Can you imagine in the Current Year our Cultural Marxists-entrenched media and their Glavlit-inspired approval and publishing apparatus allowing a science-fiction hero to be a (1) white, (2) heterosexual, (3) male and, (4) this is the real icing-on-the-cake, also a brave Confederate war veteran? In 2017, no – no, you cannot. It would be unpublishable today.
To be fair, Disney did produce and release a film adaptation of Edgar Rice Burroughs southern hero sci-fi western story in the 2012 under-performing and, very importantly, under-marketed John Carter of Mars. The film was completed in 2010 and finally released in 2012 – in Culture War years though, that might as well have been a lifetime ago. Do you think the general public was arguing about trannies using bathrooms in 2010? Life comes at you fast when the Left keeps moving the degenerate goal posts – I imagine normalizing polyamory or pedophilia will be next.
In today’s pop (and mainstream pulp) fiction, almost every single original character, specifically, protagonists that are white straight males (WSMs – the Left’s most hated and loathed society member) have been or are quickly being replaced by non-whites or undergoing gender reversal. It’s completely pervasive and a new story of this framed “cool new twist” occurs on nearly a daily basis.
Aquaman (and Conan the Barbarian) is a Pacific Islander. The Ghostbusters are all-female (what a failure). The Magnificent Seven are mostly non-white. Roland Deschain will be portrayed by a black Brit (Idris Elba – who the shitlibs are enthusiastically begging to be the next James Bond and he already besmirched Heimdall’s legacy). Samuel L. Jackson is Nick Fury. Iron Man is now a frizzy haired super intelligent colored woman (going off the deep end on the fiction there). Thor, the God of Thunder, is a miscegenating woman. Captain America (or some iteration of the character) is black. Comic-book Spider-Man is black, while film Spider-Man is white – his girlfriend, who is traditionally white with red hair, is now a half-breed. Ocean’s Eleven is being remade yet again (why?) with an all-female cast.
Will Smith seems to be cast for exclusively traditional white-roles: Robert Neville in the barely tolerable I Am Legend (I’ll take Charlton Heston and Vincent Price any day over Smith), Del Spooner from the forgettable I, Robot, Captain James West in the truly terrible Wild Wild West, Deadshot in the mediocre Suicide Squad, Agent J in the plebeian Men in Black, etc.
That’s not even counting the vast amount of non-whites and females that occupy the former WSM protagonist space in “new” content (most everything nowadays is either a remake or re-imagining of a better and far superior original work). From Star Wars to prime-time police procedurals, nearly every central character (and many supporting) is an advocate of “girl power” or is a strong proud [insert race other than white]. Even for fiction, it’s laughable to watch Charlize Theron single–handedly pummel dozens of grown men in the upcoming flop Atomic Blonde or (((Scarlett Johansson))) snap the necks of scores of beefy Russians in The Avengers (or one of the other mindlessly derivative hacky Marvel films).
When even pointing out the racial and/or gender displacement, the loser fanboys that worship both these ludicrous fantasies, as well as, their WSM replacements, they usually respond with, “Hey, why do you care?” I typically respond with, “no amount of suspension of disbelief is going to hoax me into accepting that Jennifer Lawrence can physically subdue a man – that is, unless she’s on her knees or on her back.” You’d think that I’d had taken a shot of whisky in front of the Temperance League with the amount of white-knight pearl clutching.
Confederate Captain John Carter traveling to and adventuring across Mars is more believable than a hunted and exhausted Katniss Everdeen drawing a bow, much less leading a successful rebellion.
For those unaware, John Carter is a proud Virginian and is transported to Mars and is the hero in Edgar Rice Burroughs’ Barsoom series. Carter debuted in 1912 in a magazine serial (All-Story Magazine) which later became a novel – in turn a series was made. Burroughs also created the now “problematic” (per the SJW crowd) Tarzan series. Why problematic? Because a white man is in control of the jungle.
A Princess of Mars was the first of the Carter series – full of high adventure, swashbuckling action and traditional heroics, Burroughs’ work is considered a pulp fiction classic. It also includes the (at the time) innovative concept of a cross-planetary relationship (he’s a man from Earth, she’s a Red Martian). Modern-day shitlibs like to describe Burroughs’ Carter as the embodiment of a space-faring racist, a “white savior” imperialist, and an all-round evil-doer. But, even as an Alt-Righter, I can tell you that’s one hell of stretch. Is it miscegenation if it’s with a humanoid race of Martians that are oviparous? Seems cucky to me, but I’m not going to hold it against him.
But, what’s important about Carter’s adventures is – it’s part of our Western heroic tradition. It’s value to our youth, like our established Western myths and legends, is incredibly important (which is why the Left wants to suppress anything close to resembling a WSM hero). Young men need heroes. Burroughs’ work was extremely popular not just for daydreaming young men a century ago, but the public at large.
Now, I’m not putting A Princess of Mars on the same level as say, the Iliad, the Song of Roland or even Tolkien. But, it certainly has its place in inspiring young men to do more than cheer for the “other” (as Modernity™ would like for us to do) and promote healthy notions like heroism, honor and bravery.
Burroughs, born in Chicago, was very much interested and proud of his English roots – both his Massachusetts’ Puritans, but also his Virginia relatives. Seeing his Virginia relatives as more romantic and prone for war, he emphasized his connection to that side of his family. It explains his fascination and reverence for the antebellum South and making his protagonist a Virginia cavalier – something that would never happen in the Current Year (surprised Disney even included it in the film version, but I suppose it was too integral to the character to be “updated,” though I wouldn’t put it past them to reboot the film and remove that connection in today’s anti-Southern and anti-Confederate climate).
Per the Left, Carter in his original and true form is unpublishable today. A former Confederate Captain, Burroughs describes him as a “southern gentleman of the highest type.” Early in A Princess of Mars, Burroughs explains “slaves fairly worshipped the ground he trod.” Current Year doctrine demands that all slaves be whipped for the most insignificant infraction and hating their masters with a burning passion. If published today, the NAACP would be boycotting (really just a modern-day shake down) the publishing house at the drop of a hat.
In addition, Captain Carter battles with a race of four-armed savages (the Green Martians), described as each a “huge and terrific incarnation of hate, of vengeance and of death.” Burroughs is clearly connecting the Green Martians with the Apache (who Carter was fighting before being transported to Mars). Unlike James Cameron elevating the Na’vi to “noble savage” sainthood in Avatar (the audience is directed to root for them over the humans), Burroughs does not portray the Green Martians in flattering terms: they are primitive, nomadic and barbaric, do not form families or civilization and enjoy torture.
Below is an excerpt from A Princess of Mars, it highlights masculinity and action. If you think it would be published in the Current Year, I’ve got some ocean front property for you…on Mars.
“I ask you to be my wife, and by all the Virginian fighting blood that flows in my veins you shall be.”
“No, John Carter, it is useless,” she cried, hopelessly, “I may never be yours while Sab Than lives.”
“You have sealed his death warrant, my princess—Sab Than dies.”