Firestorm on Trial, Part 2

As mentioned at the end of the previous post in this series, Felicity Smoak’s particularly claim against Firestorm appears to be malpractice.  Firestorm asks “Wait a second, come on…you’re not serious. How can you sue me?” to which she replies “Ever hear of malpractice, flamebrain? Read some newspapers.”

So how about it?  Could a superhero be liable for malpractice (apart from ones like Daredevil or Dr. Strange, of course)?

I. Who is Liable for Malpractice?

We commonly think of malpractice as being something that only doctors need to worry about, but medical malpractice is only one kind of malpractice.  Attorneys certainly worry about legal malpractice, and accounts and others can also be liable for professional malpractice.  But what about superheroes?  In New York at least, I think the answer is no.

The highest court in New York, the Court of Appeals, has defined malpractice as “professional misfeasance toward one’s client.” Chase Scientific Research v. NIA Group, 96 N.Y.2d 20 (2001).  Over the years before the Chase Scientific case, the scope of nonmedical malpractice liability in New York had grown, perhaps even enough to include superheroes.  Cases held that it covered attorneys, accountants, engineers, insurance brokers, surveyors, and even landscapers. Roizen v. Marder’s Nurseries, 161 Misc.2d 689, 691 (Sup. Ct. 1994).  And then the state legislature made some amendments to the statute of limitations rules for nonmedical malpractice, which gave the Court of Appeals a reason to consider the definition of a “professional” in Chase Scientific.

In that case, the court held that the legislature intended to include only a few discrete groups sharing qualities such as “extensive formal learning and training, licensure and regulation indicating a qualification to practice, a code of conduct imposing standards beyond those accepted in the marketplace and a system of discipline for violation of those standards.” Chase Scientific, 96 N.Y.2d at 29.  Basically, according to the court, that means architects, engineers, lawyers, and accountants.

That’s a pretty tough bar for superheroes to meet.  They don’t really have formal learning or training.  In the DC Universe there are hints and references to superhero or “meta-human” registration laws that give superheroes certain benefits, such as the ability to testify in costume under the DC Universe’s fictional version of the 12th Amendment.  That might count as “licensure and regulation indicating a qualification to practice.”  We could even assume that the licensing system comes with a code of conduct and a system of discipline, but that’s a bit of a reach.

But even assuming that Smoak somehow manages to convince a court that superheroes are a new professional class, she would still have to show that Firestorm had a professional-client relationship with the company that owned the computer disks that he ruined.  No professional-client relationship, no malpractice.  There might be ordinary negligence, of course, but there can’t be malpractice.

Could there have been such a relationship here?  Taking on work for profit is not a requirement, or else doctors and attorneys doing charity work would be immune to malpractice claims.  But what about someone like Firestorm who is minding their own business, sees someone in need, and swoops into help with the imperiled person’s implied consent?  Can a professional-client relationship be formed in such circumstances?  The answer is yes.  Those kinds of situations are one of the major reasons why Good Samaritan laws exist.  So there could have been an implied professional-client relationship, but it’s probably a moot point unless New York’s laws changed (either its superhero licensing or its malpractice laws).  But just for fun, let’s run with this argument a little longer.

II. What is the Standard of Care?

One of the main features that distinguishes malpractice from ordinary negligence is the standard of care.  In ordinary negligence the standard is reasonable care.  In malpractice the situation is more complicated.  For an attorney in New York it’s something like the “degree of skill commonly exercised by an ordinary member of the legal community.”  Thaler & Thaler v. Gupta, 208 A.D.2d 1130, 1132 (Sup. Ct. App. Div. 1994).  For a doctor the rule is especially complex, taking into account the standard of care in the local community, developments in the science of medicine, and the degree of specialization.  It’s that higher standard of care that makes suing for malpractice rather than ordinary negligence worth the trouble from the plaintiff’s point of view.

The practical upshot to all this is that, if superheroes were subject to malpractice liability, it’s very likely that the superhero standard of care would vary from place to place.  Areas with a lot of “A-list” superheroes (e.g. New York, Metropolis) would demand a high level of care: fast service, minimal collateral damage.  People in Milwaukee might not be able to expect quite that level of service.

III. Conclusion

As we concluded last time, Smoak might have a negligence claim against Firestorm.  It relies on some novel legal arguments, and in my opinion it’s pretty tenuous as a factual matter, but I think it’s a good faith claim.  The malpractice claim is a lot shakier.  Back in the early 1980s it might have still had a prayer, but I think only because the Court of Appeals hadn’t really seriously considered the subject.  Once the topic came up squarely on appeal it had no trouble significantly constraining the definition of malpractice even in the absence of specific language in the statute defining “malpractice” or “professional.”  So probably no malpractice liability for superheroes, at least in New York.

We haven’t seen the last of Felicity Smoak, though, nor the last of Firestorm causing trouble for her business.  Things only get worse from here, so stay tuned!

Arrow: “Innocent Man”

Innocent Man” is the fourth episode of Arrow, and once again, Laurel Lance’s role as an attorney takes center stage. The plot this time centers on Peter Declan, a man convicted of the murder of his wife and daughter and scheduled for imminent execution. Oliver deduces that Declan is connected to one of the people on his list, so he does a little digging and figures out that Declan is probably innocent. So he goes to Laurel, hoping that she can intervene in Declan’s case. So we’re talking about post-conviction relief. Continue reading

Firestorm on Trial, Part 1

Today’s post brings us back to the world of comic books and begins a series of posts about the legal troubles of Firestorm, as detailed in The Fury of Firestorm #23-50.  The stories were primarily written by Gerry Conway, who later went on to write for Perry Mason and Law & Order, so we should be in for a treat.  Thanks to the reader known only as Methane for bringing this great story arc to our attention.

The story is set in New York, so we will use the law of that state where possible.

In the first part of the arc we are introduced to Felicity Smoak, the litigious software company manager who we’ll be seeing a lot more of soon.  While flying over Manhattan, Firestorm sees a freight train about to go over a bridge into the Hudson.  Using his powers over matter, he (or is it they? Firestorm is confusing) converts some nearby scrap metal into a giant magnet and hoists the train to safety.

Unfortunately, the freight the train was carrying was “five carloads of computer chips and software disks,” which were ruined by the magnet, costing Smoak’s company eight million dollars. She indicates that she plans to sue Firestorm to recover the losses.

Setting aside the issue of squeezing blood from turnips, does she have any kind of a case? It’s not clear how many people were on the train, but since this was set in the 1980s, there was surely at least a conductor, and there’s some indication that Smoak may have been on the train as well. Firestorm says “you were going to crash”, and she is standing next to the train when Firestorm lands.

Basically, Smoak is alleging negligence on Firestorm’s part. This is a fair point.  He undertook to rescue the train and the people on it, which created a duty of ordinary care. “Under New York law, one who assumes a duty to act even though gratuitously, may thereby become subject to the duty of acting carefully.” Kaplan v. Dart Towing, 159 A.D.2d 610, 612 (Sup. Ct. App. Div. 1990). So the question is, would a reasonable person exercising ordinary care have done what Firestorm did? Was there some other way Firestorm could have saved the train that was even less likely to have side effects for its potential cargo yet still be as effective? Would a reasonable person exercising ordinary care have ever even thought about the possibility that the cargo might have been sensitive to magnetism, especially in the heat of the moment?

My guess is that, even if Firestorm could have saved the train in an equally effective but ‘safer’ way, the thought that the train might have been carrying magnetically-sensitive material would not have occurred to the ordinary reasonable person, especially in 1984.

That sounds bad for Ms. Smoak, but there is an alternate theory, one that is admittedly untested in the real world.  In the real world people do sometimes rescue other people, but they rarely do it by, say, levitating a freight train above Manhattan.  Could it not be argued that what Firestorm was doing constituted an abnormally dangerous activity?  Consider the:

(a) existence of a high degree of risk of some harm to the person, land or chattels of others;
(b) likelihood that the harm that results from it will be great;
(c) inability to eliminate the risk by the exercise of reasonable care;
(d) extent to which the activity is not a matter of common usage;
(e) inappropriateness of the activity to the place where it is carried on; and
(f) extent to which its value to the community is outweighed by its dangerous attributes.

Restatement (Second) of Torts § 520. Some of these factors pretty clearly exist here (b, d, e).  Whether factors a, c, and f exist are harder to say and would again depend at least partly on testimony from Firestorm. Ultimately, whether to apply strict liability would be up to the judge rather than the jury.

Strict liability does have its limits. The damages are limited to those kinds of injuries that make the abnormally dangerous activity abnormally dangerous. For example, in the case of Foster v. Preston Mills Co., a logging operation was using explosives, which startled the mother mink at a mink ranch over two miles away, causing them to kill their kittens, which is apparently a common mink response to sudden disturbances.  The court held that although using explosives is a strict liability activity, the risk of causing mother mink to kill their kittens arises from “the exceedingly nervous disposition of mink, rather than the normal risks inherent in blasting operations.”

In this case, erasing computer disks is not what makes levitating a freight train dangerous.  But it might possibly be part of what makes creating a giant magnet in the middle of a crowded city dangerous.  It’s a bit of a stretch, but it’s a stronger case than negligence. And it’s actually something that should concern many superheroes, especially those whose superpowers are capable of causing significant collateral damage despite the exercise of reasonable care.

So, Smoak might have a case for strict liability, but it would be an untested theory. Next week we’ll address the claim she actually seems to be making: superhero malpractice!

Little Brother, Part 2

In the first part of our review of Cory Doctorow’s Little Brother we focused on the federal government’s legal response to a second 9/11-scale terrorist attack on the United States.  In this post, we continue that analysis and conclude by considering “the response to the response.”

Spoilers below for those who haven’t read Little Brother.  If you haven’t, go buy it.  Or download it for free.  The sequel, Homeland, is also now available.

Continue reading

Castle: “Swan Song”

Swan Song” is the episode of Castle that aired on Nov. 12, 2012. It features two groups to which the First Amendment potentially applies: a religious cult, and a film-maker. The episode touches on or directly addresses several First Amendment issues, though it doesn’t actually name-check any of them. Spoilers inside. Continue reading

Little Brother, Part 1

Cory Doctorow’s novel Little Brother is a 2007 young adult bestseller that speculates about the effects of a second 9/11-scale terrorist attack on the United States, particularly with regard to civil liberties.  Told from the perspective of teenage hacker Marcus Yallow, the story suggests that the government response would be to combine new technologies with new laws to frightening yet fruitless effect—at least when it comes to combating terrorism.  The sequel to Little BrotherHomeland, comes out on February 5th, so we thought we’d talk a bit about the first book and then take a look at the sequel once people have had a chance to read it themselves.

Spoilers below for those who haven’t read Little Brother.  If you haven’t, go buy it.  Or download it for free.

Continue reading

Our Interview with Daniel Reeve

Daniel Reeve is an artist and calligrapher who created the maps and calligraphy for the Lord of the Rings and Hobbit films, including the contract from The Hobbit: An Unexpected Journey.  You can read our analysis of the contract in this series of posts.  After a commenter pointed us in his direction we contacted Mr. Reeve, and he agreed to an interview.

Copies of the contract from The Hobbit

Law and the Multiverse: You created much of the calligraphy and maps for The Lord of the Rings films and now The Hobbit films. How did that working relationship come about?

Daniel Reeve: I had read Tolkien’s books as a teenager, and had tinkered with calligraphy – including elvish calligraphy and runes – ever since then, so when I heard that The Lord of the Rings was being made into a film, practically on my doorstep, the opportunity was too good to miss. I submitted some samples of elvish calligraphy to the film company; they phoned me immediately, and the next thing I knew, I had the job of doing all the calligraphy for the films. This immediately expanded to include maps and other graphics; and expanded even more in The Hobbit, where I create much of the artwork seen in the films, as well as the usual calligraphy, books, scrolls, parchment, inscriptions, maps, etc.

LatM: The contract in the book is quite short, just 44 words for the essential terms. How did that become the multi-page contract in the movie?

DR: I set about creating a simple document using text taken directly from Tolkien’s book, and using a dwarvish-looking calligraphic style that vaguely resembled the runes which they use for most purposes. This first version was about A4 size (though not the shape of A4 – we avoided that distinctive width/height ratio in all documents, so that Middle-earth wouldn’t look like something from our own era.)

The feedback from PJ & co. was that they wanted more text. Add a clause or two. Make it longer.

So I prepared version 2, and I also started playing with possible signatures to be added at the bottom.

The feedback: “More text, please; let’s try two pages. And could we have the signatures more ‘Elizabethan’-looking.” I duly created version 3, as well as a raft of possible signatures for Balin, Glóin, Thorin Oakenshield, and of course Bilbo Baggins.

They selected a signature for each character, but the main message coming back continued to be “More text!”

I drew up version 4….

“More text! Complicated, long-winded clauses! Fine print!”

I added finer print to all the available gaps in version 4, but I could see where this was heading….

“More text! Finer print!”

Right. Okay. You want lots of text, I’ll give you lots of text! We decided it should be a long scroll – so long that several pieces of parchment would have to be stitched together, in order to be able to fit all the clauses in. And then numerous addenda, riders, extra clauses could be added as extensions to the sides, folding out to be read. And the Contract would be written in a different style, quite a dense calligraphy, but not as hard to read as blackletter. I devised a writing style, and experimented with widths and lengths of parchment, and arrangements for the side additions.

I invented all kinds of original weird and wonderful clauses and conditions; then scoured every contract and agreement I could lay my hands on (including my own contract with the film-makers) and borrowed and re-worded and invented some more, until eventually I had filled the parchments. In fact there were two more side bits that were eventually discarded – but certainly the final document was wordy enough to bamboozle, flummox and overwhelm any poor hobbit or other potential burglar.

The Hobbit Contract

The contract from The Hobbit: An Unexpected Journey

LatM: While some parts of the contract appear to be drawn from a modern contract, other parts are clearly original. Did you consult with an attorney in writing the contract or go it alone? Did you look at any old contracts for inspiration or wording? Was the lengthy and lop-sided nature of the contract a little inside joke about the equally lengthy and lop-sided nature of film contracts?

DR: The Contract had to include the lines from the film script about “lacerations, evisceration, incineration”; but apart from that, I created the entire contract without consultation. From a film-making point of view, the actual wording was unimportant, the whole thing being basically a visual gag about the ridiculous length and complexity of the contract, and the fact that a contract was needed at all! Knowing how it was likely to be shot, you might think that I could just as easily have written greeking text; lorem ipsum, etc – there was certainly no need to resort to (or pay for!) consulting an attorney, let alone the time factor. But as with all things in these films, authenticity and attention to detail are called for, and pay off in the end. Besides, you never know whether the director will decide to shoot a close-up of this or that on the day. And it’s easier – and more satisfying by far – to write stuff that actually makes sense.

I naturally started with the essence of Tolkien’s original – where Bilbo’s entitlement to one fourteenth of the profits are promised, funeral arrangements and travelling expenses are provided – and expanded it in the same vein. Both the book and the film script called for the comical aspect, so I invented all sorts of absurd clauses, being as original as possible, and wrapping them in as much legalese as I could think of. Why say in one word what you can expand to three or four?! So the in-jokes came thick and fast, including reference to my own contract with the film company, and re-wording the typical standard clauses and boilerplate from real contracts, both modern and old.

It’s lengthy, lop-sided, repetitive; and – as in real contracts, it seems to me – the devil is in the detail. Always read the fine print!

LatM: How many original props did you have to create for the movie? Did you get to keep any?

DR: I have created many, many original movie props and set dressings for these films; but you never get to keep anything, of course. Everything belongs to the film companies, and often has a future in exhibitions of film paraphernalia. And in the case of the Contract, as merchandise for fans.

LatM: To me, the long contract spilling out page after page with its multiple fold-outs is a comic scene, but it also says something about dwarven culture, or at least about the Company, namely that they want everything properly specified and well ordered. How else did you try to capture the dwarves’ personality in the contract?

DR: The lettering style has a few rune-inspired features. And there’s a kind of grasping, greedy aspect not only in the content of the Contract, but also in the way that every available space is used, filled with smaller and smaller writing, rather than using more of that expensive parchment.

LatM: In your mind, which member of the Company actually wrote the contract (i.e. who put pen to paper)?

DR: Balin is the scribe of the group, and the one familiar with legal matters. The film script writers assigned different characteristics to each of the dwarves, to help make them easier to identify; so the Contract is definitely written by Balin.

LatM: The contract has a unique style. It’s very comprehensive, but it’s also sort of scattered, with a lot of afterthoughts and marginalia. How did you develop it? At least one commenter has suggested that the marginal notes and addenda may reflect that the contract was written by a committee of 13. Do you see some parts as coming from different members of the Company (e.g. the part about fire safety officers coming from Glóin and Óin, the best fire makers in the Company)?

DR: I certainly thought of this as being a collaborative effort, from the various members of the Company. Balin – partly in consultation with Thorin – would have first set down all the main clauses of the Contract. But they and the others would realise they’d left out this or that, and add it later. And as it became more complex, they would forget that some things were already set forth, and would add them again – this explains some of the repetitions.

This haphazard, scattered construction, with the afterthoughts and marginalia, also reflects how it was really written! Because I would realise that I still needed more text to fill the thing up, so I would put my thinking cap on and come up with additional clauses.

***

Thanks again to Daniel for a great interview!  For the collectors among us, two versions of the contract are available for purchase: a hand-made replica from Weta and a less detailed version from the Noble Collection.

Green Arrow # 77

This week we return to our ongoing series on the Green Lantern/Green Arrow collaboration from the early 1970s. The conceit for this story line was set up in the aftermath of issue # 76, in which Green Lantern and Green Arrow worked together to bring down a corrupt landlord. Hal Jordan, working for the Guardians of the Universe as the Green Lantern assigned to Earth, is a law-and-order type temperamentally inclined to side with the authorities and the status quo. But Green Arrow is largely concerned with social injustice and perceived oppression, i.e., where the legal conflicts with the moral. So when the two meet, and Jordan gets it into his head that there might be something to the idea that what is legal is not always what is just, the Guardians decide to send Jordan off with Green Arrow and a Guardian observer to find the “real America” and maybe learn a thing or two in the process.

In issue # 77, the trio arrives in the fictional town of Desolation, located somewhere in the Rocky Mountains. Desolation is a mining town which still seems to operate on something approximating the company town model, wherein the town’s largest employer is not only a business, but essentially owns and operates all of the businesses in town. In some instances, the operating company became the de facto or even the de jure government for a town.

This issue is a mess. It’s both legally and historically problematic, but even worse, it seems to get the basic ethics of its central lesson arguably wrong. Let’s take a look. Continue reading

Transformers: Immigrants in Disguise?

(Note from May 8, 2020: Subculture for the Cultured is no longer online, so the links in this post have been changed to use the Internet Archive Wayback Machine.)

This month’s Subculture for the Cultured column discusses the Transformers and immigration law.  Check it out!

Our Interview with Mark Waid

We are very excited to present an interview with Mark Waid, the Eisner Award-winning writer of Daredevil and many other excellent comic books (including Kingdom Come and its follow up The Kingdom, both discussed here) as well as the co-founder of digital comics site Thrillbent. We met Mark at New York Comic Con last year and he was gracious enough to let us interview him for Law and the Multiverse.

Law and the Multiverse: As a writer, what parts of the legal process offer the most dramatic potential? What kind of scenes do you most enjoy writing?

Mark Waid: As a writer, it’s the trial itself that offers the most dramatic potential—but as a COMICS writer, it’s actually the LEAST dramatic, because it’s just dialogue and talking heads and people in ordinary street clothes, so I have to keep the actual courtroom stuff in Daredevil to a minimum. That means the real drama—and the scenes I enjoy writing the most—are the ones where Matt Murdock is using his super-senses to assess the claims of his clients, whether by screening their heartbeats and chemical tell-tales to see if they’re being truthful, or by investigating their claims in his super-hero guise.

LatM: Sometimes comics explain away tricky legal issues with fictional laws (e.g. DC’s fictional Twelfth Amendment allowing superheroes to testify in costume). We haven’t seen a lot of that in Daredevil, but are you free to do that? If so, are you ever tempted to, or does it feel like taking the easy way out?

MW: I’m not above using those fictional laws if backed into a corner, but honestly, I worry that it gets a little boring sometimes to work that hard to ground EVERYTHING in reality. A little suspension of disbelief is part and parcel of the entire genre. Remember, if you envision the entirety of the super-hero conceit, all 75 years of it, as an inverted pyramid, it all rests on one point—that a pair of eyeglasses is an effective disguise.

LatM: As an aside: there does not seem to be an explicit, canon explanation of the legal status of intelligent non-humans in the Marvel Universe (e.g. the Skrull). So if you ever wanted to create a fictional law or Supreme Court decision addressing that issue, it would answer a lot of questions for us!

MW: I will be in touch to help get it drafted. That IS a nifty idea.

[Ed. note: gasp!]

LatM: Do you ever see Matt Murdock working in the district attorney’s office? Or would trying to prosecute a villain that he fought as Daredevil be too much of a (personal) conflict of interest?

MW: It seems like too much of a conflict of interest–and it also grates against what I believe to be a huge conceit of the book and of the character, that Matt Murdock fights for the underdog. In fact, if it hasn’t already been done—and I fear that it may have—I’d love to do a story where Matt was forced to DEFEND someone that Daredevil brought down.

LatM: Along those lines: would he take a job at a big firm? Maybe Goodman, Lieber, Kurtzberg, & Holliway?

MW: Again, underdog. Scrappy li’l underdog. Also, Matt’s billable hours are DEPLORABLE.

LatM: And speaking of GLK&H, will we ever see Matt and Jennifer Walters together in the court room?

MW: I’ve been trying to get to that point for a while now! Still talking to Dan Slott about his thoughts….

LatM: Might we learn more about Murdock’s time at Columbia law school at some point? Possibly meet some of his old classmates?

MW: Yes, absolutely. We’ll be doing more flashback material in Year Three.

LatM: Where did Murdock and Nelson go to college? Did they know each other there? And how did they get from college to law school? Was that something they had planned all along?

MW: I’ve fudged continuity a bit now to establish that Matt and Foggy met in law school. I look forward to your angry letters.

LatM: Do you ever incorporate things from the news or current events into your stories? What’s the process of translating something like that onto the page?

MW: Oh, dear God, do I ever. My Evernote and Pocket files are FULL of those kinds of stories–wrongful termination suits (which begat issues 4-6), stories of cruel and unusual punishment (issue 10.1)…and the entire Omega Drive story arose directly from the Julian Assange charges…every week I see some story of justice gone wrong or someone trying to game the system and I can’t wait to fictionalize it, amp up the stakes a little bit to make it a little more “super-hero-ey,” and throw Matt at it. Illegal geoengineering and anti-bullying mob justice mistakenly targeting the wrong perp and destroying his life are two examples of things I’ve clipped from the web in the last month and will find a use for.

LatM: Which comic book attorney would you rather have for a lawyer: Matt Murdock, Foggy Nelson, Jennifer Walters, or someone else?

MW: Dude, Matt’s awesome in the courtroom but lousy at research and at keeping reliable hours. Foggy has problems of his own right now. And Jennifer Walters would be great, but she scares me. Give me the Earth-2 Dick Grayson–you can’t get more reliable and forthright than a lawyer who used to be Batman’s partner!

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Thanks again to Mark for a great interview.  And as always we look forward to the next issue of Daredevil!