It’s hard to imagine Hollis Mason, the first Nite Owl in Alan Moore and Dave Gibbons’s Hugo Award winning graphic novel Watchmen, being much of a fan of sabermetrics. He quit the hooded justice industry in order to become a mechanic, and he always did have a soft spot for the traditional values of Montana, where his grandfather learned the values he instilled into the young Mason.
Although the second Nite Owl, Daniel Dreiberg, exhibits a fair amount of similarities to his predecessor, he is less of a fighter and more of a thinker. Nite Owl II relies more on technology and gadgets than on toughness and physical prowess compared to the rest of his masked colleagues. His love for ornithology (the study of birds) is obvious given his bird-themed alter ego — not only is his costume designed to look like an owl, but so is Archimedes, his ship, named for Merlin’s pet owl in The Sword and the Stone.
To that end, Dreiberg contributed a piece called “Blood From The Shoulder of Pallas” to the Journal of the American Ornithological Society. In it, he discusses how scrutinizing over the details of birds can make us miss the beauty of it all.
Is it possible, I wonder, to study a bird so closely, to observe and catalogue its peculiarities in such minute detail, that it becomes invisible? Is it possible that while fastidiously calibrating the span of its wings or the length of its tarsus, we somehow lose sight of its poetry? That in our pedestrian descriptions of a marbled or vermiculated plumage we forfeit a glimpse of living canvases, cascades of carefully toned browns and golds that would shame Kandinsky, misty explosions of color to rival Monet? I believe that we do. I believe that in approaching our subject with the sensibilities of statisticians and dissectionists, we distance ourselves increasingly from the marvelous and spell-binding planet of imagination whose gravity drew us to our studies in the first place.
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