We Won’t Turn Into Crabs

Looking round me again, I saw that, quite near, what I had taken to be a reddish mass of rock was moving slowly towards me. Then I saw the thing was really a monstrous crab-like creature. Can you imagine a crab as large as yonder table, with its many legs moving slowly and uncertainly, its big claws swaying, its long antennæ, like carters’ whips, waving and feeling, and its stalked eyes gleaming at you on either side of its metallic front? Its back was corrugated and ornamented with ungainly bosses, and a greenish incrustation blotched it here and there. I could see the many palps of its complicated mouth flickering and feeling as it moved.

“As I stared at this sinister apparition crawling towards me, I felt a tickling on my cheek as though a fly had lighted there. I tried to brush it away with my hand, but in a moment it returned, and almost immediately came another by my ear. I struck at this, and caught something threadlike. It was drawn swiftly out of my hand. With a frightful qualm, I turned, and I saw that I had grasped the antenna of another monster crab that stood just behind me. Its evil eyes were wriggling on their stalks, its mouth was all alive with appetite, and its vast ungainly claws, smeared with an algal slime, were descending upon me. In a moment my hand was on the lever, and I had placed a month between myself and these monsters. But I was still on the same beach, and I saw them distinctly now as soon as I stopped. Dozens of them seemed to be crawling here and there, in the sombre light, among the foliated sheets of intense green.

  • H G Wells, ‘The Time Machine’

TRIGGER WARNING: THE SECOND IMAGE SHOWS A SPIDER, FIVE LINES BELOW THE FIRST.

As Wells’s Time Traveller approaches the end of the world, he stops his time machine and witnesses a cold, almost dead world populated by only a small number of remaining species. There’s the large butterfly-like animal in the sky. There are lichens on the rocks. There is the later tentacled thing in the water. Also, famously, there is the gigantic predatory crab. This is what I want to talk about now. For the purposes of ‘The Time Machine’ at least, H G Wells clearly expected one of the last terrestrial animals living on the surface of this planet to be a giant crab.

In Arthur C Clarke’s 1973 novel ‘Rendezvous With Rama’, which I’m about to spoil, one of the characters crashes his sky bike in an alien habitat to find it being “eaten” by a giant biological robot resembling a crab. So there: crabs again.

Thirdly, on a personal note I once tried to design a terrestrial animal without making any assumptions who could manipulate their/its environment, and found myself coming up with a crab. That is, a squat box of a body with incorporated mouth and sense organs at the front, bilaterally symmetrical with jointed legs and a pair of pincers. I can’t remember the exact reasons why this seemed a good idea at the time, and it would be good to do so because it might explain a certain tendency which has been observed and also exaggerated.

Okay, so there’s this thing called “carcinisation”. It’s been inaccurately described as “every living thing is evolving into a crab”. This is obviously not true. For a start, many living things are evolving into trees instead, and scorpions, pseudoscorpions and lobsters are all suspiciously similar, but there is indeed something about animals called crabs. It’s actually two different things. One is that we tend to use the word “crab” to describe a lot of different animals who are definitely not crabs and the other is that there are a lot of crustaceans who are very crab-like indeed, and their ancestors were often much less crab-like. I’ll start with the first bit.

So, there are horseshoe crabs, crab spiders and crab lice. None of these are crabs and with the possible exception of horseshoe crabs, nobody really thinks they are. This is a horseshoe crab:

By Shubham Chatterjee – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=27667459

I don’t think anyone thinks these are really crabs do they? The main part of their body is not longer than it is wide, is rather flattened and is covered by a chitinous exoskeleton, and they live in salt water and on beaches, so in that sense they’re like crabs, but they’re more closely related to crab spiders than actual crabs, whatever actual crabs are. They’re remarkable in all sorts of ways, but also remarkably, I’m not going to digress about them here.

Speaking of crab spiders:

. . .that’s what this is. These live in flowers awaiting insects landing on them such as bees, and they’re unusual for British land animals because they can change colour to camouflage themselves against their backgrounds. They look a lot more like crabs than their relatives. By “crab”, I mean the classic flat and wide bodied decapods with claws.

Then there are these delightful individuals:

By Doc. RNDr. Josef Reischig, CSc. – Author’s archive, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=31557499

It’s unfair to judge parasites for their life styles. Nobody ever asks to be an obligate parasite as far as I know. Then again, we presumably have our own instinctive revulsion of organisms, which we can’t really help either. Actually we can, but it can be difficult. I used to be a koumpounophobe, so I do realise people can’t do anything about this stuff unless a miracle occurs (which it did for me). I mean, you can have therapy I suppose. These are of course insects and there are only two species of them, whose other lives on gorillas. This makes me wonder why it’s just them and us. They can also live on eyelashes, particularly children’s, and that’s a whole rabbit hole I’m not going to talk about. Presumably they’re that shape because it makes them harder to catch, and like head and body lice they’re dorsolaterally compressed, and I think they cling on with their front legs. And they’re not crabs.

Seeing as I’ve mentioned crab spiders, I may as well mention spider crabs. I won’t be showing a picture of them because of arachnophobes who might be reading this, but they’re not spiders but crabs. Or are they? This brings up the whole issue of what a crab is. This is yer bog standard crab:

Hans Hillewaert Description Cancer pagurus Linnaeus, 1758 English: Edible crab form the Belgian part of the North Sea. Date 6 March 2006 Source Own work

Now this is definitely a crab. As the caption says, they’re Cancer pagurus, the so-called “edible crab”. I don’t know about you, but I’d be a little disturbed if some Dannelian decided to call me an example of an “edible human”, and it seems a bit unfair to define their identity in this way. In a way of course, they do crawl around being edible, but then many other animals do, not always by humans but by some other species. Also, we don’t call sheep “edible sheep”, and other species of crab can be eaten, so why?

Anyway. . .

This is a crab, that much is for sure, and there are other species of crab related to them who are presumably also crabs, such as the swimming crab:

By Didier Descouens – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=8404985

This is also definitely a crab, whose back legs are specialised for swimming, and I’d be gobsmacked if this species turned out not to be closely related to the previous one. This makes me wonder how much crabs who are not crabs resemble crabs who are. Nonetheless, there is this thing called carcinisation.

The issue was first raised formally in 1916 by the zoölogist Lancelot Alexander Borradaile, who referred to it as:

… the phenomenon which may be called “carcinization” … consists essentially in a reduction of the abdomen of a macrurous crustacean, together with a depression and broadening of its cephalothorax, so that the animal assumes the general habit of body of a crab

  • British Antarctic (“Terra Nova”) Expedition, 1910–1913. Natural History Report. Zoology3 (3). British Museum: 111–126.

What he meant by this was that many crustaceans evolve in the direction of having a carapace wider than its length, the belly side is fused into a kind of breastplate similar to that of a tortoise, turtle or terrapin, and the rear portion is flattened and bent over, completely invisible from above. The crucial feature distinguishing true crabs from merely carcinised crustaceans is that the latter only have six walking legs. Hence the porcelain crabs, for instance, are not true crabs:

By J. Antonio Baeza – Baeza, J. Antonio (10 March 2016). “Molecular phylogeny of porcelain crabs (Porcellanidae: Petrolisthes and allies) from the south eastern Pacific: the genera Allopetrolisthes and Liopetrolisthes are not natural entities”. PeerJ 4: e1805. DOI:10.7717/peerj.1805., CC BY 4.0, https://commons.wikimedia.org/w/index.php?curid=47470579

These have three pairs of legs plus claws at the front, so they presumably started off with four pairs and the front pair became claws. In fact, one particular porcelain crab is said to be “hypercarcinised” in that they are not only crab-like but the males have a smaller pleon (the bent-forward underside bit) than the females, which is also the case for true crabs. This is the crab in question:

By J. Antonio Baeza – This file has been extracted from another file, CC BY 4.0, https://commons.wikimedia.org/w/index.php?curid=47628248

Crabs have apparently evolved five times, or rather the crabs who are still around today are of five only distantly related lines. There are the hermit crabs, who are distinctive in being asymmetrical and gave rise to the coconut crabs:

These are the largest land-living arthropods of all, weighing four kilogrammes and are almost a metre across with their legs spread out, and they don’t spend much time in the water at all. Adults actually drown in water, so their arrangement is like amphibians, with larval forms in the water crawling onto the land to become adults. Their affinity to hermit crabs can be discerned through their relatives the king crabs, who are still asymmetrical, which hermit crabs need to be so they can fit themselves into whelk shells. And of course hermit crabs are not crabs. Along with porcelain crabs, they belong to the order anomura rather than the true crab order brachyura. They’re related to squat lobsters:

By Matthias Buschmann (M.Buschmann) – Own work, CC BY-SA 2.5, https://commons.wikimedia.org/w/index.php?curid=1729257

Hermit crabs might be described as needing to live in shells (they also live in rubbish like bottle caps) because their exoskeletons are too soft, but it also makes sense to say they save themselves the bother of growing hard carapaces by using shells instead. Some other animal builds the armour, dies and they then recycle it.

A further, related example is the king crab:

By The Children’s Museum of Indianapolis, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=17133782

Hairy stone crabs are yet another example:

By Michael Marmach – https://collections.museumsvictoria.com.au/species/8663, CC BY 4.0, https://commons.wikimedia.org/w/index.php?curid=137332771

Although all the other examples given so far are crustaceans in the infraorder anomura, whereas true crabs are brachyura, that’s not an order exclusively of crabs and their ancestors weren’t crab-like. There’s a further, long-extinct, example, consisting of an entire order, the cyclida, living from the Carboniferous into probably late on in the age of (non-avian) dinosaurs, who looked like this:

By Hemiauchenia – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=127979567

Palaeontologists disagree about what cyclids were. Although they’re usually considered crustaceans, a minority believe they were chelicerates, i.e. related to spiders and horseshoe crabs. If so, it’s all the more remarkable that they’re like crabs.

To a limited extent, turtles are somewhat crab-like, although since they lack the general body plan of arthropods they aren’t that similar. All of the crab-like animals mentioned here are arthropods. Crab lice and crab spiders are apparently merely coincidentally crab-like, as they live out of the water.

What, then, are the pressures that tend to make decapod crustaceans into crabs? Well, the living examples are all decapods, which incidentally seems to specialise in convergent evolution as it also includes the scorpion-like lobsters and crayfish, so they have somewhat similar genes which may mutate in the same direction. The intermediate forms are usually like squat lobsters. Although none of their ancestors were similar to crabs, they were in fact similar to each other. The ancestor of the true crabs was also, unsurprisingly, not particularly crab-like:

By Gerhard Scholtz – Eocarcinus praecursor Withers, 1932 (Malacostraca, Decapoda, Meiura) is a stem group brachyuran Arthropod Structure & Development, CC BY 4.0, https://commons.wikimedia.org/w/index.php?curid=97615916

This, Eocarcinus, was early Jurassic and once again somewhat squat lobster-like. I don’t know how much cyclids and early brachyura overlapped, but I suppose it’s possible that the latter were “new and improved” and edged the others out, presumably sideways.

There are other factors. Their relatives flex their hind ends to escape rapidly but because crabs’ are bent under, this is no longer possible and they have to run instead. This is also true of coconut crabs because they live on land, so they don’t have the advantage of pushing themselves around in water.

All this, of course, is an example of convergent evolution, although in fairly closely related animals who already have the genetic precursors and appropriate environment to help them do so. To clear up the big myths, this is not an unusual process and not everyone is turning into a crab. Humans have lost their tails, are dorsoventrally flattened and have grabbing hands, but we’re not becoming any more crab-like than that and apart from the opposable thumbs, these are not to do with the pressures on crabs to go that way. Even so, it’s conceivable that because this process also leads to front claws that can manipulate objects and is encouraged by living out of the water, other intelligent life forms in the Universe might actually look like crabs, which explains the Macra on Doctor Who.

To me, there is a much more spectacular example of convergent evolution in the form of pitcher plants. We have for a few years now had Nepenthes pitcher plants growing in our utility room:

A while back, I also tried to grow Sarracenia but it died:

These are trumpet pitchers and are in the same order as heather. They mainly grow in Canada, which is why I thought they’d be fine here in England, but actually they died, possibly because I accidentally chose a species native to subtropical North America instead. The Nepenthes, though, have thriven. These are Old World tropical plants in a huge order including cacti, chickweeds and soapwort, although there are so many of them that this is a pretty arbitrary choice of examples. A third lot of pitcher plants is in the bromeliad family along with pineapples and papaya, including tank bromeliads, which are quite amazing. They have a whorl of leaves, really blades as they’re related to grasses, in whose centre rainwater collects and into which, like the others, insects fall and are digested. Unlike the other pitcher plants, though, tank bromeliads have entire ecosystems living in the water too, including frogs and salamanders. One example of a tank bromeliad is Brocchinia reducta, one of three carnivorous species of the plants:

It’s fairly easy to understand how a bromeliad could become carnivorous. Pineapples and papaya both contain enzymes which break down protein (proteases). Pineapples also have a whorl of leaves at the top which would collect rainwater. In a tropical environment, leaf litter and also dead insects are likely to fall into this water, and in the latter case drown. From this, it’s a small step to them eating insects, using them the way other plants use leaf litter and decaying animal life to fertilise their roots. Incidentally, in a side note, it’s also easy to see an affinity between pineapples and sweetcorn cobs.

A further example is Cephalotus follicularis, the Australian pitcher plant:

By H. Zell – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=56478465

Once again, the same thing has happened and this time the plant is a lot more like Nepenthes, but again is not closely related to any of the others. Thisses family contains just this single species, but they’re related to wood sorrel and a number of other plants more familiar to Europeans.

Apparently this has happened eleven times. In the case of Nepenthes, two species have symbiotic relationships, one with treeshrews and another with bats. The bats roost inside the pitchers and poo into them, and the treeshrews use them as toilets, in both cases providing nitrogen. Pitcher plants sometimes appear to be related to flypaper trap plants such as sundew, which operate by having sticky leaves which trap insects, and may either be evolving into pitcher plants or have evolved from them. Again, this has happened several times in unrelated lineages.

There are many other examples. Koalas, for instance, have fingerprints indistinguishable from ours and also opposable thumbs, although in their case both the first and second digits are involved. That occurs in humans sometimes in a condition known as Robinow Syndrome, which I don’t actually consider to be a valid syndrome so much as an individual variant. There’s also the very obvious ichthyosaur/dolphin/sawfish business.

So carcinisation, though interesting, certainly doesn’t mean everyone will eventually turn into a crab. Some carcinised species have also become less crab-like over time. For some reason, people have latched onto it and turned it into a seemingly bigger thing than it really is. It’s interesting, and it’s a good example of convergent evolution, but I very much doubt that any of my descendants will ever be living on a beach with a carapace and claws.

Disappointed By ‘Dune’

I attempted to watch the 2021 (CE) ‘Dune’ last night and had high expectations. I was disappointed and gave up after an hour or so. However, I should point out I was of necessity watching it in HD rather than 4K on an 80 cm telly without surround sound, about which I was already trepid due to the fact that it seems to be very much a cinematic experience. The best, or possibly only, way to watch it is probably in an IMAX cinema.

I’ve been putting it off for a while. When it was first released, the Covid issue and other reasons why I’m tied to this house prevented me from going to see it as it was “intended”, but I heard good reports about it. Later on, the rental price was ridiculously high, at something like £15.99, which was also off-putting. I can understand the need to recoup costs in difficult circumstances, so I’m not just going to put that down, as many others have, to greed on the part of the studio. I do wonder if the strategy worked, since it’s now been reduced.

But then I ask myself, if a film relies on spectacle for its impact, is it actually worthwhile anyway? Sometimes I think it is. For instance, there’s an ’80s film I can’t track down about a woman going blind which is visually very lavish because it emphasises what she’s losing. I also understand that another SF film, ‘2001 – A Space Odyssey’, hugely benefits from being seen in its original form in Cinerama. Incidentally, a number of films made in the late ’60s and early ’70s have a “trippy” scene like the one in ‘2001’, such as ‘Charly’ and ‘Willy Wonka And The Chocolate Factory’, with the tunnel scene, which very much chime with the Zeitgeist and exploit the medium of cinema well. I’m not sure how the parents of the children watching ‘Willy Wonka’ would’ve felt about the likelihood that that scene may have packed the auditorium out with a load of long-haired smelly hippies, as they would’ve seen them, but there it is.

I actually feel quite strongly that science fiction cinema should be low-budget and have low production values. ‘Primer’ and ‘The Cube’ both have tiny budgets. ‘The Cube’ mainly involves a single set lit in different ways to make it look like different rooms and cost only $350 000. ‘Primer’ was much lower, at $7000. Even ‘Dark Star’ only cost $60 000, although that was mid-’70s so in 2021 dollars that would be 350,000 (I’m having trouble with the blog editor messing up number formatting here). SF is a number of things, but for me two aspects of it are crucial. One is that it’s a genre where ideas replace protagonists, or perhaps are the protagonists, as with the Big Dumb Object approach seen in ‘Rendezvous With Rama’ and ‘Ringworld’, but often in more abstract ways as in ‘The Ones Who Walk Away From Omelas’. The other is that it has to be fiction whose plot depends non-trivially on the setting. I came up with this criterion specifically to exclude ‘Star Wars’, which I hate and despise, from the genre. The ‘Star Wars’ franchise has many issues, but a significant one is that it attempts to tell sword and sorcery fantasy tales in a space opera setting to demonstrate that certain aspects of the human condition are eternal and universal, and this means that the setting only exists to demonstrate that things are still the same, even though the characters don’t even share ancestry with Homo sapiens. There is nothing wrong in principle with fiction whose plot is independent of the setting or even trivially dependent upon it, although I suspect that the execrable ‘Number One Ladies’ Detective Agency’ is this so there is a risk of poor quality because of that, but it does place it outside the genre.

‘Dune’ was significantly heavily plundered by George Lucas for ‘Star Wars’ although the latter has many other elements which are not linked, such as Buck Rogers and Flash Gordon, and probably Tolkien too. This is unfortunate for a 2021 film though, because it may give the viewer the impression that it’s derivative rather than ‘Star Wars’. It’s very like the tendency for children’s CGI films to be pre-empted by inferior copies being released earlier because they take less time to render than the better quality Pixar films, which happened a lot in the ‘noughties. Without the awareness that Frank Herbert invented a lot of the tropes which ended up in George Lucas’s films, ‘Dune’ looks like a rip-off of that franchise, when it very much is not.

The problem with big budgets in films is that they are often used to make them visually impressive while detracting from the quality of the script and plot. It would be unfair to accuse ‘Dune’ the film of having too many fight scenes because the book also has those, but I remember thinking that the film of ‘Prince Caspian’ was completely ruined by having a ridiculously long battle scene in it, presumably because it needed to compete with ‘Lord Of The Rings’. Herbert did take pains to force his future universe to behave as if it was like our world of a few centuries ago, by outlawing AI and contriving to make melée weapons necessary, so the presence of long, tedious fight scenes and a fair bit of associated machismo is at least in keeping with the tone of the book. This is also balanced by the rôle of soft power and women in the story, although to describe the manipulations of the Bene Gesserit as “soft power” isn’t really accurate. At the same time, there isn’t necessarily anything wrong with a film mainly being a spectacle, and it might even make sense to go further in that direction to keep cinemas alive.

One way in which ‘Dune’ bucks the trend, inherited from the novel itself, is its positive portrayal of Middle Eastern culture and the associations with Islam. Being written in 1965, Herbert’s story long pre-dates the resurgence of Islamophobia in the ‘noughties. That said, it does very much portray religion as primarily an instrument of social control, although there is also the apparent existence of psi abilities. In the film, the latter is clearly present. The author appears to treat Arab culture and Islam respectfully throughout the first novel (I say that because I haven’t read any further). It’s refreshing to see that done in a 2021 Hollywood blockbuster.

I’ve got this far without mentioning the David Lynch version! One of the many problems with that appalling version was that it had an all-White cast when none of the protagonists in the novel were White. This is addressed to some extent in the casting of Villeneuve’s version, although it would be difficult to portray the thorough mixing of ethnicities the novelist assumes to have happened in the many intervening millennia. Evolution has also altered Fremen physiology, so there are biological differences, some of which are genetically engineered, and there are also millennia-long breeding programmes which are supposed to reach their climax in the birth of Jessica’s daughter, but the problem is that she chose to have a son first.

One positive from the previous film is that it at least attempts to portray the space-folding technique used to travel between the stars, although in a very weird and off-putting way. This is completely absent from the new version, which is significant because Spice is economically central to the Imperium as a means of enabling interstellar travel. It would’ve helped to have shown that in order to emphasise the in-universe realities of its central position.

Herbert advocates a right-wing position in his novel, that the basic state of human society is feudal. He was also writing against Asimov’s ‘Foundation’ series, where sociological predictability is central and the emergence of a mutant who can influence society through their new abilities disrupts the plan for preserving civilisation. This was a quasi-socialist position, although Asimov was merely a liberal. Herbert’s reply to Asimov is to portray a society where an individual mutant, or at least a carefully bred sport whose existence depends on an individual decision to go against the plan, makes a huge positive difference to a society. The way Hollywood works is to have heroines and heroes struggle against enormous difficulties and achieve resolution through strength of character, although there is sometimes emphasis on teamwork and family values too. ‘Dune’ lends itself fairly well to this approach. The approach, however, seems to be carefully engineered to bring a situation which reproduces the social conditions of the European Middle Ages. The emphasis on families wielding power can be seen as arising from powerful companies, as it sometimes does today, but on the whole large capitalist enterprises are more democratic than that because of shares and floatation on the stock market. I don’t think it’s really explained how humanity ended up back in the position of having powerful houses, religious organisations and guilds controlling everything when it had become thoroughly capitalist by the twentieth Christian century.

All this, though, may be the reason I didn’t enjoy the film. It’s a bit like ‘The Restaurant At The End Of The Universe’ in a way. You get to the very end of the span of time during which intelligent life exists, and the economic system is still as it ever was, there has never been a utopia and so forth. Likewise, ‘Dune’ is estimated to be set something like 30 000 years in the future, which is a lot closer to the present day, but the basic social order is not criticised so much as taken as a given. I think I would prefer a world to be presented either as a utopia or dystopia. That said, it may be more realistic to recognise the future as neither, and again this chimes with what political conservatives would see as realism. Moreover, this was in the original novel. If it comes across in the film too, that would seem to be a successful adaptation rather than either a failing or a negative aspect of the work.

When it comes down to it, what I think has happened is that I haven’t really seen ‘Dune’ and may not in fact ever do so. In order to see this film, you have to go to the cinema, and possibly to an IMAX to watch it. I didn’t do this, so maybe I haven’t got any valid grounds for criticism. Nonetheless I did rapidly lose interest. My fault probably.