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Month: September 2019

Fantasia 2019, Day 13: Extra Ordinary

Fantasia 2019, Day 13: Extra Ordinary

Extra OrdinaryI had one film on my schedule for July 23, an Irish horror-themed comedy named Extra Ordinary. It was preceded by one of the best shorts I saw at Fantasia this year outside of a short film showcase.

Directed by Jason Gudasz, “Place” is a horror-comedy that works well in both its aspects. It opens as a young family moves into a new home, and finds something unwelcome waiting. The place, evidently, is haunted. But the pressures this puts on the family are resolved in an unexpected way. This results in a film that’s spooky, yet that also deftly deflates the tension it raises. The jokes work and set up character points, explaining the conflicts in the family and how the relationship between mother (Emily Green) and step-father (Nick Hurley) doesn’t really work. The images subtly create a tone that works both with horror and comedy, and it ends a series of related vignettes in a satisfying way that ties the 11-minute story together.

Extra Ordinary was written and directed by the duo of Mike Ahern and Enda Loughman. It follows Rose (Maeve Higgins), a driving instructor in her thirties in a small Irish town; she also happens to be the daughter of a long-dead paranormal investigator, and can see ghosts. She’s turned her back on her abilities as a medium ever since her father died during the course of one investigation. Unfortunately, an American rock star named Christian Winter (Will Forte) has plans to revive his career with a diabolic pact, which involves sacrificing the daughter of local widower Martin Martin (Barry Ward). Barry, already haunted by his dead wife, must seek Rose’s help, and hope she’ll return to her ghostbusting ways.

The movie’s a pleasant, entertaining watch that doesn’t do anything especially surprising but does what it does quite well. I described it as a ‘horror-themed comedy’ above instead of a ‘horror-comedy’ because while it’s all about ghosts and ectoplasm and black magic, there’s nothing actually horrific in it. There’s a reasonable amount of dramatic tension, but the supernatural goings-on aren’t used to inspire dread or fear. They’re there to set up gags, and to provide a solid story structure which in turn supports and generates further gags.

It has to be said the plot isn’t too solid in its details. The nature of the pact inspires a deadline in which Rose and Martin race around town trying to get a specified amount of ectoplasm during a night which seems far too long for the amount of activity that takes place. There’s another point where the evil Winter uses magic to locate a vital component of the ritual, only to find out said component is not usable; one therefore wonders why the spell led him where it did.

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Making our Journey to Machine Domination More Fun: The Robots of Gotham by Todd McAulty

Making our Journey to Machine Domination More Fun: The Robots of Gotham by Todd McAulty

The Robots of Gotham cover wrap-small

Wearing aluminum hats won’t help us anymore. Apple’s Siri, Amazon’s Alexa, and Google’s Assistant likely conspire against humanity, and no doubt will copulate and have gendered, machine children. That is one vision of the future. The Robots of Gotham will at least make our journey toward machine domination more fun. Todd McAulty’s first-person blog-style is profoundly easy to consume. Highly recommended for everyone who has a smartphone!

What is the best way to deal with being constantly surveilled by devices? Reading fiction about robot invasions can help, preferably paperbacks (eBooks and Kindles are monitoring you). Todd McAulty’s The Robots of Gotham has already received great praise from Publisher’s WeeklyBooklist, the Toronto StarKirkus Reviews, and numerous authors. Here is more.

Artificial Intelligence

I am by no means an expert in artificial intelligence, which makes my perspective even more alarming (exciting?). Many readers likely share this history, and it is why you’ll enjoy Todd McAulty’s The Robots of Gotham.

As a teenager (1980’s), I had the experience of interacting with Apple IIe and TI94 computers (when data was never stored on disk or was saved to tape), which had users game with a computer that served as a dungeon master. Digitized, text-based adventures like Infocom’s Zork provided a surreal version of Choose-Your-Own-Adventure books. Practicing science for decades, I’ve witnessed computers grow from simple calculators to devices that measure, store, analyze and report data with limited human intervention.

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Fantasia 2019, Day 12, Part 2: Bliss

Fantasia 2019, Day 12, Part 2: Bliss

BlissI had been planning to head home after the first movie I saw on July 22, Fly Me to the Saitama. But looking at what followed it in the Hall Theatre, I decided to stick around. Bliss was billed as an unconventional punk vampire movie, and indeed director Joe Begos introduced it to the crowd as a “hallucinatory splatter movie about sex, drugs, rock n’roll, and vampires.” Fair to say I was curious, unsure whether to expect something very good or off-the-rails bad. What I got is maybe best described as off-the-rails good.

First came a 13-minute short, “MJ,” directed by Jamie Delaney from a script by Delaney and Coral Amiga. Amiga also stars as Mary Jane, a quiet, isolated young woman who becomes increasingly wrapped up in social media and online hook-ups. It is not long before this obsession turns violent. It’s a well-shot film, with engagingly minimal dialogue. Amiga underplays her part to good effect, letting viewers alternately sympathise with and be appalled by her character.

Then Bliss. Dezzy (Dora Madison, of various TV series including Dexter, Chicago Fire, and Friday Night Lights) is an artist in Los Angeles, behind on her rent and about to get kicked out of her apartment-studio. She’s promised her agent a new painting, but hasn’t completed a picture in some time as she tries to get clean. Then she visits her old drug dealer Hadrian (Graham Skipper) and his pals (one of whom is played by George Wendt, of all people), where she gets a new drug called bliss, which fuels a wild night for her with her friend Courtney. And afterward, everything is different. Dezzy begins to paint again, sometimes without being conscious of what she’s doing, creating a weird hellscape. But her behaviour becomes more erratic and extreme. And bloody.

Also disorienting, even psychedelic. The haze of LA smog becomes the haze of altered consciousness. Dezzy finds her new creativity fuelled by bliss, meaning she has to seek out more and more of the drug to keep going. As she’d drawn into her painting, the people around her — landlord, agent, friends, boyfriend — become at best irrelevant and at worst obstacles to be dealt with. She is the painterly equivalent of a poète maudit, and even if there were nothing else happening in it Bliss would be notable for its depiction of artistic obsession with a woman as the tormented transgressive genius at its heart.

It is a very unintellectual (though not necessarily anti-intellectual) look at artistic obsession, though. There is a lot of viscera, and Madison spends a lot of time naked, including while working at the easel. This ought to feel ludicrous, exploitative, or both; it doesn’t, thanks largely to Madison’s talent and conviction. The film is locked on Dezzy as a character, and Madison carries it capably. She’s got a charisma that keeps the story from feeling monotonous or predictable, even though the outline’s familiar and the sequence of events — Dezzy looking for drugs, Dezzy engaging in extreme behaviour, Dezzy painting — repetitive. Each of Dezzy’s adventures feels like it goes a step further than the last, and Madison’s depiction of Dezzy’s reactions helps sell us on that.

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Zombies Need Anthologies! PLUS Short Fiction Crafting

Zombies Need Anthologies! PLUS Short Fiction Crafting

ZNB KickstarterBanner10

Howard: Today I’m turning over my Black Gate megaphone to Joshua Palmetier, gifted writer, mathematician, and the mind behind Zombies Need Brains’ line of anthologies. Joshua publishes a lot of Black Gate writers, so we naturally have fingers crossed his upcoming Kickstarter will fund and hope that you’ll check out. Regardless, though, this article has some great insight on writing good short fiction and getting out of the slush pile. Take it away Joshua!

Zombies Need Brains’ latest Kickstarter is nearing its end (ONLY HOURS LEFT!) and, with the possibility of an open call for submissions if we fund, I thought that I’d spend some time talking about how you can better your chances of getting from the ZNB slush pile into one of our anthologies. The competition is pretty steep and only getting worse with each Kickstarter. (Last year, Portals had 550 submissions alone and we ended up taking seven; we had a lot of anchor authors for that one, though.) I’ve talked before about how to brainstorm your way to an idea that isn’t standard, but also isn’t so far out there it’s off theme. So let’s suppose you already have an idea of what you want to write. A core concept.

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Vintage Treasures: Cold Iron and Sister to the Rain by Melisa Michaels

Vintage Treasures: Cold Iron and Sister to the Rain by Melisa Michaels

Cold Iron Melisa Michaels-small Sister to the Rain-small

I was preparing a Vintage Treasures article on Melisa Michaels on Saturday, and particularly her two-volume urban fantasy series featuring private eye Rosie Levine, Cold Iron (1997) and Sister to the Rain (1998), when I stumbled on this disturbing Facebook post by Rich Horton:

I have just learned that Melisa Michaels has died. I knew she had cancer, and she had recently reported that there wasn’t much more to be done, but it’s still sad news, and it seems to have come more quickly than she thought.

But I wanted to celebrate her — she was one of the first people to, as it were, welcome me to the SF community, when I first went online, and when I joined SFF Net. We had many great conversations (online) about SF and other matters. She is one of the people I really owe a debt to for helping me make friends in this field.

I read her novels, the Skyrider SF series and the Rosie Levine Fantasy/Mystery series, with much enjoyment… Melisa always made tremendous contributions to SFWA — as I recall, she was the first webmaster of the SFWA web page, right at the dawning of the WWW. I didn’t keep close track of her later on, especially after the demise of SFF Net, but we had reconnected to a small degree on Facebook. I offer condolences to her family, and I celebrate a life well-lived.

I didn’t know Melisa the way Rich did, but I was still very saddened by the news. And I thought we could help celebrate her life here by showcasing her novels. Rich discussed Cold Iron when it first appeared over 20 years ago; here’s an excerpt from the review at his website, Strange at Ecbatan.

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Call for Backers! New Podcast Derelict is a Science Fiction Thriller You Don’t Want to Miss

Call for Backers! New Podcast Derelict is a Science Fiction Thriller You Don’t Want to Miss

Since J. Barton Mitchell and I are in the same writer’s group, I had the privilege of reading the script for the first episode of Derelict before it was cast. If you liked Mitchell’s book, The Razor, or are otherwise a fan of action packed, hard science fiction, you definitely don’t want to miss this. Mitchell has provided the following interview, discussing the project in depth, but first, check out the first episode, then go back the production of future episodes here.

Emily Mah: As a science fiction author, your novel Valley of Fires concluded the Conquered Earth series (and was awarded best science fiction novel of 2015 by the RT Book Review), which included Midnight City and The Severed Tower. Last November you had The Razor (picked by Amazon as one of the best Sci-Fi books of 2018). With Derelict, you’re exploring a whole new medium: narrative podcasts. Why turn to podcasting?

J. Barton Mitchell: I actually started on the film side of things, my first success was as a screenwriter, I came to fiction later on. As a result, I tend to think cinematically, even when writing books. The narrative podcast medium was kind of a natural fit because it’s sort of cinematic without visuals (odd as that sounds). It’s, basically, like you’re listening to a movie. The format also lets you do projects that would be completely impossible from a budget standpoint if they were in film or TV. Derelict would be over a $100 million dollar budget as a movie…but, as a podcast, I can make it in my basement, and it’s almost just as visceral and engaging. I think that’s really exciting. The other thing is that, for me, the best kind of storytelling is where the audience is allowed to participate in the storytelling process. In other words, they get to fill in the blanks with their imagination. The audio format allows for that in a major way, because (like a novel) it’s sans imagery. The audience has to imagine the visuals themselves. I think that’s really exciting too.

Emily Mah: So, no spoilers, but what’s Derelict about and why should I tune in?

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Fantasia 2019, Day 12, Part 1: Fly Me to the Saitama

Fantasia 2019, Day 12, Part 1: Fly Me to the Saitama

Fly Me to the SaitamaOn Monday, July 22, I was back at the Hall Theatre for one of the movies I was most anticipating. It was a new live-action manga adaptation from Hideki Takeuchi, director of the Thermae Romae films: Fly Me to the Saitama (Tonde Saitama, 翔んで埼玉). The script by Yuichi Tokunaga adapts the comics from the early 80s by Mineo Maya, although apparently the filmmakers had to finish the last two-thirds of the story for themselves.

The film tells a story inside a story. In the frame tale, a family drives from Saitama, a prefecture on the outskirts of Tokyo, to a party in the heart of Japan’s capital where the daughter is to be engaged. On the way, the radio tells a peculiar story about a fabled time when the people of Saitama were oppressed by their metropolitan overlords in Tokyo. They had to obtain special visas to enter; armoured police used facial-recognition technology to pick out any residents of Saitama who snuck through the massive border fences. The good folk of Saitama were second-class citizens at best, exploited labour for the greatness and glory of the glittering city of Tokyo. In this dystopia Momomi (Fumi Nikaido, Inuyashiki), son of the governor of Tokyo, is president of the student body of an elite academy; enter new student Rei Asami (Gackt), just back from studying in America. Momomi falls for the charismatic Rei, but Rei’s hiding a dark secret: he’s actually from Saitama, and is plotting the downfall of Tokyo. This is exposed surprisingly early, setting Rei and Momomi off on a journey that might change the world.

A couple quick notes about the actors mentioned above. First, Gackt is the professional name of a singer who the IMDB assures me is “the most successful male soloist in Japanese music history.” He’s in his 40s, and playing a teenager. Fumi Nikaido is a woman playing a male role; the manga was a boys’ love story, and the movie does faithfully (if briefly) refer to Momomi as male, and keep him in male dress. I have no idea how this plays out in the context of Japanese gender roles, but the point I want to get at is that you don’t wonder about either this or Rei’s age, because this movie gives every impression of being completely, utterly, joyfully uninterested in any of these details. The actors act, as theatrically as possible, and they are committed to their roles, and nobody mentions age or gender, and so we are pulled along into the berserk strangeness that is the story.

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Future Treasures: Chilling Effect by Valerie Valdes

Future Treasures: Chilling Effect by Valerie Valdes

Chilling Effect-smallI’m still on a space opera kick. I know, I know, this has lasted for months now, and I should have moved on. But there’s just so many to choose from. It’s even spinning off sub-sub-genres, like Firefly-inspired space adventures (Aurora Rising, Starflight, and Becky Chambers’s Wayfarers Trilogy), gothic space opera (Gideon the Ninth by Tamsyn Muir), and now offbeat satires like Chilling Effect by Valerie Valdes.

Chilling Effect is Valdes’ first novel, but it’s getting lots of great press. Kirkus Reviews says “Valdes is a debut author, but this zany, rollicking adventure doesn’t show it. Jam-packed with weird aliens, mysterious artifacts, and lovable characters, there isn’t a single dull page… A tremendous good time and an impressive debut.” I’m in the mood for something a little less serious, and this looks like it will fit the bill.

A hilarious, offbeat debut space opera that skewers everything from pop culture to video games and features an irresistible foul-mouthed captain and her motley crew, strange life forms, exciting twists, and a galaxy full of fun and adventure.

Captain Eva Innocente and the crew of La Sirena Negra cruise the galaxy delivering small cargo for even smaller profits. When her sister Mari is kidnapped by The Fridge, a shadowy syndicate that holds people hostage in cryostasis, Eva must undergo a series of unpleasant, dangerous missions to pay the ransom.

But Eva may lose her mind before she can raise the money. The ship’s hold is full of psychic cats, an amorous fish-faced emperor wants her dead after she rejects his advances, and her sweet engineer is giving her a pesky case of feelings. The worse things get, the more she lies, raising suspicions and testing her loyalty to her found family.

To free her sister, Eva will risk everything: her crew, her ship, and the life she’s built on the ashes of her past misdeeds. But when the dominoes start to fall and she finds the real threat is greater than she imagined, she must decide whether to play it cool or burn it all down.

Chilling Effect will be published by Harper Voyager on September 17, 2019. It is 448 pages, priced at $16.99 in trade paperback and $11.99 in digital formats. See all our recent coverage of the best upcoming science fiction and fantasy here.

The Golden Age of Science Fiction: “Enemy Mine,” by Barry B. Longyear

The Golden Age of Science Fiction: “Enemy Mine,” by Barry B. Longyear

Cover by Vincent di Fate
Cover by Vincent di Fate

The Best Novella category was not one of the original Hugo categories in 1953. I twas introduced in 1968, when it was won by Philip José Farmer for “Riders of the Purple Wage” and Anne McCaffrey for “Weyr Search.” Since then, some version of the award has been a constant, with the exception of 1958. In 1980, the awards were presented at Noreascon II in Boston.

The Nebula Award was created by the Science Fiction Writers of America (SFWA) and first presented in 1966, when the award for Best Novella was won by Brian W. Aldiss for “The Saliva Tree” and Roger Zelazny for “He Who Shapes.” The award has been given annually since then.

The Locus Awards were established in 1972 and presented by Locus Magazine based on a poll of its readers. In more recent years, the poll has been opened up to on-line readers, although subscribers’ votes have been given extra weight. At various times the award has been presented at Westercon and, more recently, at a weekend sponsored by Locus at the Science Fiction Museum (now MoPop) in Seattle. The Best Book Novella Award dates back to 1974, when the short fiction awards were split into Short Fiction and Novella lengths. Frederick Pohl won the first award. In 1980. The Locus Poll received 854 responses.

In January, I wrote about Barry B. Longyear, the winner of the John W. Campbell Award in 1980 and explored the vast amount of fiction he published in 1978 and 1979. At that time, I dismissed his biggest hit with a single line, “His breakout story, of course, was “Enemy Mine,” which will be covered in more depth in the article on that novella’s various awards for the year.” Now is come the time to discuss that story.

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Fantasia 2019, Day 11, Part 4: Things That Go Bump in the East

Fantasia 2019, Day 11, Part 4: Things That Go Bump in the East

The House RattlerMy last screening of July 21 brought me back to the De Sève Theatre for a showcase of animated short genre films from China, Taiwan, Korea, and Japan, a grouping titled “Things That Go Bump In the East.” 11 films in a range of visual styles promised variety. I’d been having good luck with short films at the festival so far, and settled in eager to see what would come now.

First was a 6-minute stop-motion story from Japan’s Shinobu Soejima, “The House Rattler” (“鬼とやなり”). It’s based on Japanese folklore, telling a tale of a spirit who makes the mysterious sounds with no obvious source that you sometimes hear in an old house. In this case, the little demon comes into conflict with the modern world in a surprising fashion. The film makes strong use of sound cues, as you might expect, and the setting of the house haunted by the tiny dweller-in-wainscots is a wondrous mix of shadows and rich gold-brown hues. It has the feel of age and of a place lived-in, and that helps bring out the modern twist at the end.

Next was “The Girl and the Serpent,” directed and written by Wan Jinyue and Du Jinzhi. It’s also 6 minutes long, but has a much faster pace than the atmospheric “The House Rattler.” A snake-demon demands a village produce a maiden sacrifice, but ends up with an unexpected fight. The story’s a striking mix of 2D and 3D animation, with colour being used as a major element in the storytelling. The imagery’s fluid, shifting swiftly as the demon works against the girl both physically and psychically. Nevertheless, she finds the strength to resist. It’s a stunningly designed battle, and an entertaining short.

Rainy Season” (“장마”), by writer-director Kim Se-yoon, brought a noirish horror-inflected feel to seemingly hand-drawn animation. It’s an intensely atmospheric 4-minute piece about a woman in an apartment during a storm. She’s shooting up, but is interrupted by a flash of lightning and something eerie in the tall building across from her. Alone in her apartment, she grows increasingly paranoid — but then, just because you’re paranoid doesn’t mean something isn’t out to get you. It’s a well-done piece of suspense.

The 17-minute “Gold Fish” (“Kim-hi,” 金魚), written and directed by Taiwan’s Fish Wang, is the story of a boy in a weird dystopia, slightly steampunk and more than slightly supernatural. The inhuman masters of a a sprawling, bleak city are drinking the dreams of children. Elderly adults are all but immobile, enslaved to inhuman masters. Except one boy has a chance to fight back, and topple the whole of the corrupt society. It’s an expressionistic story with some deliberately crude designs and some excellent colour work. Cool, dark tones contrast strongly with unexpected moments of eye-popping colour. It’s not a complex story, but the scenes that illustrate the different movements of the tale are very well-done, and the tale builds nicely through a series of increasingly surreal images. I felt the ending lacked a little, but it was on the whole a solid and surprising short.

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