Tag Archives: science fiction
While my blogging has been sporadic, doesn’t mean I haven’t been reading stuff. Here are three different but related visions of the future:
PERSONA by Genevieve Valentine
I became a big fan of Valentine because of her first published novel Mechanique, an absolutely beautifully written book that skillfully blended violent action, steampunk and suspense with meditations on art, love, loss and death. Persona has that Valentine touch but it’s a different type of story with a style that is more straightforward, less poetic, more brainy spy thriller. The novel is set in the near future when technology has advanced in various areas, notably surveillance, and global issues dominate. Countries, including some new ones on the scene, negotiate it out in a fishbowl of diplomats who are mostly just used as celebrities in the world reality show, called Faces. There are official journalists and black market journalists (snaps.) The novel centers on Suyana Sapaki, a third rate Face for the newer United Amazon Rainforest Confederation angling for a better deal for her struggling young country, and secondly on Daniel Park, a former journalist on the run, trying to become a snap, who happens to interrupt a mysterious assassination attempt on Sapaki. Everybody is hiding lots of secrets that are likely to get them killed by one group or another. The paranoia is ramped up to eleven, and it’s wonderful. It’s a crisp, punchy novel about a future that, while a few things might not fully hold up, has some scary parallels to what’s going on today and how they could be worse. I enjoyed it a lot and am looking forward to reading the sequel that came out this year, Icon.
OES by Chuck Wendig
I’ve also been a fan of Chuck Wendig’s Miriam Black series, which are contemporary fantasy thrillers. (He is better known now as the guy who is doing the funky new Star Wars tie-in bestsellers.) In Zer
oes he turns to science fiction in the contemporary to near future time range. In the novel, the tech involved is of the cyber variety and also has a lot of stuff about surveillance. Wendig sets up the classic hackers story: five disparate types of criminal hackers are grabbed by the U.S. government and forced to work at a secret complex as cyber spies to avoid federal prison for the rest of their lives. And of course there are conspiracies within conspiracies that the thrown together group are forced to deal with in order to survive. But from there, things get weirder and weirder, because that’s how Wendig rolls. He also has a brilliant ability to take a stereotype frame and play with it, turning them into buyable and fleshed out characters, and has interesting side characters as well. While I didn’t enjoy the novel as much as the Miriam Black books, I did very much like the combo of extrapolating where cybernetics might go with Dirty Dozen face-offs and chases. There is a sequel/spin-off that involves ants just out called Invasive. I don’t even want to think what Wendig might do with ants.
TERMS OF ENLISTMENT by Marko Kloos
Everybody started talking about newcomer Marko Kloos and so I got around to reading his first novel, the start of the Frontline series. The novel is set in a farther away future that is bleakly dystopian. The Earth is overpopulated, trashed and food shorted, with tons of poor folk kept trapped in giant city camps — pretty much a standard scenario. Some try to escape it by joining the military, with the hopes that if you survive service, you’ll get a pension and maybe the ability to settle on more breathable colonies out on other planets. That’s what the novel’s protagonist, Andrew Grayson, decides to do. The tech here is military, also involves methods of surveillance, and some of it is interesting. The novel is really two stories together. The first involves Grayson’s training and service on Earth where they put down “threats” both foreign and domestic as hated enforcers. The second part has Grayson going up into space on a military patrol vessel that encounters a totally new threat to humans. Kloos makes a bit of a first-timers mistake in the first part, for me, of believing that detailed descriptions of military training and procedures are both fascinating and totally unfamiliar to his reading audience. So the first part doesn’t move along quite as well as the second part, though it gets more exciting as it goes. The second part of the novel offers us more of a new world, better pacing and Kloos’ aliens are neat. Overall, it’s a bit of an uneven book that is nonetheless free of bombast, has lots of action and knows its military hardware. And has a protagonist who isn’t a total saint but does have a strong emotional core. So I’m interested to read the next one in the series and see what Kloos does with his wider landscape.
No, not the other bigger political and life stuff, though I’m more than tired of that too. I’m tired of the nitpicky stuff. I’m tired of Hollywood and western film white supremacy and how deeply ingrained it is.
Also not so long ago, I read the best-selling SF novel The Girl with all the Gifts by M.R. Carey. The novel is a post-apocalyptic zombie novel, set in the ruins of Britain, and it takes the time-honored SF approach of evolution, kind of like the original I Am Legend novel by Richard Matheson. It’s a well-written book with some interesting dynamics, although it feels a bit like what would normally be a novella dragged out to be longer. The novel centers around an unusual girl named Melanie and other children kept at a bunkered school where a woman named Helen Justineau is their teacher.
The novel has been made into a film in a joint UK/US production. (Don’t know if they changed the setting to the U.S. or not.) It’s starring Sennia Nanua as Melanie and Gemma Arterton as Ms. Justineau. The movie is scheduled to come out this year in September, which means I missed it in my round-up of women-led films and such for 2016, but you know, yay for another one!
In the book, Melanie’s exact appearance is a bit unclear. It seems like she is somewhat pale but also has kind of golden toned skin, so she might be a white girl or a black Briton or have Mediterranean or South Asian ethnicity. So any young actress might have played her and Sennia Nanua is a black actress. But also in the book it is quite clear that Helen Justineau is a black woman. It is in fact a key undercurrent in the story, related to some of the themes of the story. I like Gemma Arterton quite a lot, but that didn’t change the fact that it was ridiculous that she was playing a Persian princess in the game-based movie The Prince of Persia, and it doesn’t change the deliberateness of this switch here in The Girl with all the Gifts.
Now the filmmakers and the studios I’m sure can claim that they are just shifting things around, since they took a main character, Kieran, a soldier who in the book is a red-haired Irishman, and instead are having him played by black actor Fisayo Akinade. They also took another minor character who is indicated as South Asian in ethnicity and have her being played by black actress Dominique Tipper. But Kieran is mainly a sidekick character, so essentially it’s just having the black actor play support to the four leads, who except for Melanie, are played by white actors. Helen Justineau is a main hero/focus of the story. She is its questioning moral center. And what the film is putting forth is that such a hero role needs to be played by a white woman, not a black woman.
Add to that fact that Melanie, played by a young black girl in the film, spends the first part of the story strapped to a mobile chair with a mask on her face, controlled mainly by white people, and it gets more than a little symbolically problematic. You could say that it’s meant to function as a symbol of historic slavery related to the story, but so is switching out a black role for a white actress. The very strong possibility is that having decided to cast Nanua as Melanie because they liked her for the role, the filmmakers probably felt that they could not have two black acting leads in their movie. Because that’s how this kind of thinking works as well. Justineau also in the book has something of a romance with another lead character, a white British military commander played in the movie by Paddy Considine. While films have had inter-racial romances and it might not have been an additional factor, it does again contribute to the regular Hollywood approach of having only two white people bonding together as leads.
The reality is that white people play 80% of the roles in film, even though that’s not near their percentage of the population. It’s hard enough for actors of colors to get on screen at all, even when filmmakers are willing occasionally to racially change a white character in an adapted work. When lead and key roles in adaptations or that fit ethnically for non-white people are then given to white actors, it continues an industry-wide discrimination that visually helps fuel discrimination in the wider world, certainly in the Western world.
The logic that filmmakers use to apply to these things has slightly improved (trickle, trickle,) after lots of screaming, but they still regularly switch heroic roles, major and minor, of non-white characters to white actors and will now switch out other non-white roles of one ethnicity or race for another for seemingly strange reasons.
Take the film adaptation of the best-selling novel The Martian by Andy Weir. The film was a good adaptation of the novel overall and had a number of non-white actors playing key roles. But one very pivotal supporting role, Mindy Park, the technician who spots that the protagonist astronaut is still alive on Mars and who is one of his main contacts, would seem by her name and slight indications in the story to be Korean American and instead in the film is played by a white actress, Mackenzie Davis. Again, I like Davis as an actress, but it’s hard not to see this as switching the heroic role to a white actress to be on the safe side.
On the slightly brighter side, the character of Venkat Kapoor, her supervisor, a South Asian American, was replaced, but by a black actor, Chiwetel Ejiofor. But that may have been because the filmmakers decided that they had too many Asian characters — the chief engineer played by Benedict Wong and several Chinese characters who help NASA, to have another Asian actor in a main role, and that they figured a white actor couldn’t pull off the last name of Kapoor (the character’s first name was changed to the less South Asian moniker of Vincent.) So yay, that increased the presence of black actors in the movie, but only because they didn’t want the number of Asian actors to outshine the number of white ones who play most of the leading roles.
The author of the novel, Andy Weir, pointed out that he doesn’t do a lot of physical character descriptions or had prescribed notions of their appearances, including of his protagonist astronaut, so technically Mindy Park could be a white American and “Vincent” Kapoor could be a black American, though he had thought of Park as Korean American. But if that’s the case, then the lead astronaut didn’t need to be played by a white actor like Matt Damon either. Mark Watney could have been a black man, multi-racial or any variety of ethnicity. But that would have made some people quite upset — that the character wasn’t a square-jawed white guy as they no doubt imagined him to be because they’ve been trained to imagine the hero as white, even when there are no physical descriptions.
This is not a problem that is going to be easily solved, given the old, ingrained myths by which we treat each other (see the anger at The Hunger Games movie having black actors play heroic characters who were described as black people in the book, by those with poor reading comprehension who assumed such heroes had to be white children.) Hollywood is deeply uncertain about whether they can get away with giving the global audience a regular diet of non-white leads, given that they’ve force fed us white leads from the beginning of film’s existence. And despite ample evidence to the contrary, they have clung to white and mainly male leads like a security blanket, even though numerous movies with such leads tank and the income stats are actually better for women leads and lead actors of color. It is, again, partly a social status issue for industry bosses as well.
Regardless, it has in recent years taken a good chunk of enjoyment out of certain films for me when they do this stuff and has influenced my movie watching choices. I love old movies. I mean, I really love them. I’ve grown up on them. I’ve seen probably thousands of movies in my life. But the white supremacy can go now, as quickly as possible. And a good start would be to take characters who are already not white people in the original material and not turn them into white people for current and future films.
Because we don’t need them. We really don’t. Much as I like many white actors, they aren’t the only ones I like, and they don’t always need to be the heroes or the majority group in an ensemble movie. And that’s my big sigh for today.
It’s time (finally!) for Women in Film, where we take a look at the state of women actors in tackling the serious Hollywood box office – the “summer” blockbusters, tent pole special effects movies, high octane action films, suspense thrillers, horror flicks, big buzz dramas, children’s and animated major features and comedy adventure films. In this first part, we’ll take a look at the past year of 2015. In Women in Film, Part Two, we’ll take a look at what’s been happening so far and what’s still to come in 2016 (and a little about 2017 and beyond.)
I will admit that I did not, going in, have particularly high expectations for the movies in 2015 when it came to the “lady actors.” I thought, from the look of those revamped big boy franchises for that year, that 2015 would be something of a placeholder year , like 2013 and 2014 – a year that didn’t particularly lose the trickle, trickle gains for women set off in 2012, since it would have some women leads in films and women in major supporting roles in big ensembles, but didn’t dramatically advance them either, since the machismo looked to be coming out the ears of the summer and winter line-ups.
The Nebula Awards, including the Ray Bradbury Award for Dramatic Presentation and the Andre Norton Award for Young Adult SFF, announced their short list nominees today:
Best Novel (Long Form):
Raising Caine, Charles E. Gannon (Baen)
The Fifth Season, N.K. Jemisin (Orbit US; Orbit UK)
Ancillary Mercy, Ann Leckie (Orbit US; Orbit UK)
The Grace of Kings, Ken Liu (Saga)
Uprooted, Naomi Novik (Del Rey)
Barsk: The Elephants’ Graveyard, Lawrence M. Schoen (Tor)
Updraft, Fran Wilde (Tor)
Wings of Sorrow and Bone, Beth Cato (Harper Voyager Impulse)
“The Bone Swans of Amandale,” C.S.E. Cooney (Bone Swans)
“The New Mother,” Eugene Fischer (Asimov’s 4-5/15)
“The Pauper Prince and the Eucalyptus Jinn,” Usman T. Malik (Tor.com 4/22/15)
Binti, Nnedi Okorafor (Tor.com)
“Waters of Versailles,” Kelly Robson (Tor.com 6/10/15)
“Rattlesnakes and Men,” Michael Bishop (Asimov’s 2/15)
“And You Shall Know Her by the Trail of Dead,” Brooke Bolander (Lightspeed 2/15)
“Grandmother-nai-Leylit’s Cloth of Winds,” Rose Lemberg (Beneath Ceaseless Skies 6/11/15)
“The Ladies’ Aquatic Gardening Society,” Henry Lien (Asimov’s 6/15)
“The Deepwater Bride,” Tamsyn Muir (F&SF 7-8/15)
“Our Lady of the Open Road,” Sarah Pinsker (Asimov’s 6/15)
Best Short Story:
“Madeleine,” Amal El-Mohtar (Lightspeed 6/15)
“Cat Pictures Please,” Naomi Kritzer (Clarkesworld 1/15)
“Damage,” David D. Levine (Tor.com 1/21/15)
“When Your Child Strays From God,” Sam J. Miller (Clarkesworld 7/15)
“Today I Am Paul,” Martin L. Shoemaker (Clarkesworld 8/15)
“Hungry Daughters of Starving Mothers,” Alyssa Wong (Nightmare 10/15)
Ray Bradbury Award for Outstanding Dramatic Presentation:
Ex Machina, Written by Alex Garland
Inside Out, Screenplay by Pete Docter, Meg LeFauve, Josh Cooley; Original Story by Pete Docter, Ronnie del Carmen
Jessica Jones: AKA Smile, Teleplay by Scott Reynolds & Melissa Rosenberg; Story by Jamie King & Scott Reynolds
Mad Max: Fury Road, Written by George Miller, Brendan McCarthy, Nick Lathouris
The Martian, Screenplay by Drew Goddard
Star Wars: The Force Awakens, Written by Lawrence Kasdan & J.J. Abrams and Michael Arndt
Andre Norton Award for Young Adult Science Fiction and Fantasy:
Seriously Wicked, Tina Connolly (Tor Teen)
Court of Fives, Kate Elliott (Little, Brown)
Cuckoo Song, Frances Hardinge (Macmillan UK 5/14; Amulet)
Archivist Wasp, Nicole Kornher-Stace (Big Mouth House)
Zeroboxer, Fonda Lee (Flux)
Shadowshaper, Daniel José Older (Levine)
Bone Gap, Laura Ruby (Balzer + Bray)
Nimona, Noelle Stevenson (HarperTeen)
Updraft, Fran Wilde (Tor)
And the Damon Knight Memorial Grand Master Award is being given this year to C.J. Cherryh, which is highly pleasing and well deserved.
First up, the remarkable Jesse L. Martin, backed beautifully by Rick Cosnett and Carlos Valdes, his castmates from The Flash (apparently everybody on that show can sing,) sing a gospel version of the cult show Firefly‘s theme song, “The Ballad of Serenity,” as a thank you to Joss Whedon for making a big donation to Martin’s up-coming folk musical short film, The Letter Carrier:
Next, the trippy nature video for Kate Pierson‘s single “Bring Your Arms” on her solo album Guitars and Microphones:
With similar bursts of color, the hit single “Rule the World” from Walk Off the Earth‘s new album, Sing It All Away:
And lastly, in my tradition of often liking groups that use numbers for their names, new rap/hip-hop group twenty one pilots‘ hit single “Fairly Local“:
During most of the Great Hugo Campaign That Wasn’t that spun out of the “hope we get the conservative media pundits interested” mess that were the Puppies, I was really busy, some good and some bad. I would talk about the situation in various spots when I had the chance, and it certainly made for a particular type of entertainment, but I wasn’t about to try to fully hop in. And now that the Hugos have been handed out for 2015 and the Puppies are trying to figure out how to keep things going while whining about the new Star Wars tie-in novel from Chuck Wendig having a gay protagonist, I’m not inclined to hash things out further. Not specifically about them any-hoo. The more general topic of discrimination, I have some things to say, when I can get to it.
But I do have some links I collected of other people writing about the whole Hugo thing that I thought were informative and cogent over the seven months of deep, deep puppy whining and spitting. So in case you missed them, you can peruse at your leisure:
Then, there is Amal El-Mohtar‘s take on the Puppies.
And Philip Sandifer‘s angry cultural takedown of the Puppies, which got him his own nickname from them.
Sandy Ryalls on a blog at BlackGate.com commented on the heart of the conflict.
Author K. Tempest Bradford pointed out unintended consequences from the Puppies’ assault on the Hugos.
Author Jim C. Hines took a close look at what the Puppies were actually saying.
M.D. Laclan at FantasyFaction.com looks at the cultural timeline and how both past and future SF does not fit the Puppies’ narrative.
Author and screenwriter David Mack offers a detailed analysis of why Puppy nominee and participant Amanda Green’s essay on his Star Trek novel that she put in her Hugo Fan Writer nominee packet is full of hot air. (This fits with what Green is now trying to do with Chuck Wendig and what the Puppies tried to claim about Star Trek in general.)
Author Tobias Bucknell explains why the image of SFF fandom as a safe place free of attacks like the Puppies’ was always a myth.
Kevin Standlee explains how the Puppies’ mercantile demands show they don’t understand the nature of the Hugo Awards at all.
Miles Schneiderman covered the whole debacle for YesMagazine.org.
Cartoonist and writer Barry Deutsch looks at the up-coming Sad Puppies IV for next year and explains why it’s still a voting slate attempt.
And writer and game designer Alexandra Erin wrote several very intelligent pieces about the Puppies and also provided some brilliant satire during the whole ordeal:
If you do wade through all that, do not despair in the end. The Hugo Awards are fine. And fandom isn’t any more split than it was before. It’s just now those divisions are a bit more out in the open, with the aid of Internet screaming. That’s not, necessarily, a bad thing, although it makes it a little tricky for the publishers. But they could use some shaking up, frankly. They are the ones who have produced a SFF field that is 90% white people, mostly writing about white people.