Friday, 12 April 2013

Film: Sleepy Hollow (1999)


I don't normally watch horror films, but this one seems to have been well regarded so I thought I'd give it a try. The year is 1799 and scientifically-minded law officer Ichabod Crane (Johnny Depp) is sent from New York to investigate a series of killings in which the victims are decapitated. He is told of the local legend of a headless horseman, a mercenary killed in the Revolutionary War, who is blamed for the murders. As the disbelieving Crane systematically investigates possible motives for the killings he is disconcerted to meet the headless horseman in person, and his search then becomes a race against time to find a way of stopping the murders as the bodies mount up.

The film was directed by Tim Burton and is a visual pleasure, rich in atmosphere, with the impressive cast effectively conveying the superstition of the times.  However, it is decidedly "over the top" in cranking up the drama to levels which sometimes become rather laughable. I prefer more subtlety and ambivalence in dealing with this kind of theme; more uncertainty as to what is real, what is a product of the characters' imaginations and what might just be supernatural. The 2011 film The Awakening, which I reviewed here last August, is an excellent example of what I mean and is far more to my taste, with a much more adult and thoughtful script. In contrast, Sleepy Hollow is about as subtle as a sledgehammer. I can imagine horror fans liking it, but it left me unengaged.

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I'm now into the second season of three SFF TV series I'm working through on DVD: Game of Thrones, Fringe, and Warehouse 13. What's more, the second season of Once Upon a Time has just started on UK TV. All very different from each other, but all delivering addictive entertainment. Next I aim to try Continuum, a Canadian series about a detective from the future hunting criminals who have escaped back in time – to the present day. Sounds promising.

Friday, 5 April 2013

Collapse: How Societies Choose to Fail or Survive, by Jared Diamond


This book, published in 2005, follows on from Guns, Germs, and Steel: The Fates of Human Societies, which I reviewed on this blog in October 2012. GGS focused on the factors which had allowed civilisations to develop successfully in some parts of the world but not others. Collapse looks at the other end of the process, and considers why a variety of different societies which had become established subsequently failed.

 The author starts by proposing a five-point framework of factors which could influence the collapse of a society: environmental damage; climate change; hostile neighbours; friendly trade partners; and (of greatest significance) the society's response to such problems. He then goes on to examine in detail several societies. Somewhat surprisingly, he spends the first part of the book focusing on a single valley in Montana which he knows well, looking at the range of factors which have affected its development over the past few decades. He then goes on to more conventional case studies, first looking at historical societies: Easter, Pitcairn and Henderson Islands in the Pacific; the Anasazi, the Maya, the Viking settlements (especially Iceland and Greenland), and mention of a few other societies which have succeeded despite difficulties, notably Japan.

 A lot of the problems experienced by colonists trying to become established in new territory have been down to wrong assumptions; for instance, the scenery and vegetation may look very similar to that which the colonists were used to, but may prove to be much slower to recover from farming use, leading to rapid soil erosion.

 Next come some modern societies which are still experiencing significant problems: Rwanda (principally down to uncontrolled population growth to a very high density); Haiti and the Dominican Republic (an interesting contrast, with history and cultural factors predominant); China (severe pollution) and Australia (environmental deterioration). In the final part Diamond looks at some practical lessons, drawing a road map of factors contributing to failures of group decision-making. His "road map" includes the failure to anticipate problems (e.g. introducing rabbits and foxes to Australia); failure to perceive a problem once it has arrived, usually because it occurs so gradually (e.g. climate change); failure to act even after a problem has been perceived, particularly when the ruling elite isn't affected, only the powerless poor (e.g. subsidising fisherman when stocks collapse instead of taking steps to allow stocks to recover - the "tragedy of the commons" particularly applies here). Some reasons for failure to act may be religious or cultural (e.g. the Greenland Vikings died out when they could have survived by copying the lifestyle of the Inuit living successfully in the same area) or could simply be down to psychological denial (e.g. continuing to live close to a potential disaster - such as a potentially active volcano or earthquake-prone fault).

 One section near the end addresses some common objections to his thesis: "The environment has to be balanced against the economy" (it is always much more costly in the long run to ignore environmental problems then try to deal with the consequences than it is to take prompt action to remove the causes). "Technology will solve our problems" (technology creates at least as many problems as it solves; furthermore, the cost of technological solutions to problems is always far greater than that of preventing the problems from happening). "If we exhaust one resource, we can always switch to another" (even where that is feasible, experience shows that it takes an extremely long time for any new technology to replace a well-established one). "There isn't a global food problem, we just need to arrange efficient transportation to get it where it's needed" (that assumes that First World countries with food surpluses will be willing to transport huge quantities of food to the Third World, free of charge, indefinitely - for which there is no evidence). "Predictions of environmental disaster have always been proved wrong" (sometimes they have, but sometimes that may be because action has been taken: e.g. pollution from car exhausts in Los Angeles; furthermore, some anti-environmentalist predictions have also proved wrong, such as predictions that the Green Revolution would have banished global hunger by now). "There is no population crisis: it will level off by itself, and anyway continued growth is good for the economy" (the main problem is not actually the number of people, but the resources they use up and the waste they generate; by most criteria we are already using resources at an unsustainable rate, and economic growth in the Third World is rapidly multiplying consumption).

 I have to say that I didn't find this book as gripping as GGS. I felt that the author was being self-indulgent rather than focusing on presenting his case as crisply as possible, and believe that with judicious editing the book could have been reduced in length by around 50% without losing any of the key evidence and arguments. I therefore struggled with it to some extent, and ended up skim-reading most of the final section to get to the end. Despite this, there is a lot of solid, thought-provoking material in this book which should make it as valuable as GGS to world-building writers.

Friday, 29 March 2013

Film: The Invention of Lying (2009)


The Invention of Lying stars British comedian Ricky Gervais (who also co-authored and co-directed) as film scriptwriter Mark Bellison, who lives on an alternative Earth which is identical to ours except for one important detail; no-one is capable of lying, so everyone tells the blunt truth at all times. In fact, the concept of lying does not even exist, so people instantly and firmly believe everything they are told. The movies on which Bellison works are all factual documentaries and all consist simply of one person reading the script; fiction does not exist.

Be warned - this review contains spoilers!

Bellison is a loser in all aspects of his life and has reached rock bottom, but then suddenly has an inspiration - he lies to get himself out of trouble. From then on his life makes a spectacular recovery as he lies to obtain money, and writes dramatic but entirely fictional scripts which are a huge box-office success since everyone believes the fantastical events in them to be true. His life heads in a different direction when he is overheard lying to his dying mother about the wonderful afterlife which awaits her, to ease her fear of death. This world lacks the concept of religion and Bellison's stories spread like wildfire, bringing him global fame. However, this still does not make him sufficiently attractive to Anna (Jennifer Garner), the love of his life who is also being courted by a rival scriptwriter.

Although I have been unable to discover any reference to it, this film was surely inspired by James Morrow's novella City of Truth, which I reviewed on this blog in December 2007. Some of the basic elements differ (in the novella, people have the capacity to lie, but are conditioned from their earliest years to tell only the truth), but many of the jokes resulting from the brutal honesty of everyday life are similar. Despite this humour, Morrow's story is darker in tone, while TIOL is (rightly) billed as a romantic fantasy comedy.

I suspect that this movie didn't go down too well in more religious parts of the world, since it portrays Bellison as inventing a "Man in the Sky" to account for the existence of the afterlife he has described. He writes a moral code allegedly from the Man in the Sky which is equivalent to the Ten Commandments, and presents it to an eager audience, only to be disconcerted by some of the literal questioning about the practical details. As he becomes involved in ever more detailed and convoluted explanations for the inconsistencies in his newly-invented religion, he is dismayed by some of the consequences of its spread. Apart from the concept of a happy afterlife for those who behave themselves, it appears that the religion has a largely negative effect on most people's lives. Needless to say, however, the film has a happy ending.

I have to admit that Gervais's humour and mine operate on different wavelengths so I don't generally find him very amusing. I found this film better than most in that respect and worth watching, despite the satire being rather blunt and heavy-handed, but Morrow's novella is more thought-provoking.

Saturday, 23 March 2013

Ethan of Athos, by Lois McMaster Bujold


Ethan of Athos is an unusual 1986 story from Bujold, in that although it is set in the Vorkosigan universe it doesn't feature her long-term hero Miles. Athos is a remote, agricultural planet with one peculiarity - there are no women. The men who settled Athos had strong religious objections to women, regarding them as evil temptresses, so they took advantage of replicator (artificial womb) technology to produce their (male) children. The problem was, the replicators needed occasional restocking with female genetic material which had to come from off-planet, so when an urgently-needed batch of new material proves to have been switched for useless junk, they are in a crisis.

Ethan is a young doctor, an expert on the replicators, so is sent off-planet in order to find the material required. This is a huge adventure since travel off-planet is normally banned: Ethan has never seen a woman, and even photos of them are highly restricted. He arrives at Kline Station, a vast independent entrepot which gives him the best chance of buying genetic material, only to find himself in the middle of a conflict he doesn't understand, which all seems to be focused on the material which Athos should have received but has gone missing. He is up against ruthless Cetagandan secret agents and only survives with the aid of Elli Quinn, a female mercenary who is also involved in the case. Eventually all is resolved, although in an unexpected fashion.

This is an entertaining tale, well written as usual by Bujold who is a master (or should that be mistress?) story-teller. In some respects, it defies expectations.

WARNING: some spoilers follow.

With Ethan constantly in the company of the beautiful, likeable and resourceful Elli, the story arc seems predictable: Ethan realises that his culture has got it all wrong as far as women are concerned, rejects his backward religion and tumbles into the sack with the willing Elli, before starting a new life well away from the stiflingly parochial Athos. Except that none of this happens, and what he wants from Elli turns out to be rather different. This makes me reflect that Bujold seems to have a soft spot for minorities. Miles is physically handicapped, but overcomes his disadvantages with cleverness and determination. Ethan is homosexual, like everyone else on his planet, and is shown as a likeable if naïve hero who gets a rough time from the repellent homophobes on Kline Station. Even the bizarre Athosian culture is merely described in a matter-of-fact way, without criticism and with only some gentle parody, and it all seems to work well enough for the Athosians.

Ethan isn't unchanged by his experience, however, and does end up doing something rather radical which will have major implications for the future of the people of his planet - but there is no suggestion that they will become anything other than entirely male.

Friday, 15 March 2013

Film: Prometheus (2012)


I eventually got around to watching all of the Alien series of films for which Prometheus was advertised as a prequel, so it was natural for me to see this one too. I have to say that I watched it with some trepidation as I have reservations about the earlier films; while the first one is a classic and they are all very atmospheric, in general they dwell too strongly on the yuck/horror aspects for my taste.

A brief plot summary, with some spoilers: almost a century into the future, two researchers (played by Noomi Rapace and Logan Marshall-Green) believe that they have discovered pointers to a distant star system in prehistoric cave paintings and manage to persuade a billionaire to fund an expedition to the system. On arrival they discover a vast structure which is gradually revealed as a base for the Engineers, effectively the creators of mankind. Then things start to go horribly wrong in the usual - and depressingly predictable - fashion. You just know that when two members of the team exploring the structure get lost they are going to die horrible deaths; that the mysterious containers which start to leak black fluid are going to have horrible consequences for humans; and that when Rapace's character becomes impossibly pregnant she will be carrying something horrible rather than a human being; and all these duly come to pass.

There are some good aspects to the movie: Michael Fassbender plays a creepy android, Charlize Theron an android-like human, and Rapace is worth watching. There are some strong and atmospheric scenes, and I found the Engineers fascinating: I would very much like to have seen a lot more of them, including more exploration of why they created humanity and why they apparently turned against us, but presumably these developments have been saved for the sequel(s), should they eventually emerge. Instead, what we get is a gross-out yuck/horror gore-fest in the latter part of the film. The frustrating thing is that the potential was there: it has some of the elements of a great SF film but it ended up as yet another horror movie with an SF background and with nothing much new to say. Disappointing.

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I also started to watch another recent SF film, Chronicle. However, after a quarter of an hour or so it seemed to be going nowhere of interest so I stopped.

Friday, 8 March 2013

Interzone 244


Two author interviews to accompany book reviews this time: Saladin Ahmad (Throne of the Crescent Moon) and Karin Tidbeck (Jagganath). The former is a fantasy author drawing upon both western and eastern heritages, while the latter is a Swedish author who has translated her own short-story anthology. Other book reviews which caught my eye were Eric Brown’s Helix Wars and Benedict Jacka’s Taken. Film and DVD reviews include a double dose of Tolkien, with the Blue Ray extended editions of The Lord of the Rings and the first part of The Hobbit. There's an interesting discussion of some of the quirks and limitations of the films caused by the way in which the Tolkien film rights were handled (or more accurately mishandled) decades ago. On the TV side, Season One of The Continuum sounds interesting – a policewoman from the future operates in present-day Vancouver.

There are six stories include two novelettes, indicating that the new compact format has allowed more space for fiction:

The Book Seller by Lavie Tidhar, a novelette illustrated by Warwick Fraser-Coombe. Yet another story in the author’s strange future world focused on a space station sited in Israel. As with Strigoi in IZ 242, this concerns a data vampire arriving at the station.

Build Guide by Helen Jackson, illustrated by Richard Wagner. A curious little story about corruption in constructing a space station. A story which would have worked just as well set on Earth.

The Genoa Passage by George Zebrowski, illustrated by Martin Handford. If you go to the right place, a pass in the mountains through which Nazis escaped at the end of World War 2, you can still see them as ghostly figures, escaping again and again – but some people don't want them to.

iRobot by Guy Haley, illustrated by Jim Burns. The last flicker of activity left in an ancient robot on a lifeless world. Atmospheric.

Sky Leap - Earth Flame by Jim Hawkins, a novelette illustrated by Richard Wagner. A boy and girl are bred to be linked to a powerful new artificial brain designed to avert the devastation of human space. But will it be capable of the task?

A Flag Still Flies Over Sabor City by Tracie Welser. A dystopian city-state in which the oppressed workers have few opportunities to express their small rebellions.

The Hawkins story is the most substantial in terms of traditional SF and will bear re-reading, although Zebrowski’s odd tale seems likely to stick in the mind.

Saturday, 2 March 2013

Film: Iron Sky (2012)


And now for something completely different…. All those Nazi super-technology conspiracy myths turn out to be true when some near-future US astronauts paying a return visit to the Moon stumble across a huge Nazi base on the dark side. This prompts the Nazis to launch a reconnaissance mission to New York by ambitious senior officer Klaus Adler (Götz Otto), accompanied by his naïve and enthusiastic girlfriend Renate Richter (Julia Dietze), to prepare the way for an attack on the Earth to establish the Fourth Reich. Cue lots of culture-clash comedy with everybody's best-laid plans going seriously awry.

The movie is a Finnish-German-Australian production, with the principal actors being from Germany, Australia and New Zealand. I suspect that it didn't go down too well in the USA, since it isn't just the Nazis who are parodied but the Americans too. The Moon mission turns out to be a re-election stunt by the US President (un-named, but clearly Sarah Palin, played by Stephanie Paul) who seizes on the opportunity to boost her popularity rating. And what could be better than a Star Wars-type battle against the Nazis?

This film is in hilariously bad taste throughout, and I frequently laughed out loud at its sheer effrontery. Don't bother to point out the plot holes or scientific nonsenses, this film revels in them (World War 2 era motorcyle-sidecar combinations puttering across the Moon?). The story was by Johanna Sinisalo, a Nebula Award-nominated Finnish SFF writer, but the sense of humour seemed to me to have a strong Australian flavour - subtle it ain't! I don't know what the film-makers were on, but they surely had a ball. Probably best watched in company with the aid of alcoholic pre-lubrication and with your critical faculties locked away for the ride.

Thursday, 21 February 2013

Film: Looper (2012)


This time-travel drama received very good reviews so was on my "must-watch" list as soon as it became available.

Most of the film is set in 2044. Thirty years later, time travel had been invented and promptly made illegal. Which meant that criminals made use of it, for a bizarre purpose - the untraceable disposal of people they wanted to kill. They sent them back alive to 2044 at a prearranged time and place where they were promptly killed and disposed of by one of a group of killers known as loopers - all organised by a man from the future sent back to live in 2044. The loopers were well paid but there was a price: after thirty years they were sent back to be killed by their younger selves, a process known as "closing the loop".

This review contains major spoilers so if you prefer to be surprised, stop reading now - but do see the film if you can as it's exciting and intriguing, even though the logical structure doesn't stand up to scrutiny.

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The protagonist, Joe Simmons, is one of the loopers. He is played by two different actors: as a young man in 2044 by Joseph Gordon-Levitt and as an older man from 2074 by Bruce Willis. The inevitable happens and young Joe turns up for an execution to discover that old Joe is the target. He hesitates, allowing old Joe to escape - a dire crime for which he is pursued by the criminal gang. He goes on the hunt for old Joe, hoping to redeem himself, but when they do meet, matters become complicated.

Old Joe tells his younger self that a powerful and evil criminal known as the Rainmaker had taken over the 2074 underworld and was shutting down the time travel operation, closing all of the loops. He had discovered information about the Rainmaker's identity which meant that he had to be the adult version of one of three 10-year-old boys living in the area - and old Joe meant to kill all three of them to make sure that the Rainmaker never lived to maturity. One of the boys lives on an isolated farm with his mother (Emily Blunt), and young Joe gets to them first, discovering that the boy has powerful telekinetic abilities - and must be the future Rainmaker. However, young Joe becomes involved with the mother who believes that her son will be a force for good if she can bring him up properly. When old Joe arrives, his younger self realises that he is about to shoot the mother as she protects her son, which will result in the boy becoming the embittered Rainmaker. Too far away to intervene directly, young Joe shoots himself, thereby causing his older self to disappear.

On the face of it, Looper is a slick, exciting, unusual and quite intelligent thriller, but on reflection the problems begin to pile up. Put simply, the plot contains some illogical events and major paradoxes - something hinted at in the film itself when old Joe tells young Joe not to try to think about it. For a start, why "close the loop" by killing the older assassins? And if you're going to do that anyway, why have them killed by their younger selves rather than one of the other loopers? If, as a result of young Joe's suicide, old Joe had never existed, then why was young Joe at the farm, and what could have made him kill himself? There are probably quite a few more examples which more analytical viewers can come up with.

Paradoxes of this kind are what you always get when you have single-timeline time travel, and they make a nonsense of the whole plot. This is a very old-fashioned limitation, having been replaced long ago in SF by the notion of the multiverse - parallel worlds, with new ones forever being created at branching points, whenever events change. With this concept, there are no paradoxes, because changes in the past create a different future in parallel with what would have happened without the changes. There is a suggestion of this in the film, with an unexplained scene in which the arrival of old Joe in the past results in young Joe instantly killing him, but this is not followed up (unless I missed something - always possible).

Despite this, it is an intriguing film and one that I am likely to watch again sometime, if only to try to figure out exactly what is supposed to be happening!

Sunday, 17 February 2013

The Deathworld trilogy, by Harry Harrison


I bought these books about forty years ago and hadn't read them for almost as long, so I was pleased when the first of them was chosen as the book of the month by the Classic Science Fiction discussion group. Since they are all very short by modern standards, only adding up to one average-sized modern novel between them, I read the two sequels as well.

Deathworld is set in a far-future universe in which humanity has colonised 30,000 worlds (with no mention of any alien civilisations) and features Jason dinAlt, a gambler with limited telekinetic powers which enable him to cheat. He is recruited and bankrolled by Kerk Pyrrus, a formidable native of the planet Pyrrus, to win a large sum of money to purchase weapons which the people on his planet need to survive. It emerges that Pyrrus is ferociously hostile to humanity; not just in its double gravity and violent extremes of weather and climate, but in a flora and fauna which keep evolving at a rapid rate to attack the settlers as viciously as possible. As a result the Pyrrans are formidable fighters, their whole lives geared to survival.

Bored with his existence, dinAlt is intrigued by what he hears and decides to travel to Pyrrus with Kerk. Surviving with some difficulty and a lot of help, he gradually realises that there is something odd going on and believes that humanity doesn't need to live in such a state of violent warfare with the planet's biota. However, the Pyrrans are so focused on survival that they have no time for his theories and dinAlt has to put his own life on the line to try to change the situation.

Like most heroes of contemporary SF, dinAlt regards himself as far superior to the rest of humanity, but his self-confidence takes a battering on Pyrrus where he struggles with the high gravity and is demonstrably inferior in fighting skills to the average eight-year old. His intelligence wins out over the brute force of the Pyrrans in the end, though. Read with modern eyes, the story has a certain allegorical feel - of a population whose own actions are changing their environment in ways which make it more hostile to themselves, but who are too wrapped up in their own way of life to want to make the necessary alterations. But Harrison wrote this long before concerns about climate change emerged.

Deathworld 2, originally titled The Ethical Engineer, directly continues the story with dinAlt on Pyrrus, from which he is abruptly kidnapped by Mikah, a representative of a group of religious fundamentalists who have decided to bring the now famous dinAlt to trial for his various earlier misdeeds as an example to others. However, Mikah's ship crashes on an isolated planet with a primitive human civilisation based on slavery. As might be expected, the resourceful dinAlt manages to cope with the situations he keeps finding himself in, while planning how to get off the planet.

This is a slightly strange sequel as dinAlt, whom we knew from the first book as someone whose only skill was as a psi-aided gambler, suddenly morphs into an engineer with a comprehensive knowledge of early technology and with no mention of psi powers at all. The story is full of arguments he has with Mikah, in which the merits of dinAlt's rationalist atheism are hammered home in a decidedly unsubtle way. This aspect of the book is not helped by the fact that Mikah is portrayed as a cartoonish parody of a blindly religious fanatic, totally incapable of coping with the real world. If this doesn't appeal, you can skip this book and go straight to the third volume without losing anything.

Deathworld 3 is something of a return to form, and to former issues. Jason dinAlt, once again on Pyrrus with his local girlfriend Meta, has a plan to offer the Pyrrans something other than perpetual war with the local flora and fauna. He has discovered a planet dubbed Felicity possessing valuable mineral resources which lie undeveloped because of the violent opposition of barbaric natives almost as ferocious as the Pyrrans. He recruits enough Pyrrans to take on the task but runs into far more problems than he expected. The fierce locals are led by Temuchin (a name borrowed straight from Earth history - it was the original name of the Mongol warlord Genghis Khan) who proves a hard nut to crack. But dinAlt eventually discovers a solution by reading up on ancient history.

I remembered the stories as fun reads; short, fast paced and entertaining, with a wry sense of humour, as Harrison novels usually are. That is still true, although they appear rather simplistic by modern standards. Despite this, they're still worth the time to read.

Friday, 8 February 2013

Film: In Time (2011)


In Time has a classic SF plot by writer/director Andrew Niccol, set a century and a half into a dystopian future in which everyone stops ageing when they reach 25 and can potentially live forever. The catch is that the universal currency is not money but the minutes and hours of people's lives, known as "living time". Everyone has a clock/calendar built into their forearms which counts down in real time, and from which extra time is deducted whenever they purchase anything or transfer time to someone else; they can similarly add time by earning (or stealing) it. Run out of "living time" and you drop dead on the spot. Most people struggle to earn enough time to continue living day by day, especially as prices are kept rising (and wages falling) by the controlling class of super-rich, who genuinely can live forever - as long as they do nothing stupid. They live in luxurious secure zones which cost months of living time just to enter. The following review contains some minor spoilers.

Will Salas (well portrayed by Justin Timberlake, someone who's name is very familiar but whom I can't recall ever having seen before) is one of the poor, constantly at risk of running out of living time but a man of principle who shares out what he has among his friends. He helps a member of the rich who gets into trouble while slumming down-town, and finds himself with more living time than he has ever dreamed of. The questions are; what will he do with it, and can he avoid the attentions of local gang leader Fortis (Alex Pettyfer) and police "Timekeeper" Raymond Leon (Cillian Murphy)?

Salas uses his new wealth to head uptown where he meets Philippe Weis (Vincent Kartheiser), one of the richest and most powerful men in the world, and his daughter Sylvia (Amanda Seyfried) who is immediately attracted to the dangerous and exciting Salas. But what future can they find in the face of the powerful forces opposed to them, and can they do anything to mitigate the unfairness of the stratified society?

This film has echoes of others, most obviously Logan's Run in which everyone dies at the age of 30, but In Time has a darker and more adult feel, more reminiscent of Bladerunner and especially Gattaca. It isn't as good as those two, but it's still one of the better recent SF movies and well worth watching.


Saturday, 2 February 2013

A High Shrill Thump: War Stories, edited by Juliana Rew


A collection of short SFF stories on the theme of 'War,' published in 2012 by Third Flatiron Publishing .

The Man Who Couldn't Die by David L. Felts. A new recruit finds himself fighting a war as part of a Marine squad which never suffered any casualties; but there is a price to be paid.

Comrade at Arms by Gustavo Bondoni. The Etruscans are getting squeezed between the Romans and the Eluveitie, but they have a special weapon; the undead fight for them. That's a huge advantage - most of the time.

Angel by K. R. Cairns. The female warriors are sent into battle from their orbiting home, dropping cleansing fire on their unseen enemies on the ground. But when one of them crash-lands, perspectives change.

Grins and Gurgles (Flash Fiction): The Rocketeer by John Harrower. A brief surreal snapshot written as a parody of Biggles; an RFC rocket-man hunts the Red Baron.

Refugees by James S. Dorr. A medieval army advances on the enemy castle, driving refugees before them. But not all of the refugees help their cause.

The Home Front by David Turner. A soldier returns home from the war, but he's not a fighter - his job is to dream of future events. The problem is that his dreams include his private life too.

The Fixer by Jack Skelter. Life in a Vietnamese prison was no fun for a US prisoner of war, until help came from an unexpected quarter. A light and humorous tale.

A Childproof War by Lon Prater. An alien Early Death plague kills all human beings as soon as they reach puberty, so the children continue the war. But what are they fighting for?

The Frontline Is Everywhere by Michael Trudeau. A bizarre tale of the relationships between neighbours who build bomb shelters in preparation for the Big One.

Half a Century Later at a Mid-Earth Pub by Tom Sheehan. A poetic story of an annual meeting of Korean War veterans.

Homeland Security by Brenda Kezar. Local residents find a novel but somewhat dubious way to limit the cross-border incursions and make money at the same time.

In the Blink of an Eye by Nick Johnson. The grim aftermath of a nuclear war, in which only a few can be saved.

I Think I Won by David J. Williams. A different aftermath of a nuclear war, with the descendents of the survivors fighting on in a devastated North America.

This is an eclectic mix of stories covering all periods and including SF, fantasy and horror genres, also ranging from the humorous to the unremittingly grim: the theme of warfare is their only link. They are also all quite short, limiting the scope for character and plot development. It is difficult for me to pick favourites from such a collection, but (unusually for me) the horror story by Bondoni made the strongest impression.

 

Friday, 25 January 2013

Films: Hanna (2011), and The Hunger Games (2012)


Two films with a common element: the heroines are teenage girls who are compelled to fight for their lives in extreme circumstances. By a strange coincidence, the opening sequences of both films also have the heroines hunting deer with bows and arrows. However, at that point the plot similarities come to an end.

Hanna is set in more or less the present day. We first see the eponymous 15-year-old heroine (played by Saoirse Ronan) living with her father Erik Heller (Eric Bana) in an isolated log cabin in a remote near-Arctic forest wilderness. We soon learn two things about her: this life is all she has known, and she is being trained by her father (who we later learn used to be an important C.I.A. operative) to be a lethal fighter for some specific purpose. All of her learning comes from an encyclopedia; she has never met anyone else, seen electric power, or heard music. Inevitably, she becomes old enough to decide that she wants to go out into the world, so Heller gives her a radio signalling device to draw attention to their location, while he makes his separate way to civilisation. The signaller sounds an alarm in the C.I.A., alerting senior officer Marissa Wiegler (Cate Blanchett), who realises it comes from Heller and immediately sends an armed team to the log cabin. The rest of the film follows Hanna, Heller, and Weigler until they inevitably come together in a brutal finale, gradually revealing the true nature of their relationships and why Hanna is such a uniquely effective fighter. And in case you were wondering, there is an SF element which emerges towards the end.

This is a surprisingly adult film, not the cartoon-type kick-ass juvenile I was half expecting. The drama is relieved by some rather surreal characters and occasional humour as the unworldly heroine is introduced to modern technology and human behaviour. Well-acted and intriguing, if rather grim.

The Hunger Games is based on the novel of the same name (which I haven't read) by Suzanne Collins, who also co-authored the screenplay. It has a very different setting, in a future country called Panem in which a modern civil war had resulted in each of the twelve rebellious Regions having to send one boy and one girl teenager to participate in the annual Hunger Game. This is no sporting contest, however; it is a fight to the death, which only one can survive to win fame and fortune.

THG is a film of two halves: the first half is concerned with the build-up to the Game, the second with the Game itself. We start in the poverty-stricken Region 12 by getting to know Katniss Everdeen (Jennifer Lawrence), a capable archer and hunter, who becomes one of the tributes (participants) in the Game. The scenes of her life are contrasted with those in the high-tech Capitol where preparations are being made for the forthcoming Game under the direction of the Gamemaker, Seneca Crane (Wes Bentley). The build-up to the event is very good, the tension steadily building as the tributes are prepared for the Game, including rather bizarre public relations events to drum up sponsors for each tribute - support which could make the difference between life and death. By the time the Game actually begins, the tension is at a maximum. The arena is an area of forest in which the two dozen tributes form shifting alliances, cooperating with and killing each other depending on the circumstances, while the Gamemaker keeps adjusting the rules in order to keep the audience entertained.

This is an exciting film, the first half leaving me on the edge of my seat. Ironically I found that the tension dissipated to some extent once the Game began, when it settled into being a more routine combat tale. A couple of issues concerning the principal character nagged at me. First, it is never explained why she obtains the highest all-round combat score in the pre-games tests, beating boys who have trained for the Games for years, when she seems very passive and placid, and we only see her use a bow. Secondly, the actress doesn't really look the part: her family is supposed to be very poor and in one flashback scene we see her starving and being thrown a burnt loaf of bread, yet she always looks very well-fed. I think a lean and hungry actress with a lot of pent-up aggression would have been better suited for the role.

These two films are very different in style, but both are well worth watching. If I had to pick one to see again, it would be the quirky, offbeat Hanna rather than the humourless THG, because I liked the contrast between the strange premise and the current, ordinary world in which it takes place.

Friday, 18 January 2013

Doomsday Book by Connie Willis


Doomsday Book is one of Connie Willis' early novels, set in her time-travelling universe in which mid-21st century Oxford academics use a somewhat unreliable time machine to send researchers back into history on a variety of fact-gathering expeditions.

A young student of medieval history, Kivrin Engle, is sent back to the 14th century to record her impressions of life there. Unfortunately for her, things immediately start going wrong: she falls ill, and discovers that many of the assumptions made by the academics who sent her are far from the truth. And why do people start dying of horrible diseases when she had been sent back long before the arrival of the Black Death - hadn't she? Her adventures are interleaved with events in the future Oxford, where a worried Professor Dunworthy is having to cope with a sudden outbreak of an unidentified form of influenza which is increasingly putting at risk the plans to retrieve Kivrin at the end of her stay.

The plot is frankly rather grim and gets steadily grimmer, especially in the medieval part, so this is not one to read if you're already feeling depressed. It is relieved by some humour in the 21st century sections, in the form of the errant young Colin, the dreadful Mrs Gaddson and a group of American bellringers forever obsessing about performing their Tittum Bob Maxims and Chicago Surprise.

I have an ambivalent relationship with this author's novels, of which this one is typical. I love her writing skills which make me care about her characters and keep me wanting to know what happens next. As usual, she allows plenty of time for us to get to know not just the principal characters but a large cast of subsidiary ones as well. The problem is that in doing so she spends large chunks of her novels detailing subsidiary plot threads, often with a lot of repetition, resulting in books which are often slow-paced and considerably longer than they need to be to tell the story. Doomsday Book displays all of these characteristics. It won both Hugo and Nebula Awards when published in 1992 and like all of this author's works is a high-quality piece of writing which creates a powerful period flavour, but for my taste could have been improved by some judicious editing.

Friday, 11 January 2013

TV series: Fringe (2008+), and Warehouse 13 (2009+)


The success of that famous TV series The X-Files, which ran from 1993 to 2002 (was it really that long ago?), has obviously inspired some other programme makers. Two different TV series came along only a year apart, both featuring US government agents who specialise in investigating paranormal phenomena. I've just started to watch them and have seen the first few episodes of each.

Fringe features Anna Torv as FBI Agent Olivia Dunham, who becomes involved in investigating some very strange occurrences in the field of "fringe science". The first involves a plane on a scheduled flight which lands automatically, with all the passengers and crew not only dead but with little more than skeletons left of them. To solve the mystery Dunham has to recruit an awkward pair of scientific geniuses, father and son team Walter and Peter Bishop (John Noble and Joshua Jackson). She and her team are then seconded to the Department of Homeland Security, working under Phillip Broyles (Lance Reddick) who tells her that what she witnessed is only one of many similar occurrences known as "the Pattern". Subsequent episodes involve Dunham investigating other mysterious incidents with the aid of Peter Bishop, while his father, still struggling with the after-effects of a long stay in a secure mental unit, works in a makeshift laboratory to discover what is happening and how to counter it.

Warehouse 13 features Joanne Kelly as Myka Bering and Eddie McClintock as Pete Lattimer, two Secret Service Agents who are assigned to a vast, isolated warehouse in a desolate part of the country in order to assist the curator, Artie Nielsen (Saul Rubinek), in his task of collecting any mysterious objects with unexplained powers which might prove dangerous if left in circulation. The warehouse contents vary from secret inventions by famous scientists to mythological items which contain strange forms of energy which may cause mayhem if released. The agents travel the country, investigating unexplained occurrences to discover whether or not such objects might be involved (which naturally they usually are) and bringing them back for safe keeping.

How do the two series compare? Fringe is more similar in mood to The X-Files in that it treats its subject more seriously and frequently involves gruesome biological/medical scenes which push it towards the horror field. I hope this doesn't get worse as it was the increasingly horrific nature of The X-Files which eventually turned me off it. On the other hand, it has Anna Torv who has deservedly won awards for her compelling performance in the series; she has immediately joined the select group of actors whose presence is an incentive for me to watch whatever she's in. Warehouse 13 has a different feel; it is much lighter with a constant thread of humour running through it, particularly in the odd-couple relationship between the two agents, and it lacks the gruesome aspects. The mood is much more like Raiders of the Lost Ark, and there is even a direct connection with that film, in the final scene of which we see the Ark of the Covenant being boxed up and deposited in a vast government warehouse full of such boxes. Well, in effect that's Warehouse 13!

According to the Wiki summaries, both series are regarded as improving as they progress, so it looks as if I may be following them for a while.

Friday, 4 January 2013

Juggler of Worlds by Larry Niven and Edward M. Lerner


Juggler of Worlds is the second of these authors' World series (there are four so far) and is the sequel to Fleet of Worlds, reviewed here in June 2011. JoW continues the story of the Puppeteers and their attempts to keep their "tame" human servants and the "wild" humans of Known Space (Earth and its independent colony worlds) from discovering each other's existence. However, there is a significant shift of focus from that in FoW, which concentrates on the story of the tame humans and their attempts to discover their origins and obtain their freedom as well as going into far more detail concerning the Puppeteers and their society and politics. While FoW fits into the long-established Known Space sequence, the material in it is mostly new.

In contrast, JoW is principally seen through the eyes of the Earth-based paranoid ARM agent Sigmund Ausfaller, as he attempts to discover what the Puppeteers are up to and why they have suddenly closed down all of their businesses on other planets and disappeared. A number of characters familiar from Niven's original Known Space stories re-emerge, especially Beowulf Shaeffer and Carlos Wu. Not only that, but a number of familiar stories are repeated (including Shaeffer's epic flight to the galactic core and the discovery by Shaeffer and Gregory Pelton of an anti-matter star system) only this time mainly from Ausfaller's viewpoint. This is the principal weakness of JoW; much of it seems concerned with recycling familiar events to fit into the book's framework rather than telling a new story.

As a result, I found that I was constantly distracted as I read the novel and realised I had read parts of it before in other contexts, and kept trying to recall what had happened then. This gave a very disjointed feel to the story and made it difficult for me to get involved in it. Ominously, I found that I kept losing the thread and forgetting the minor characters from one day to the next and needed to refresh my memory at the start of each reading session; a sure sign that it wasn't gripping me. I did grit my teeth and persevere with it, and fortunately was mildly rewarded at the end when the plot returned to the Puppeteer worlds and their tame humans for a dramatic finale - which also, of course, sets up the next volume.

Despite the satisfactory ending my main feeling was relief at having finished it. I found it disappointing and will probably not bother to read the next two books in the series.

Friday, 28 December 2012

Film: X-Men - First Class (2011)


This is the fourth film in the X-Men series I have reviewed, and I wasn't expecting much since such series generally run out of steam and I had read some critical comments about this one. So it came as a pleasant surprise to discover that it is at least as good as the other films in the series - which is to say, very good indeed by comparison with most superhero movies.

For those unfamiliar with the way this film fits in, it is a prequel to the others and describes the beginning of the mutants' story when they were still young (and are therefore played by different actors). The story begins in 1944 with a young Jewish boy in Germany who subsequently becomes Magneto, while at the same time in the USA Charles Xavier is meeting the girl who becomes Mystique. The remainder of the story is set in the early 1960s when the existence of the X-Men first becomes public, concluding with the Cuban missile crisis which nearly led to World War III (with archive clips from TV of that period included).

The film takes its time in developing the main characters and showing their back-stories, plus their uneasy relationship with the CIA before their existence becomes public. This adds far more depth to the story than you find in most such films and makes the dilemmas which the mutants face towards the end of the film much more credible. I found it engaging throughout, with the "human" story of the mutants never being drowned out by the inevitable spectacular CGI depictions of super-powers and battle sequences.

Incidentally, further to my discussion in my earlier blog post on Inglourious Basterds about the definition of alternative history, this film is right on the borderline: while the X-Men get involved in the missile crisis the broad outcome is not changed, which is the main criterion for identifying alternative histories.

Friday, 21 December 2012

7th Sigma, by Steven Gould


Steven Gould has managed the rare achievement among current writers of having one of his books on my all-time top 20 list of favourite SFF novels (since expanded to 27 - see the list in the left column of this blog). This is his best-known work, Jumper, which I reviewed on this blog in February 2010 along with its sequel, Reflex, and the disappointing film version of Jumper. I have also reviewed another of his novels, Wildside. The author is one of the best storytellers I know. He has a plain and simple writing style which puts the reader right into the tale, identifying strongly with the protagonist, and once I pick up one of his books I find it very difficult to put down again.

This remains true of his latest novel, 7th Sigma. As with most of his other stories, the protagonist is a teenage boy of unusual maturity. Much SF of the action-adventure type has featured a "competent man" as the hero, someone who succeeds through being smarter, braver and usually tougher than his opposition (in a different genre, James Bond is a classic example). Gould specialises in the "competent adolescent" or, in 7th Sigma, "super-competent" in the form of Kim Creighton, who later adopts the name Kimball Monroe.

At the start of the story, set some time in the near future, Kim is a thirteen year old street kid living alone in "the territory", a large area of south-west USA which has become mysteriously infested with self-replicating robotic "bugs"; mechanical flying insects with a passion for consuming metal which is so great that they will fly through anything to reach it, including people. Carrying any metal means almost certain death so those who still live in the territory have had to adopt a drastically modified metal-free lifestyle. Equally mysteriously, and fortunately for civilisation, something keeps the bugs within this clearly-defined area.

Kim falls in with Ruth Monroe, an aikido instructor who has entered the territory in order to set up a new dojo, and he becomes her student. Subsequently, he is recruited as a spy for the authorities, helping to track down criminals. The story concerns Kim's varied adventures as he grows into a young man, developing both his aikido, espionage and meditation abilities while learning how to live in his strange world. If this sounds vaguely familiar, that is because it is in effect based on Rudyard Kipling's famous early-20th century novel Kim.

7th Sigma is unlike Gould's other novels in that it does not reach a conclusion and is clearly intended to be just the start of a series. The pace is relatively slow by his standards, although the plot becomes episodic in the latter part of the book as some three years pass. The focus is very much on the character of Kim and the events which befall him, the SF element in the form of the bugs remaining in the background with few developments or revelations concerning it. I found the character of Kim to be rather unbelievable because he is so good - he never seems to suffer from teenage angst and is always rational, polite, forward-thinking, very mature, courageous, smarter than anyone else and a superb fighter. For all these reasons I found it less satisfying than Gould's other novels; however, it is just as un-put-downable and I read it in only two sessions. I am looking forward to the next volume.

Friday, 14 December 2012

Films: Percy Jackson & The Lightning Thief (2010), and The Secret of Moonacre (2009)


Something of a change from my usual fare, but perhaps appropriate for the holiday season: a couple of films aimed at younger viewers.

Percy Jackson & The Lightning Thief (aso known as Percy Jackson & The Olympians: The Lightning Thief) is loosely based on the first of a series of novels by Rick Riordan. It concerns a 17-year old boy (played by Logan Lerman) in present-day USA who suddenly finds himself under supernatural attack, and discovers not only that his previously unknown father was Poseidon, the God of the Sea, but that he is suspected of stealing Zeus' greatest weapon, the lightning bolt. If the bolt is not returned, there will be war among the gods which would lead to devastation on Earth.

Percy reaches safety at a special camp in rural USA established to train demigods like him; the offspring of relationships between gods and humans. There he discovers some of his magical abilities and, with two companions, sets off on a quest to find the bolt and rescue his mother, who is being held hostage by Hades, the God of the Underworld. Many spectacular adventures ensue before the quest is over.

There is a strong cast, including Uma Thurman, Sean Bean, Pierce Brosnan and Catherine Keener. The story rolls along well enough, mixing mystery, excitement and humour with some dramatic CGI, and will probably appeal to teenage fans of the Harry Potter films.

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The Secret of Moonacre is based on a children's fantasy novel, The Little White Horse by Elizabeth Goudge, first published in 1946. It is set in the 1840s and concerns a teenage girl, Maria Merryweather (Dakota Blue Richards, who played the lead character in The Golden Compass) who is orphaned and sent to live with her taciturn uncle Sir Benjamin Merryweather (Ioan Gruffud) in his remote country estate, Moonacre Manor. There she discovers that the Merryweathers have had a generations-long vendetta against their nearest neighbours, the De Noir family, in which magic was involved. She gradually learns that she has a pivotal role to play in ending both the vendetta and also an ancient curse which threatens to destroy everything in the valley.

The cast of this film is strong too (it also includes Juliet Stevenson in a comic turn, Tim Curry and Natascha McElhone) and the production excellent - it’s a visual pleasure. The story is rather bland with a schmaltzy ending and it didn't grip me, which is perhaps no surprise since I would assume that its target audience is young girls (who I guess will probably love it), but it was painless to watch.

Friday, 7 December 2012

Interzone 243


The November/December issue of the SFF magazine includes an interview with Adam Roberts and a review of his new novel Jack Glass, a crime story set in an SF context (or rather three separate stories concerning the eponymous hero), which sounds rather interesting. There are several other book reviews, including the following by well-known authors: The Hydrogen Sonata by Iain M Banks; Empty Space by M John Harrison; The Wurms of Blearmouth by Steven Erikson; and The Sphinx of the Ice Realm by none other than Jules Verne. This last one, written in 1896, is a rewriting of Edgar Allan Poe's 1838 novel The Narrative of Arthur Gordon Pym. Must put that one on the purchase list…

Film and DVD reviews include Looper and Prometheus (not yet seen but on my list) plus Avengers Assemble and the remake of Total Recall (both reviewed on this blog). It's always intriguing to read someone else's review of a film I've seen, particularly since they often see entirely different things in it (both good and bad) than I have.

Five stories this time:

Moon Drome by John Wallace, illustrated by Richard Wagner. A series of brutal races between one-man spacecraft around a moon in a far system is further enlivened by unpredictable interventions from a deadly alien race known as the Fear. Scorpus is the most successful of the slave-status race pilots facing his final contest before winning his freedom; but half the pilots die in each race. Will the Fear get him this time, and what is their purpose in being involved?

The Flower of Shazui by Chen Qiufan, translated by Ken Liu and illustrated by Richard Wagner. A man in a future China is fascinated by a beautiful prostitute called Snow Lotus, but she has a brutal husband. More of a social drama than an SF one.

The Philosophy of Ships by Caroline M Yoachim, also illustrated by Richard Wagner. In the far future, people can choose to have more than one consciousness inhabiting their bodies, or can even opt to merge with the bodiless network.

Lady Dragon and the Netsuke Carver by Priya Sharma, illustrated by Martin Hanford. A powerful female Samurai in an alternative Japan negotiates the deadly pitfalls of her existence.

Mirrorblink by Jason Sanford, illustrated by Warwick Fraser-Coombe. A strange, far-future Earth with no visible Sun, Moon or stars, and populated by people who stay in their home towns in fear of both the mysterious inhuman Observers and the burn - catastrophic fires which fall unpredictably from the sky, destroying whole areas. Ein is a young woman who has become a Scope, one of the few people who travel from town to town trading information. What had happened to the world, and why is an Observer so interested in her?

The stories by Wallace and Sanford are the two which appealed to me this time. Wallace's story is classic hard SF. In contrast, Jason Sanford is establishing quite a reputation as a writer of highly imaginative, often surreal, and very varied tales, and always provides good value.

Friday, 30 November 2012

City, by Clifford D Simak


Clifford D Simak was one of the most popular and successful American SF writers. His career lasted half a century, from the 1930s to the 1980s. During that time he published nearly thirty novels plus many short stories and collections, won a Nebula and three Hugo awards and was awarded a Grand Master title by the Science Fiction Writers of America.

City was an early novel, being first published in 1952. Like many novels of this period it was a "fix up", consisting of eight previously-published short stories, but is none the worse for that. A ninth story (Epilog) first appeared in 1973 and has been incorporated in most editions of the book published since 1980. However, I haven't read it and this review is based on my 1965 edition, which I read a few times in the 1960s and 70s but not since - until now.

The chapters in City span thousands of years into the future, making the book decidedly episodic, but despite this the story holds together well. This is partly achieved by consistent plot-lines, partly by the continuity of one character (Jenkins the robot) being there from beginning to end, but mostly by the structure of the novel. This is presented as a book of fables published in the far future, looking back on events of a past so distant that it has become mythical. Each chapter is a different fable and is preceded by an introduction by the editor who comments on each story, explaining the differing views on what it means and what relationship it might have to reality. This affords some amusement in that the editor assumes that much of the content of the stories is fantasy when, to us, it clearly is not. For instance, a lot of our present-day knowledge has been lost in this non-technological far future, so stories of living on other planets are dismissed by the editor as impossible.

The major twist in the novel (this isn't a spoiler - it becomes obvious from the start) is that this far-future civilisation is populated not by humans, but by dogs. Humanity had disappeared long before and is regarded by the editor as probably mythical, or at least greatly misrepresented. What we, the present-day readers, can understand is that the stories are literal accounts of the bizarre fate of humanity, as seen through the eyes of one family, the Websters, and their robot servant Jenkins. The Websters have played a pivotal role in events, including giving dogs the power of speech and mentoring their infant civilisation. I will say no more about the plot, as I would hate to spoil the enjoyment of new readers in the succession of surprising and boldly radical twists in the story.

Even today, City is an outstanding achievement - a landmark in SF, totally original in its plot and structure, making most modern SF seem very derivative and unimaginative. This story alone is enough to ensure the author's place in SF history. With the passing of the years it is possible to poke holes in certain plot elements, most notably the intelligent alien life on Mars, and that surgical modifications to enable dogs to speak would breed true in subsequent generations (if written today, the author would of course resort to genetic engineering to achieve this). On the other hand, the story has realistic depictions of the internet and of virtual reality communications, and a lot of thoughtful observation on how society might change as a result of such technological developments.

When I first drew up my "top 20" list of favourite SFF books City was an automatic qualifier. Re-reading it after such a length of time has merely reinforced my admiration for the breathtaking imagination which conceived this strange tale, which is in my opinion in a different league from anything else that Simak wrote, his other novels being much more conventional. I have always been rather ambivalent about his writing style because it is imbued with a folksy sentimentality which I suspect goes down much better with American readers than it does with British ones. City has this as much as any other (enhanced by a strong element of nostalgia), but it is more forgivable in this book because of the nature of the story.

To sum up: everyone interested in SF should read this book!

Friday, 23 November 2012

Films: The Adjustment Bureau (2011), and Red Lights (2012)


The Adjustment Bureau is yet another movie based on a story (Adjustment Team) by Philip K Dick, who must surely not just hold the record for the number of his stories to have inspired films; his score is probably greater than that of all other SF writers put together.

This starts as an apparently routine story about US Congressman David Norris (Matt Damon), running for office in the Senate, who briefly meets Elise Sellas (Emily Blunt) a dancer to whom he is instantly attracted. By chance, he meets her again some months later and discovers that his feelings have strengthened and are reciprocated by Elise.

At this point, the story becomes anything but routine: for Norris clashes with a mysterious otherworldy organisation called The Adjustment Bureau, which has immense and inexplicable power. The Bureau is set on keeping Norris and Elise apart, for reasons of its own, and what follows is an extended tussle as Norris battles against the will of the Bureau to find and keep Elise, gradually discovering more about his supernatural adversaries as the plot progresses.

This is an unusually low-key film by SF standards - no car chases or explosions, and the Bureau super-agents appear as ordinary businessmen with a peculiar agenda and a neat trick with doorways. Damon plays his usual competent-but-troubled man part (as in the Bourne trilogy) while Blunt, who seems to be appearing in a lot of films I watch, is excellent. This is a rather strange blend of fantasy, romance, and political thriller which I suspect won't be to everyone's taste, but it worked for me.
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Red Lights focuses on university academics Margaret Matheson (Sigourney Weaver) and Tom Buckley (Cillian Murphy) as they work together to debunk claims of paranormal phenomena, including hauntings and performances by professional "psychics". They are put to the test when one of the most famous psychics of all, Simon Silver (Robert De Niro), returns from a 30-year retirement and performs to packed theatres, apparently achieving the impossible. Furthermore, he has agreed to undergo independent testing of his claimed abilities in a university laboratory. But he and Matheson had crossed swords in the past - was she up to facing him again?

This is an unusual film, a powerful psychological thriller featuring intense emotions as the protagonists clash over what is paranormal and what is mere trickery. The academics feel increasingly paranoid as mysterious events keep hindering their work. There are a couple of unexpected twists, one part-way through and another right at the end which puts events into a very different light, plus one very violent fist-fight. Gripping and rather nerve-racking.

Saturday, 17 November 2012

Bill, the Galactic Hero, by Harry Harrison


Harry Harrison, who died this year, was one of the most popular SF writers of his generation with more than 50 novels published between 1960 and 2010. He specialised in light, fast-moving and entertaining adventure thrillers, generally flavoured with his satirical sense of humour. Bill, the Galactic Hero (published in 1965), one of his best-known stories, standards out as one of his most strongly satirical works. His targets were the military (especially as portrayed in Heinlein's Starship Troopers, to which this was presumably a riposte), aristocracy, space opera featuring giant space ships, and imperial planets entirely covered with buildings (a side-swipe at Asimov's Foundation trilogy), plus various other random SF cliches along the way.

At the start of the story, Bill is a young farm-hand on an agricultural planet, working towards his qualification as a Technical Fertilizer Operator, when a military recruiting fair marches into town. He is soon tricked into signing up and, much against his wishes, transported to a military boot camp for a period of training conspicuous for its stupidity and sadism, personified by the memorable figure of the recruits' nemesis, Petty Chief Officer Deathwish Drang. Despite various vicissitudes in which Bill, the perpetually hopeful innocent, is usually on the wrong end of, well, just about everything, he is hailed as a hero for accidentally saving his ship Fanny Hill during a space battle, and travels to the imperial capital Helior to be awarded his medal by the Emperor. As usual, he soon finds himself in trouble again and has some more colourful adventures before the story concludes by turning full circle.

Throughout, the military is portrayed as nasty and incompetent, the aristocracy as inbred and gormless, and life generally as grossly unfair, with everything turning out to be much worse than it first appears - especially for Bill. However, what might otherwise have been a grim tale is all recounted with a wicked sense of humour which has the reader grinning with acknowledgement at the points scored against multiple SF targets. A quick, fun read which is well worth the time.

Friday, 9 November 2012

Film: Inglourious Basterds (2009)


I had heard that Inglourious Basterds was a WW2 film which had received mixed reviews, but until I saw it I had no idea that it had an alternative history plot, and even then it doesn't become apparent until right at the end. Well, that's enough to justify putting my thoughts about it on my SFF blog, anyway.

As might be expected from Tarantino, the film is stylised, intense, brutally violent, and memorable. It is also very long. There are two parallel story lines which don't connect until the end: the fate of a young French Jewish girl who escapes the Nazis, and the activities of a group of American Jews (led by Brad Pitt as Lieutenant Aldo Raine) parachuted behind enemy lines into France before D-day in order to strike terror into the German occupiers. The plots converge on a cinema in Paris where a propaganda film is to be aired in the presence of the Nazi hierarchy.

There are some particularly high-tension scenes which gripped this viewer: the initial one, in which the Nazi Jew-hunter Colonel Hans Landa (Christoph Waltz, in a disconcertingly brilliant performance which rightly won awards) visits the home of a farmer who is concealing a Jewish family; another set in a Paris bar where a German officer is suspicious of the group of supposedly German officers who are actually imposters; and one near the end where Hans Landa confronts the famous German actress Bridget von Hammersmark (Diane Kruger, in a fine performance) whom he suspects of being a traitor. To sum up: this isn't the easiest film to watch and I can understand many people not enjoying it, but I thought it was worth seeing. Oh, I should mention that the actors speak in the languages they would have used, so there is much use of sub-titles; this doesn't bother me, but some might not like it.

To return to the observation I made at the start, it did make me wonder about categorising this kind of fiction. There are debates about whether alternative histories are SFF at all. As somebody who has written both alternative history and SF stories, I have some views on this. I prefer to use the term "speculative fiction" to group together all those stories which are concerned with the world as it isn't. Sub-sections of this are science fiction, fantasy, horror and alternative history (with vampire, zombie and ghost stories being sub-sub-sections); there are no clear dividing lines between these, though, as stories often contain elements of more than one. I will not get into the perennial debate about the difference between SF and fantasy here!

Focusing just on alternative histories, there are two basic types. One aims to be relatively realistic by examining what might have happened if one mundane event had occurred differently (for example, if that British soldier who at the end of WW1 allegedly had Adolf Hitler in his sights but decided not to shoot, had actually pulled the trigger). Even academic historians get involved in this sort of speculation, although they prefer to call it "counter-factual history". However, the further you get from the "point of departure" or POD (the moment when the fictional history diverges from the real one), the more speculative and fantasy-like the stories become, so you get stories now known as "steampunk" (another sub-sub-section) in which Victorian technology and culture extend to the present day. The second basic type of alternative history is triggered by some fantastical event, such as time-travelling. The outcome can be a serious look at what might have happened given that initial premise (my own novel The Foresight War falls into this category), or it can be far more of a fantasy.

I have excluded from this categorisation stories set in a particular period, like WW2, which include fictional characters and events, as I regard these as war stories rather than alternative histories - provided that the broad thrust of the history in which they are set remains the same. For most of the film I thought that Inglourious Basterds was one of these; but unusually, the POD occurs at the end of the story rather than the beginning, leaving the viewer to speculate about what might have happened next.

Friday, 2 November 2012

Entanglement, by Douglas Thompson


I have previously reviewed two other novels by Douglas Thompson: Ultrameta (October 2009) and Sylvow (February 2011). A few extracts from these reviews give a flavour of this author's work:

It might best be designated "slipstream"; that catch-all title for unreal fiction which doesn't easily fit into anything else… Both are written in the form of discrete chapters, some of which have appeared as short stories in various publications… Like all of Thompson's writing, this has a surreal, dreamlike quality, like a fairytale of the original Grimm sort, dark and mysterious and sometimes horrific.

Entanglement, his latest novel, shares these characteristics, but the plot is closer to the mainstream of SF. The time is more than a century in the future, when scientists have developed the principle of quantum entanglement currently being demonstrated at the sub-atomic level (i.e., two particles linked so that any change in one instantly causes a similar change in the other, over any distance) to apply to large and complex physical objects - including people. A device dubbed an Ansible in honour of Ursula Le Guin has been developed. Two paired Ansibles, each of which contains a chamber of quantum-entangled sub-atomic matter, remain permanently linked in such a way that anything introduced into one chamber instantly appears in the other. A large number of sub-light speed probes have been dispatched to nearby star systems, containing such Ansibles paired with similar ones remaining on Earth. When they arrive they send back their initial findings and, if deemed worthwhile, explorers on Earth then enter the equivalent chambers to enable their duplicates to appear on the planet. When humans are "dupliported" in this way, only one can remain conscious so the other sleeps, the two alternating every few hours. In this way, humans can explore other planets and report back in person without the necessity of making a physical journey. The catch is that if anything happens to a dupliported person, it instantly affects the original - and vice versa. If one dies, the other dies.

The novel consists of the experiences of explorers on sixteen different planets with a wide variety of physical environments and life forms. In that respect, there's an echo of the classic 1950 SF novel by A E Van Vogt, The Voyage of the Space Beagle. In between are linking sections concerning the key people who run the operation on Earth; their histories, personal lives and relationships, plus the shadow of the first failed human entanglement experiment which still lies over them.

As can be expected from this author, this is far more than a routine humans-meet-aliens story. The experiences of the explorers are often intensely bizarre, sometimes causing them to lose their objectivity and even their sanity, and bringing into question the whole project. The concluding chapter introduces yet more plot twists which change the reader's understanding of what has been happening, with the final twist returning to the theme of the foreward. Like all of Thompson's writing, strong and sometimes disturbing images are created in the mind. A memorable book with much packed into it, tempting the reader to turn back to the beginning and start reading it over again.

Sunday, 28 October 2012

Film: Surrogates (2009)


The time is the near future, when the availability of surrogates has transformed the world. These are lifelike androids which are directly controlled by their owners via radio links which have complete sensory feedback, so that the owners can experience life as if they were there in person while remaining safely "plugged in" in their homes. This has led to the mass use of surrogates in everyday life. They can be made to look younger and more attractive than their owners (or indeed, completely different from them), and allow their owners to vicariously experience all sorts of dangerous activities which they would never attempt in person. The small percentage of humans who refuse to use surrogates (derisively known as "meatbags" by the others) live in "Dread Reservations" scattered about the country.

Tom Greer (Bruce Willis) is an FBI agent who via his surrogate (Trevor Donovan, made up to look like a younger and hairier version of Willis) investigates the destruction of two surrogates and discovers that whatever weapon did the damage also killed their owners - something which was supposed to be impossible. Aided by his partner Agent Peters (Radha Mitchell) he tracks the killer and the weapon to a Dread Reservation, but complications ensue as the FBI has no jurisdiction there and the Reservation leader, known as The Prophet (Ving Rhames), is preaching revolution. The plot goes through a whole series of twists and turns before the dramatic finale, as Agent Greer becomes uncertain who is on which side, whether the surrogates are always being controlled by their owners (and if not, by whom?) and what the murders are really all about.

Surrogates is an intriguing and exciting film, a good blend of reasonably realistic science-fictional extrapolation with a high-tension mystery, seasoned with a well-judged quantity of the obligatory chases and crashes. There are some thoughful insights into the effect of surrogacy on everyday life; in the relationship between Greer and his wife (Rosamund Pike) who refuses to meet him except in her surrogate form, and in the uneasiness and vulnerability Greer feels in "meatbag" form when he tries to move among the physically perfect, fast-moving surrogates. It held my attention throughout, and is one of the better SF films I've seen recently. Recommended.


Friday, 19 October 2012

Interzone 242


A different format for the September/October issue of the British SFF magazine, smaller but thicker. The contents remain the same, though, with six short stories, news, and reviews of books, cinema films and DVDs. This time there's also an interview with David Brin alongside a review of his latest novel, Existence, which sounds like one I ought to read. To the stories:

Wonder by Debbie Urbanski, illustrated by Richard Wagner. The consequences of the arrival of a large number of blue humanoid aliens intending to settle on Earth are observed by a child living in a rural home. More like an extract than a complete story.

The Message by Ken Liu, illustrated by Mark Pexton. A far-future archaeologist who specialises in the ruins of alien civilisations visits a world with a strange empty city which apparently has no function - but is it as harmless as it seems?

Needlepoint by Priya Sharma, illustrated by Martin Hanford. A medieval fantasy with a ghostly twist.

Beyond the Light Cone by C.W. Johnson, illustrated by Richard Wagner. Spaceships permanently stuck in an above-light-speed existence and manned by exiled criminals are used as relays for high-speed interstellar communications. Some are plotting a return to the slow universe, but what might be the consequences?

The Remembered by Karl Bunker, illustrated by Richard Wagner. An alien love story echoes a fable of the past.

Strigoi by Lavie Tidhar, illustrated by Warwick Fraser-Coombe. A data vampire visits the Earth in search of the lover she had abandoned. Set in the same universe as The Indignity of Rain (see Interzone 240).

None of these made a strong impact on me but I suspect that Strigoi and The Message will prove to be the most memorable.

Friday, 12 October 2012

Guns, Germs and Steel, by Jared Diamond


A non-fiction book examining the history of human civilisation might seem an odd work to review in an SFF blog but bear with me, there is some relevance to it. Guns, Germs and Steel sets out to answer some fundamental questions about civilisation, which is defined as the introduction of farming, thereby producing enough food to support large, settled communities with social structures, rulers, priests and armies. In particular, why did civilisation develop in some parts of the world but not others?

The author covers a lot of ground while trying to answer that question, in the process conveying an excellent summary of what is known (and not known) about the early history of civilisation. Simplistic theories I recall from my youth to explain why people of European origin have dominated the history of the past few centuries, concerning such matters as an invigorating climate or the tenets of Protestant Christianity, are ruthlessly dismissed with evidence-based logical reasoning. Instead, Diamond argues that a range of environmental factors made the varied history of different parts of our planet almost inevitable.

The most fundamental factors concern how easy it was to begin farming, and this largely depended on three factors: the suitability for domestication and improvement of the wild crops available in each area; the suitability for taming and domestication of the large wild herbivores (or in a few cases omnivores) in each area; and the combination of climate and terrain. For all three factors, the Fertile Crescent of the Middle East (centred on what is now Iraq) had substantial advantages. The ancestors of most of what became crops of world importance lived wild in the area. So did the ancestors of nearly all of the large animals which have proved suitable for domestication (the "big five" being sheep, goats, cattle, pigs and horses; others, such as camels, are of only regional importance). The climate was good for cultivation, with a long growing season, and the varied terrain meant that not all crops ripened at once; those higher up in the hills and mountains would ripen after those in the valleys and plains, ensuring a steady availability of food rather than a sudden glut. These advantages enabled the Fertile Crescent to become the cradle of the civilisation which developed in the surrounding areas, including all of Europe.

Although centres of agriculture developed independently in several other parts of the world, most of them were much less well endowed with plants suitable for cultivation, so it was difficult for them to gain the same food value out of a given amount of land or physical effort. Most also lacked large animals suitable for domestication, which not only denied them a source of convenient protein but also meant that they had no power source to do the heavy work of ploughing and transport or to act as war mounts. That was a massive disadvantage, and accounts for the rapid adoption of such animals wherever they were introduced (e.g. the use of horses by the natives of North America).

Another advantage of the Fertile Crescent is that lands with similar climates and growing seasons (including Europe and North Africa) extended to the east and west, making it easy for the new farming practices to spread. In the Americas, with a north-south rather than east-west axis, it was much harder for such practices to spread from temperate lands in North America to those in the South (and vice versa), because the tropical Mesoamerica blocked the way - and crops and animals adapted to temperate climes rarely succeeding in making that journey until long-distance transport became feasible.

Once the process got underway, other factors came into play to ensure that the early civilisations were able to spread and dominate their neighbours. The higher population densities and more intensive food production of these civilisations allowed them to develop ruling classes and armies against which more primitive, dispersed and decentralised cultures had no resistance. Furthermore, the high densities, combined with the close proximity of humans and animals, provided fertile ground for the development of new diseases. People in such civilisations gradually built up immunity to such diseases, but when they arrived in new lands (most especially in the sixteenth century when Europeans began to arrive in the Americas in some numbers) the native peoples had no such resistance and the death rate from the resulting epidemics could be as high as ninety percent.

With such huge advantages giving it a flying start, one might wonder why the Fertile Crescent is relatively poor today. The answer, the author points out, is that they used their land too intensively. With what used to be extensive woodland cleared for farming, and goats eating almost anything that grew there, the soil became impoverished. Long-term changes in rainfall patterns also had a part to play in worsening the conditions for agriculture in various parts of the world.

Once civilisations had made a start, other factors determined which were able to develop technology and which were not. Once again, the location was all important; the ready availability of metal ores suitable for easy processing for copper, tin and later iron, was vital to developing modern industries.

The evidence amassed by the author indicates that in almost (although not entirely) every respect, it was the relative advantages in natural resources - climate, terrain, cultivable plants, domesticable large animals, and minerals - which determined which cultures have flourished and which have not. Some mysteries remain, however; such as why an early civilisation as advanced and extensive as the Incas of South America never developed writing or invented the wheel.

One other interesting point is raised, and that is the importance of a high population density over a large area in sustaining early technological advances. Many early innovations were probably introduced many times over, only to be lost as the small isolated bands of hunter-gatherers which developed them died out. It was important for innovations to be spread widely over a large population for them to become well established. Furthermore, cultures could lose their technologies if they became isolated in sufficiently small groups. A poignant example is given of the natives of Tasmania, a large island which used to be joined to mainland Australia. At that time, the Australian aborigines - including those in Tasmania - were using sophisticated stone tools, large-scale fish traps, boomerangs and other technologies. It is estimated that about 4,000 people were living in Tasmania at the time of the separation some 10,000 years ago, but by the time the first Europeans arrived they had lost all of their advanced technologies and were surviving only at the most primitive level of existence. Even worse, on some smaller islands similarly separated from mainland Australia, estimated populations of 200-400 died out completely. It seems that there are certain minimum levels of population to sustain any kind of existence, and the more advanced is the civilisation, the larger the population needs to be.

Some technologies have been lost even by advanced civilisations just a few centuries ago. Early in the fifteenth century China possessed large fleets of huge, advanced sailing ships and several major expeditions (involving up to 28,000 men) were launched, reaching as far as Africa. China looked set to dominate the world in the way that Europe began to at the end of that century - but then, as a result of political infighting, the ruling group which was closely associated with the expeditions lost power and their successors promptly scrapped the fleets together with the capability to build and use them. I could add more recent examples, admittedly of much less significance: in the last few decades the West has developed and abandoned both the capacity to land men on the Moon and the ability for passenger planes to speed across the Atlantic at twice the speed of sound. Nuclear power is also being abandoned by several countries. Technological capabilities do not always advance, even for us.

So what is the relevance of all this to SFF? I think that there are some clear lessons here for authors who are engaged in world-building, especially of primitive civilisations, and who want to make their worlds as realistic as possible. Also for those concerned with writing stories of survival after disasters, either on this planet or others, in which a rapid slide down to basic subsistence level of existence seems likely. There is far more in the book than I can go into here, but I recommend it to anyone interested in why and how civilisations develop - and manage to survive.

Saturday, 6 October 2012

Film: Avengers Assemble (2012)


I have rather enjoyed some of the recent superhero movies, particularly the first Iron Man and also Thor, both reviewed on this blog. They both took the time to develop their principal characters plus their relationships with other people, and contained a lot of both dramatic and amusing situations and repartee to balance the action scenes. I haven't seen any of the films about the other superheroes so can't comment on those, but a movie which brought several of them together to defend the Earth against an attack from an alien dimension sounded entertaining and the reviews looked good, so I began watching Avengers Assemble with interest.

Sadly, I was greatly disappointed. Only a few token gestures were made towards the elements which made the other films so enjoyable: there was hardly any character development or humour. Most of the movie consisted of fight scenes which just went on and on interminably. As Scarlett Johansson said of her part in the film: "I've spent so many months training with our stunt team, and fighting all the other actors, it's crazy. I do nothing but fight—all the time." After it was over, the person I saw it with commented "That was for eight year olds. I thought it would never end". I think that was maybe a little harsh and that the age of the target market was possibly as high as twelve, but I took the point. While the CGI was of the spectacularly high standard we expect nowadays, the story was about as subtle as being hit over the head with a rock, over and over. I was recently rather critical of the remake of Total Recall, but that was positively Shakespearean in the quality of the plot, dialogue and acting compared with Avengers Assemble.

There seems to be an increasing tendency for SFF films to split into two groups; the big blockbusters which are aimed at the lowest common denominator and focus almost entirely on spectacle and violence, and the more subtle and complex movies intended to appeal to adults. Some films have managed to combine elements of both quite successfully, as I mentioned at the start, but I have the impression that they are in a dwindling minority. The second Iron Man film, for instance, impressed me a lot less than the first. I note that a sequel to AA is intended, but I have no great hopes for that. Since the original was such a huge box-office success, the sequel will almost certainly just be more of the same. Oh well, I'll just have to pick and choose my films a little more carefully in the future.