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Month: August 2018

Birthday Reviews: James Tiptree, Jr.’s “Please Don’t Play with the Time Machine”

Birthday Reviews: James Tiptree, Jr.’s “Please Don’t Play with the Time Machine”

Cover by Mark Zug
Cover by Mark Zug

Alice B. Sheldon was born on August 24, 1915 and died on May 19, 1987.  She published science fiction under the pen name James Tiptree, Jr. and when speculation began that Tiptree might be a woman, Robert Silverberg famously stated that such a theory was absurd, since he found “something ineluctably masculine about Tiptree’s writing.” Shortly after Sheldon’s mother’s death, the truth came out about her identity, which she had hidden in part because of her position in academia. Sheldon also used the pen names Alice Hastings Bradley, Major Alice Davey, Alli B. Sheldon, and Raccona Sheldon, the last being her most famous pseudonym aside from Tiptree.

Tiptree won the Nebula Award in 1974 for the short story “Love Is the Plan, the Plan is Death” and won the Hugo Award for Best Novelette for “The Girl Who Was Plugged In” the same year.  Both stories were nominated for both awards. In 1977, “Houston, Houston, Do You Read?” won both awards in the Novella category as well as the Jupiter Award. In 1978, “The Screwfly Solution” won the Nebula for Best Novelette, but lost the Hugo Award. Her 1987 collection The Tales of the Quintana Roo earned Tiptree a World Fantasy Award. Tiptree has won the Seiun Award four times, for “The Only Neat Thing You Do,” “Out of the Everywhere,” Brightness Falls from the Air, and “Backward, Turn Backward.” She was inducted into the Science Fiction Hall of Fame in 2012. In 1991, Pat Murphy and Karen Joy Fowler created the James Tiptree Jr. Award for speculative fiction that explores or expands the understanding of gender.

Although initially written in the 1950s, well before Tiptree began writing for publication, “Please Don’t Play with the Time Machine” wasn’t published until 1998, when Kim Mohan purchased it to appear in the Fall issue of Amazing Stories, although it had previously sold in 1971 to a project that never saw print.  The story was reprinted with the variant title “Please Don’t Play with the Time Machine, or, I Screwed 15,924 Back Issues of Astounding for the F.B.I.” in Meet Me at Infinity. The story was also translated for the German James Tiptree collection Doktor Ain.

Despite the title of “Please Don’t Play with the Time Machine, or, I Screwed 15,924 Back Issues of Astounding for the F.B.I.,” the story is not specifically a time travel story, but rather a send up of bad writing in science fiction, made more effective, given its 1950s writing date, by the fact that numerous works of the type it is skewering were still being published in 1998 when the story eventually saw print.  The story within a story tells of spaceship Captain Herring, who, believing he was alone on his ship, finds a strange stowaway in a sequence which is reminiscent of Tom Godwin’s “The Cold Equations,” which was published shortly before Tiptree wrote this story.

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Goth Chick News: Jamie Lee Curtis Was, Is and Always Will Be a Serious Bad A**

Goth Chick News: Jamie Lee Curtis Was, Is and Always Will Be a Serious Bad A**

Jamie Lee Curtis in Halloween 2018

Forty years ago, 17-year-old baby sitter Laurie Strode had a really lousy Halloween that forever changed her (and our) lives. Played by a then 20-year-old pedigree scream queen in her first movie role, Jamie Lee Curtis, daughter of Janet Leigh of Psycho fame, Laurie spent October 31st of 1978 being menaced by the evil-incarnate psycho Michael Myers who, in spite of being repeatedly damaged to death, returned for seven sequels collectively raking in $366 million at the box-office worldwide.

Unfortunately, not all of these films were created equal and though many had great elements, quite a few of us still considered the original film to be one of the quintessential horror films of a generation. That said, it probably comes as no surprise that a now 57-year-old Laurie Strode is facing Michael Myers one final time in what is meant to be the swan song of the franchise and one that ignores all the sequels, picking up the story line left off in 1978.

Thanks to USA Today, a brand-new shot from the final installment to John Carpenter’s original classic shows Laurie preparing to take down Michael once and for all, and she’s looking mega badass in the process.

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Fantasia 2018, Day 14: The Witch: Part 1. The Subversion and Blue My Mind

Fantasia 2018, Day 14: The Witch: Part 1. The Subversion and Blue My Mind

The WitchI had two movies on my schedule for Wednesday, July 25. The first was The Witch: Part 1. The Subversion, a Korean action movie with super-hero elements. The second was a German-language Swiss movie called Blue My Mind, about a teenager moving to a new school and finding herself undergoing a strange metamorphosis. Both films were about young women, and both leads had elements of the inhuman to them. But these things were expressed in very different ways.

The Witch is written and directed by Park Hoon-jung. It begins with mysterious assassins killing gifted children, and one child escaping under cover of night. Ten years later, Ja-yoon (Kim Da-mi) lives in a small town with her adopted parents, hiding her telekinetic powers. But then she wins a nationally-televised talent competition, and the mysterious forces that threatened her when young find her again. Agents of various sorts draw closer to her and her family. Can her powers save her, and them?

This is a fast, intelligent, well-shot film with elements of thriller and super-hero story. It explodes into violence at the end after a build-up of increasing tension, and we neither miss the action earlier nor feel it unearned when it comes. Over two hours long (with a listed running time of 126 minutes), it passes by like a shot. The craftsmanship’s excellent and the pacing’s near-perfect, both in terms of the selection of scenes and also in the rhythm of the editing. Emotional moments come up and are allowed to breathe, but give way to more action-driven sequences in a way that feels natural.

Kim’s acting has to be mentioned here, as her Ja-yoon drives the film and keeps things interesting. She’s quick, funny, and interesting; when we find out what the actual story is behind her and her powers we get a new dimension of understanding to what we’ve already seen, but the point is that Kim’s able to give everyday scenes with Ja-yoon’s family and her best friend (Go Min-si) real interest. Park helps that by keeping a constant sense of tension, establishing mysterious villains and adroitly cutting to them to keep the audience on edge.

I will admit at this point that I’m talking around the story of the film, and that is because there’s a fair-play twist fairly late in the story that’s executed quite well and recontextualises much of what we thought we saw. It’s perfectly logical and, when it’s sprung on us, instantly makes perfect sense. I’d say it’s a good twist because it’s not simply a plot twist — character and theme are definitely involved, and all these aspects of the story benefit. I can say no more, except to observe that The Witch has a well-written and sharply-conceived script; and this twist feels of a piece.

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Into the 80s: A Look at Some of the Fantasy and Sword & Sorcery films of the Decade

Into the 80s: A Look at Some of the Fantasy and Sword & Sorcery films of the Decade

Hawk the Slayer-small

After a comment I made on John O’Neill’s Facebook post regarding John Searle’s July 25 Black Gate article Conjure Puberty: The Sword and the Sorcerer (from 1982), Mister O’Neill asked me to do an article on some of the other films of that decade. Naturally, I said I would be happy to. I decided to write about only a handful of the films I’ve seen: my impressions and opinions are based solely on what I remember about them, having decided not to watch said films again.

In the 1980s I was in my 30s and naturally of a different “mindset” back then. If I ever do watch any of these films again, that could possibly inspire another article about what I think of certain films now that I’m in my mid-60s. My only source of research is Wikipedia, just to refresh my aging memory as to plot, year a film was released, cast, director, etc. Some of these films I’m sure are held in high regard by many people, and I’ll be probably be shooting a few “sacred cows” here. But remember: this is all based on thoughts, memories and impressions from three decades ago.

All that being said, let’s get started. Shall we?

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A Cyberpunk Cinderella Story: Warcross by Marie Lu

A Cyberpunk Cinderella Story: Warcross by Marie Lu

Warcross Marie Lu-small Wildcard Marie Lu-small

Emika Chen needs to raise $3,450 in the next 72 hours, or she’ll be evicted from her apartment. What with her wicked hacking skillz, she ought to be acing computer science classes in college, but she dropped out of school when her dad died. Saddled by his debts and her own criminal record, she can’t get a job with a corporation, so she works as a bounty hunter. Her specialty lies in capturing players in the world’s most famous video game, Warcross, who have large gambling debts. The prodigy who created the game, Hideo Tanaka, is her celebrity crush.

When the police announce a $5,000 bounty on a drug dealer, Emika’s determined to nab him. Sure enough, she tracks him downtown on her electric skateboard, alerts the cops to his location, chases him down, and stuns him. She’s got her knee pressed into his back while he cries into the ground when the police arrive.

But they don’t give her the bounty. On a technicality, it goes to someone who had messaged them sooner than she did.

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Birthday Review’s: Benjamin Rosenbaum’s “Nine Alternate Alternate Histories”

Birthday Review’s: Benjamin Rosenbaum’s “Nine Alternate Alternate Histories”

Other Earths
Other Earths

Benjamin Rosenbaum was born on August 23, 1969.

Rosenbaum has been nominated for the Hugo Award and the Theodore Sturgeon Memorial Award three times each and the Nebula Award, World Fantasy Award, and British SF Association Award once each. Rosenabum’s short stories have been collected in Other Cities and The Ant King and Other Stories. He has written collaborations with Paul Melko, David Ackert, and Cory Doctorow.

Benjamin Rosenbaum published “Nine Alternate Alternate Histories” in the anthology Other Earths, edited by Nick Gevers and Jay Lake in 2009. The piece has not been reprinted.

Rosenbaum’s “Nine Alternate Alternate Histories” really is neither an alternate history or even a story. Rather it takes a look at the idea that there might be a multiverse in which history can continuously branch off to form different alternatives and seeks to categorize the types of branch points which might be possible.

The story is a conjectural on the different ways people view history and on the decision making process. Rosenbaum looks at convergence, divergence, and provisional history along with his view of different types of choice. While the tale doesn’t work well from a narrative point of view, it does provide a background for the sorts of alternate history stories which are published (and were published earlier in the particular anthology).

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Fantasia 2018, Day 13: Violence Voyager

Fantasia 2018, Day 13: Violence Voyager

Violence VoyagerLate in the evening of Tuesday, July 24, I made my way to the J.A. De Sève Theatre for my one film of the day: Violence Voyager, an 83-minute animated feature by Japanese writer-director Ujicha. We follow an American schoolboy in Japan, Bobby (Aoi Yuki), as he and his friend explore some hills near his home. They find a strange, nearly-abandoned amusement park, but upon entering find themselves caught up in a terrible scheme. They and other children are captured, mutilated, mutated, and (in many cases) killed. Can Bobby free himself and others, and destroy the horrible place called Violence Voyager?

The first and overwhelming impression of the movie is of a dissonant strangeness. There’s a tone like a children’s story that seems destined to give way to something darker, and indeed it does, but then that darkness itself is hardly taken seriously. There’s a weird unconcern with traditional narrative effects at the same time that the structure’s remarkably tight. It’s not like much else I’ve seen, for better and worse.

Consider the animation style. It’s an unusual form called gekimation, which involves moving flat images. Lips don’t move, faces don’t shift. Shapes are moved about, and cuts give a further illusion of movement. This works better than one might think, especially once a few minutes have passed and the viewer’s assimilated the approach. Occasionally actual fluids or the like are used as visual elements as well, but mainly one watches painted pieces of paper slide over backgrounds. The art style’s intriguingly organic, with every brushstroke visible. I personally thought it was interesting without being attractive, but I can see how it could appeal more strongly to others.

As a story, there’s a sort of tension between horror and satire. It is genuinely transgressive, with all sorts of horror inflicted on children. There are genuinely surprising images here, as for example a rack of dead nude children (and the explicit nudity in some sequences is occasionally more surprising than the violence). And yet it feels muted, almost, by the thoroughgoing irony of the film. It avoids outright death-metal grotesquerie in place of its own kind of strangeness, and somehow never feels as confrontational as it seems to aim for. The early air of an optimistic children’s cartoon is never wholly abandoned, and rather than heighten the air of monstrosity, I find it functions as an alienation effect — it swathes the movie in a distancing irony, lessening the immediacy of everything we see.

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Tolkien Manuscripts and Artwork On Display in Oxford

Tolkien Manuscripts and Artwork On Display in Oxford

bilbo-comes-to-the-hut-of-the-raft-elves-recoloured - 300 dpi

Bilbo comes to the Huts of the Raft-elves, a watercolor Tolkien
painted for the first edition of The Hobbit, published in 1937.
Bilbo is seen sitting astride a barrel floating down the forest river,
having helped the dwarves (who are hidden inside the wine barrels) to
escape from the dungeons of the Elvenking. This was Tolkien’s favorite
watercolor and he was disappointed to find that it had been omitted from
the first American edition. Credit: © The Tolkien Estate Limited 1937.

The University of Oxford’s Bodleian Library has launched the largest exhibition on J.R.R. Tolkien in a generation.

Tolkien: Maker of Middle-Earth showcases the library’s extensive collection of Tolkien’s papers, manuscripts, letters, and artwork, the largest of its kind in the world. The exhibition, which includes some 200 items, also brings together items from private collections and Marquette University’s Tolkien Collection.

J.R.R. Tolkien (1892–1973) spent most of his adult life in Oxford. He came to Oxford University in 1911, aged nineteen, to study Classics at Exeter College, but later switched to English. After serving in France during World War One, he returned to Oxford to work on the New English Dictionary (later the Oxford English Dictionary), while tutoring in English. After five years at Leeds University as Reader and then Professor of English Language, he returned to Oxford in 1925 and remained there for the rest of his working life, first as Professor of Anglo-Saxon from 1925 to 1945, and later as Professor of English Language and Literature from 1945 to 1959. He is buried with his wife, Edith, in Wolvercote Cemetery in Oxford.

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Downton Abbey in Deep Space: The Imperials Saga by Melinda Snodgrass

Downton Abbey in Deep Space: The Imperials Saga by Melinda Snodgrass

The High Ground Melinda Snodgrass-small In Evil Times Melinda Snodgrass-small The Hidden World Melinda Snodgrass-small

Melinda Snodgrass is perhaps best known as the story editor for Star Trek: The Next Generation during its second and third seasons, and for writing the famous episode “The Measure of a Man.” More recently she’s earned acclaim as the co-editor of the ongoing Wild Cards series with George R.R. Martin.

But she’s also a celebrated SF novelist in her own right, with The Edge of Reason trilogy and others under her belt. Her most recent series is one of the most original space operas on the market, a fascinating saga that mixes British period drama with science fiction, imagining a polite aristocratic society in outer space. Gamers Sphere says “Snodgrass has done a wonderful job of depicting how aristocrats and society would work in world where aliens and space travel is an every-day norm,” and Retrenders calls it “Downton Abbey/Sense & Sensibility drama with a mix of science-fiction action.” Admit it — that’s not something you see every day.

The third novel in the series, The Hidden World, was published by Titan last month. Here’s the description.

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Birthday Reviews: Ray Bradbury’s “Downwind from Gettysburg”

Birthday Reviews: Ray Bradbury’s “Downwind from Gettysburg”

Cover by Peter Bramley
Cover by Peter Bramley

Ray Bradbury was born on August 22, 1920 and died on June 5, 2012.

Bradbury never received the Hugo Award, although he received four Retro Hugo Awards for his novel Fahrenheit 451, his fanzine Futuria Fantasia, and twice for Best Fan Writer. He was nominated for a single Hugo. He was never nominated for a Nebula Award. He won the Bram Stoker Award for his collection One More for the RoadFahrenheit 451 also won a Prometheus Award and a Geffen Award. Bradbury won three Seiun Awards for Best Foreign Short Story. He won the coveted Balrog Award for Poetry in 1979. In 1966, he was awarded a Forry Award by LASFS. He received a World Fantasy Lifetime Achievement Award in 1977 and was named a Grand Master of Fantasy with a Gandalf Award in 1980, the final year the award was in existence. Bradbury was the Guest of Honor at ConFederation, the 44th Worldcon, held in Atlanta in 1986. He received a Lifetime Achievement Award from the Bram Stoker Awards in 1989, the same year he was named a Grand Master by SFWA. World Horror Con named him a Grandmaster in 2001 and the Rhysling Awards did so in 2008.  He was given an Eaton Award for Lifetime Achievement in 2008.  Bradbury was inducted into the Science Fiction Hall of Fame in 1999 and the First Fandom Hall of Fame in 2012.

“Downwind from Gettysburg” was originally published in Bradbury’s collection I Sing the Body Electric in 1969 and was reprinted in 2003 in Bradbury Stories: 100 of His Most Celebrated Tales. When the latter was reprinted in two volumes, the story appeared in Ray Bradbury Stories Volume 2. Although it hasn’t often been reprinted in English, the story has been translated, usually as part of I Sing the Body Electric, into French, Portuguese, German, and Italian.

In 1964, Walt Disney created an animatronic version of Abraham Lincoln to appear at the Illinois Pavilion at the New York World’s Fair. The following year the exhibit moved to Disneyland, where the Lincoln show continued to run, on and off through the present, although another version, featuring versions of all the Presidents, runs at the Magic Kingdom in Florida. In 1969 Ray Bradbury published “Downwind from Gettysburg,” which featured a similar animatronic version of Abraham Lincoln.

Bradbury’s version, however, sits in a replica of Ford’s Theatre and the story opens with someone coming into the theatre and shooting the animatronic figure in the head. Although Bayes, the proprietor of the exhibit, knows that he must call the designer, Phipps, to have the robot fixed, he doesn’t want to make the call, instead tracking down the “assassin” who shot the robot. The man, who is unemployed and whose life seems to be a shambles, explains that his name is Norman Llewellyn Booth. Booth has the feeling that fate has conspired to make him recreate the heinous crime committed by his namesake, although there is no direct connection between the two Booths. Instead, Booth figured the nature of his crime would bring him a notoriety he was otherwise lacking.

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