whether each had the competency to stand trial and the nuances between personality disorder and severe mental illness.

Turns out, Gotham and New York forensic psychiatry don’t exactly see eye to eye.

Zeus was deemed delusional because, well, he thought he was Zeus; what’s more, he couldn’t tell right from wrong. Verdict? Insane. Back to Arkham, would-be lord of Olympus.

Zsasz, on the other hand, was deemed delusional but still cognizant of right and wrong. Verdict? Sane. To prison with you, Vic.

(“Did they start them in solitary confinement or therapy sessions?” a man dressed as Nightwing wanted to know.)

Quinzel was trickier. At first, she seemed a clear case for a diagnosis of folie à deux, or “madness shared by two”—when someone hangs with a nutter and becomes one herself. (An animated projection of the curvaceous Quinzel brought whistles from the audience, which prompted a bodacious blonde dressed as Quinzel to stand up and squeal, “Thank you!)

But the expert panel diagnosed Quinzel with dependent personality disorder, not a mental illness. Verdict? Sane; prison.

The big surprise was the Joker. The audience unanimously determined him to be criminally insane—the prototypical Arkham resident—but Kambam asked, “Does the Joker have a legally defined mental illness?”

“He’s got, like, six or seven!” a girl yelled.

Not so fast. Despite the Joker’s extreme antisocial personality disorder, his highly planned scheming and concealed identity to thwart arrest suggested an awareness of right and wrong. “The Joker would not be put in a forensic facility,” Kambam announced, to much surprise.

No, in real life, he’d have gotten his own reality show.

—Guest-blogger Susan Karlin

This morning, io9 demonstrated that in addition to putting out an awe-inspiring blog every day, they could also put on a mind-expanding Comic Con panel.  With no Hollywood celebrities and just a couple of special guests, our favorite sci-fi bloggers ran through the TV shows, movies, comics and books of the past year that “blew our minds without blowing up any giant robots.”

Here are a few of their recommendations:

Moon -Duncan Jones’s new movie topped the list for both Annalee Newitz and Meredith Woerner.  Like a lot of the works recommended by the panel, Moon explores what it means to be human in a rapidly approaching era where humanity can be technologically upgraded or artificially created (note: this is not a spoiler, the lead character realizes very early in the film that he is a clone).

Julian Comstock – In this novel, Robert Charles Wilson depicts a 22nd century American that has sunk into barbarism and theocracy.  In response, the hero undermines the regime in part through trying to popularize ideas about Darwin in a world that has forgotten about science.

Rest -  What if someone invented a pill that meant no one would ever have to sleep, with no adverse side effects?  Panel guest Bonnie Burton from StarWars.com picked the Devil’s Due comic Rest, which explores this idea and its implications on society, the environment and mental health.

Wonton Soup – James Stokoe’s comic, recommended by Graeme McMillan, investigates what humans would do if they had to be out in space for a really long time.  Apparently the answers are get high and cook alien recipes.

Infoquake – io9 editor Charlie Jane Anders picked a series of novels by David Louis Edelman.   In Edelman’s future, people can hack and upgrade their own bodies and brains, impacting human relations in both the literal and business senses of the phrase.

How, you may ask? Pretty much just like Daredevil (or bats, or dolphins) do, by bouncing sounds off the environment and listening for the echoes. Blind people have been doing something similar to this instinctively, usually describing how they can “feel” a nearby obstruction like a wall or door. What they’re actually doing is hearing the changing sound of their footsteps as they approach the obstacle. A recent study led by Spanish researcher Juan Antonio Martínez at the University of Alcalá de Henares tested a series of different sounds and techniques designed to teach people how to use echolocation for their own ends. The most effective sound we can make, they discovered, is clicking sound of the tongue pulling away from the roof of the mouth.

“The almost ideal sound is the ‘palate click, a click made by placing the tip of the tongue on the palate, just behind the teeth, and moving it quickly backwards, although it is often done downwards, which is wrong,” Martínez said in a press release.

Normals, bereft of super senses as we are, must resort to gumption and stick-to-itiveness to actually learn how to echolocate effectively. Martinez said students needed two hours a day for two weeks to learn to tell when an object is in front of them, and a few more weeks to be able to identify trees and pavement. A 2000 study found that listeners in motion are able to take advantage of the Doppler effect to locate objects more effectively.

Then again, when there’s a powerful need to learn how to echolocate well, it can be done with astonishing virtuosity. Ben Underwood, who died just last month, became blind at the age of two from cancer. He learned to rollerblade and play Foosball just through sounds and echolocation (the video is pretty amazing). He walked down the street making just the sort of clicks Martinez recommended, and he could tell parked cars from fire hydrants from plastic garbage cans.

So for those of us who didn’t manage to get bitten by a radioactive puppy or hail from a distant asteroid orbiting a purple sun, there’s hope yet! Seeing with your eyes closed is a pretty nifty superpower we can all have… with a lot of practice.

We’ve just heard that we’re going back to Comic Con this summer, with a panel topic and line-up even bigger and better than last year’s event.

We are teaming up with Jennifer Ouellette and the crew at the Science and Entertainment Exchange to produce a panel on “MAD SCIENCE,” i.e. Science as a double-edged sword, ethically and morally neutral in and of itself, but dependent upon who wields it, and how.

Beloved Internet Personality Phil Plait is lined up to moderate (after he gets his tattoo) and we’re expecting guests from Eureka, Battlestar Galactica, Fringe, Stargate: Universe and more.  Watch this space for additional details.

Meta-conspiracy: Does the government want you to believe in UFO’s? [via Futurismic]

Real-life Terminator robots here, here and here.  [via Technovelgy]

Video of low-altitude flight over the lunar surface by the Japanese KAGUYA explorer [via Pink Tentacle]

Recently released scenes of the upcoming remake of V combine two of our favorite things: creepy aliens and Party of Five! [via thrfeed]

We’ll leave the debates over the acting, direction, and overall adaptation to others (except to say that Jackie Earle Haley stole the show). But one aspect worthy of analysis is the story’s main conflict—the constant “looming” nuclear holocaust. Granted, we never actually see any evidence that the aforementioned holocaust is looming, save a few shots of Nixon upping Defcon levels—but we’ll address that later. When Alan Moore first published the book in 1986, the apocalypse on everyone’s mind was Cold War atomic bombs—which, as we’ve noted, no longer pack quite the same anxiety punch as, say, biological weapons. Today, gas masks and duct tape have replaced air raids and backyard shelters in the popular conscious, to the point where seeing mushroom clouds onscreen feels like you’re watching an ’80s homage.

Of course, none of this means that the nuclear threat is any smaller now than it was three decades ago: The danger of nuclear war is still present, and fear of missile attack still drives plenty of policy and military tech decisions worldwide. But, like Bird Flu, nukes seem to have a PR problem: Despite the fact that they could wipe us all out, the thought of them isn’t all that scary.

Which is really the main problem for Snyder and his estimated $125 million budget: No matter how faithful your script and powerful your characters, it’s tough to keep a story suspenseful when you’re working towards a climax that doesn’t pack a serious punch. Not helping is the fact that the film completely ignores the other side—the Russians. We get a few choice shots of Tricky Dick mumbling about war, but never once do we see Gorbachev ordering missile launches or troop mobilization.

Granted, world annihilation isn’t dull—it’s still enough to keep an audience engaged for 2 hours and 43 minutes. Plus Snyder never misses a chance to smack us with stakes-raising reminders of devastation (we counted at least 8 shots with the Twin Towers in the background). And when the destruction does come to the Big Apple (why do TV shows and movies always love to decimate New York?) Snyder saves us the book’s graphic images of strewn corpses and bombed-out buildings, instead focusing on the internal struggle among the Watchmen ranks. Nine million people sacrificed for the greater good, meh—but we’ll watch one lovable sociopath in a ski mask.

So should Snyder have updated his apocalypse with biotech? He’d have faced the wrath of fans had he done so. Plus who would think nuclear war could ever get boring? It’s enough to make you wonder what the next big all-consuming fear will be. Oh, wait, we know that already: thinking robots.

Image courtesy of Warner Bros.

Because they are interested in taking their quarry alive, Carter is equipped with something he has taken to calling a “bubble gun.” The gun immobilizes its target by shooting out a temporary force-field that forms a bubble. In the real world, bubbles—or more accurately, foam—actually are the basis of a gun designed to immobilize enemies.

The real-life bubble gun belongs to a class of weapons known as non-lethal weapons. These are weapons that should, in theory at least, incapacitate a target without doing the kind of damage that a bullet produces. (There is controversy about these weapons, with some arguing that they are still pretty dangerous, but, because a police officer or soldier is told they can’t cause serious harm, that officer or soldier is more likely to use such a weapon in situations where they otherwise would have shown restraint.) Tasers fall into this category, as are the kind of sonic weapons that have been used to repel pirates off the coast of Somalia. Somalia was also the location of the first active tests of the bubble gun in 1995, during the withdrawal of U.S. forces. The real-life gun doesn’t rely on force fields, but instead shoots a sticky foam, which its creators describe as “an extremely tacky, tenacious material used to block, entangle, and impair individuals.” Apparantly, the test went well, but the technology hasn’t become widespread since because of concerns that the foam might accidentally or deliberately get sprayed on a target’s nose and mouth, suffocating them. Still, foam-based technologies are very much under research, especially with regard to targeting the smallest enemies of all: pathogenic organisms and toxic molecules. Foams have been developed to neutralize bioweapons and nerve gas.

Bioweapons are also emerging as a component of the current Eureka mystery, so we’ll stay tuned for that. As for when we’ll see Eureka return to our television screens, the current rumor has it returning in June or July.

But before we get to the post-human, there will be the short reign of the transhuman, where we begin to move beyond our biological heritage, but still remain bound to it — and some contend we may have already have begun to enter this stage, with the advent of technologies such as always-on-and-everywhere access to the Internet enabling us to leverage our native intelligence. If transhumanism really gets under steam though, it will be difficult to predict what will happen — except for one thing: it will be messy. In last week’s release of the trade comic paperback of Transhuman, writer Jonathon Hickman and artist JM Ringuet explore just how messy things might get, as venture-capital-funded start ups battle it out in the marketplace regardless of the human cost. (Warning: this is a book for adults and some may find the graphic violence offensive.) It’s not the first work to plumb the messiness of transhumanism (Ian McDonald’s tales of India in the late 21st century come to mind), and the plot sometimes veers into the fantastic (I doubt any amount of genetic engineering will ever really enable telepathy!), but it’s a clever tale filled with all-too-believable characters and a mordant sense of humor.

Eureka is one of our favorite shows here at Science Not Fiction, and the comic faithfully reunites us with characters we have come to love over the last two-and-a-half seasons on air. The adaptation to the printed page is helmed by Eureka co-creator Andrew Cosby, written by Brendan Hay (a relative newcomer to comics, but with television writing experience that probably explains his excellent ear for dialogue that is true to Eureka’s characters) and drawn by Diego Barreto. The story is set sometime near or after the end of Season One, giving Cosby and Hay the ability to use some fan-favorite characters that have since left the show, and the chance to fill in some of the backstories of other characters that couldn’t be handled in the limited screentime available on the show itself. The first issue immediately dives into Deputy Jo Lupo’s previously obscure military history. Lupo is a former U.S. Army Ranger, but little has been made of that on screen beyond justifying her zealous appreciation for guns, so seeing her experiences fleshed out is a promising start. We’re looking forward to issue #2 (and, Sci-Fi Powers-That-Be, an announcement from you on an air date would be nice too!)

Vijaykumar Meli, who laid out a plan for a bacterium that would improve the nitrogen fixation of rice plants, thereby decreasing pollution from fertilizer run-off and improving yield, which could save plenty of lives in the developing world. Meli says the technique could be accomplished using current technology, including parts from the BioBricks collection of standard biological parts.

Elliott Gresswell, who stumbled upon the fictitious lab notebooks of researchers who inadvertently create walking, nanotech-caused-gray-goo-living carnivorous trees, illustrated here by comic book artist Kevin O’Neill. (These fantastic monsters wouldn’t be too out of place with the space-faring fungus hats that Jaron Lanier has imagined in synthetic biology’s future.)

Hats off to the winners. (In Gresswell’s case, perhaps that would be, “Heads off”…)

We also went out for dinner with the Eureka writing crew, including Jaime Paglia and Eric Wallace. For the record, any time you want to go out for a few bottles of Sangiovese and a couple hours of talking about Doctor Who, Torchwood, Veronica Mars, the OC and Friday Night Lights, you can count me in. For the complete inside dope from Eric (including their potentially disastrous Comic Con A/V snafu), go to Eureka Unscripted.

More personal Comic Con highlights after the jump.

Next year’s Quantum Quest movie – the Cassini probe gets deeply weird.

Elsewhere in weird NASA news, an Apollo astronaut claims there has been a massive alien cover-up conspiracy and gets the smackdown from the Bad Astronomer.

Standout t-shirt trend from attractive female Con attendees: “Joss Whedon is my master.”

I may have said this before, but John Barrowman is the proverbial (immortal, polysexual) man. And he also sings.

And onto the Torchwood panel:

John Barrowman is totally over the top. If anything, I now see Captain Jack as a toned down version of his actual persona. Sample exchange: “There is a lot of John Barrowman in Captain Jack. And a lot of Captain Jack in John Barrowman… And a lot of Ianto in Captain Jack.”

Another interesting Barrowman quote, “I would love to play Captain America.” Turn loose the rumor mill.

Season 3 of Torchwood is going to be five episodes covering one “very intense” story arc. According to Julie Gardner, “the Torchwood team has never been in this much jeopardy. Bad things happen.”

Filming on Season 3 starts in a few weeks and BBC America inked the deal this morning to carry the episodes.