JOHN OSTRANDER: Devil’s Advocate – Iraq
I’ve got something nibbling at my mind and perhaps the only way for me to sort it out is to put it into words. It has to do with our adventure in nation-building, a.k.a. the Iraq debacle.
I’ll start by saying that I was for the invasion of Afghanistan. Then and now, it seemed to me the necessary response to 9/11. Al Quaeda appeared responsible; they had their camps in Afghanistan with the full knowledge and support of the Afghan government, the Taliban. You get hit, you hit back at the ones who hit you. Hard. As Al Capone said, “That’s the Chicago way.”
On the other hand, I was not for the invasion of Iraq from the beginning and I said so. I didn’t buy the “imminent danger” from the “weapons of mass destruction,” especially since there were UN weapons inspection teams on the ground inside the country. The fact that the Bush Administration was so stridently insistent made me ask “What else is going on here?” At first I thought it was about the oil (and now Alan Greenspan says it was); I came to believe that it was a NeoCon vision of transforming the MidEast by creating a functioning democracy in the middle of it. Now I think it’s about the oil, about the NeoCon vision, and certain select Bush-friendly companies making a bucket of money there.
I believe that the NeoCons thought that the Iraqis in exile would just step in, set up a new government, we would be hailed as liberators, and it would all be done in six months. I believe it was on the agenda to do before 9/11 happened; that tragedy just enabled the Bushies to push the plan through without thinking it through. The only plan the current administration seems to have for dealing with the mess is to leave it for the next administration to clean up. Instead of nation building, we seem to have created a geographical area of chaos. It’s a constant drain on both our military and our national finances; Iraq seems like an open wound.
My disgust with all of this is long standing. We had no business going into Iraq in the first place. The WMDs were a lie and the Administration knew it or, at very least, should have known it. The Dems were elected to Congress on the promise to end the war and the low low low approval rating of Congress at the moment stems on their failure to even staunch the flow. Since I didn’t believe we should be there in the first place, it stands to reason that I think we should get out at first opportunity.
BUT. . .
Colin Powell is purported to have said to Bush about Iraq before the invasion that “If you break it, you’ve bought it.” And there’s my problem. I think there’s truth to that. Before we invaded, Iraq was a functioning country: it had electricity, people had jobs. Yes, it also had a murderous dictator in charge; lots of places around the globe do and we don’t seem to have bothered ourselves about them.
So now what have we got? Sect fights sect and sects fight internally and they all hate us. It’s chaos and we brought it. We, the People. This country. You, an individual, may have, like me, been against the whole misbegotten enterprise from the start but I’m talking about the collective We. The We that elected not only the President but the members of Congress that sustained him, as well as the Democratic Party that has no spine. (more…)
A little mini-browsing around the internets the last few days has come up with the following:
Coming this October to ComicMix –The Adventures of Simone & Ajax! This is the story of Simone, a fun-loving 20-year-old girl, and Ajax, her friend who happens to be a small, green dinosaur. Together they find themselves in a series of strange and wacky adventures, taking them to many different lands, times, and places. Simone is not so much the leader of the duo, but more the instigator, looking to have fun and often acting before she thinks, getting herself and Ajax into trouble and so into their adventures. She’s not dumb, just over-zealous. Ajax, the dinosaur, is the more sensible of the two. While deep down he loves adventure, too, he’d rather ponder and worry before leaping into the fray.
As I’ve mentioned before, I’m not exactly what you would call an early adopter. I’ve tended to view many modern trappings more like modern traps. I readily admit to being one of those mean people who applauded when Apple lowered the price on its iPhone, a product I anticipate never needing nor owning, nodding at the observation that the $200 extra for the debut version (sold to people who actually queued up to buy an expensive status symbol readily available in plentiful quantity in stores and online) should be considered a sucker tax. I believe our affluent society is way too dependent on and obsessive over technological conveniences which will either soon achieve sentience at which point we’ll happily welcome our electronic overlords, or will utterly break down at the next super-solar flareup and leave us with the self-reliance level of children.
Fresh off Day One of the new TV season, The Big ComicMIx Broadcast plunges ahead with out preview ComicMix Phase 2 as we discuss our Thursday series, Black Ice! Comics legend Mike Baron explains how being in the right place at the right time helped get this creation on the road. Plus we talk to some of the first people to get their hands on HALO 3, preview the new comic from the ACLU, cover this week’s new comics and DVDs and if that wasn’t enough, cap it off with a trip back for the "comeback cop."
Comic fans love to play imaginary casting games. Now that comic book movies have become big business, the folks with real money have the means to make those games come true. Here’s the latest casting news, both rumored and factual (at least for now):
Last week, before I so rudely interrupted us, we were discussing the merits of writing comic books using the “full script” method, in which the writer produces a first cousin to a movie script, with visual directions as well as dialogue and other verbal stuff. Now, we should examine he advantages of working in what has come to be called the “Marvel style.” With this method, you will remember, the writer first does a plot and the penciller renders this into a visual narrative. That’s conveyed to the writer who then adds dialogue and captions and, often, indicates where the balloons and captions should be placed by drawing them onto copies of the artwork.
