The Quantum Thief: A Review

The Quantum Thief: A Review

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The Quantum ThiefThe Quantum Thief
Hannu Rajaniemi
Tor Books (A Tom Doherty Associates Book; 330 pp, $24.99 USD, $28.99 CDN; hardcover 2010)
Reviewed by Matthew David Surridge

Centuries in the future, Jean le Flambeur is a master thief, imprisoned in a virtual-reality jail: every day he makes choices, and dies, and is reborn. Until he’s freed by a violent woman named Mieli from the edge of the solar system, and taken to Mars. There, he must regain old memories he locked away from all possible recovery when he was literally a far different person than he is now. A youthful detective, hi-tech superheroes, and posthuman intelligences are waiting to complicate his task, which seems to have ramifications on an interplanetary scale.

That’s a basic description of Hannu Rajaniemi’s novel The Quantum Thief, the first in a series following le Flambeur’s adventures (the second, The Fractal Prince, will be coming later this year). Uncertainty and possibility and identity are key themes in this book; appropriate, then, that its own identity is somewhat paradoxical. On the one hand it’s aggressively bleeding-edge, incorporating quantum theory and game theory and any number of up-to-the-nanosecond science-fictional ideas. But on the other it’s highly traditional, drawing from different lineages within the genre and outside it.

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John Carter of Mars Post-Game: Six Reasons to Feel Better

John Carter of Mars Post-Game: Six Reasons to Feel Better

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tars-tarkas-cheers-up-john-carter-of-marsJohn Carter of Mars (yes, I have chosen to flat-out call the film by that name going forward, as per its end title card) drew in approximately $30.6 million in domestic box-office over the weekend according to online tracker Box Office Mojo. This is better than some of the gloomier Cassandra predictions, and even superior to the lowered tracking numbers from the days right before the film’s release that pegged it at $25 million.

But I won’t sugarcoat this for fans or lie based on my long experience tracking box-office results: these numbers do not augur well. (If you want to hear a more objective — and therefore grimmer — analysis, read Box Office Mojo’s take on this. It isn’t pretty.) The new film couldn’t even best last week’s #1 film, The Lorax, which held over to take the top spot despite a standard a 44% drop in attendance. It performed $5 million less than last year’s Battle: Los Angeles, a more modest film that cost a third of John Carter of Mars’s $250 million budget.

In the contemporary crowded marketplace, films live and die based on opening weekends. Only occasionally can a film continue to coast for weeks at a time on steady attendance. But this sort of support doesn’t usually happen for big event films, which tend to be front-loaded. Smaller movies like The Help can get a slow-burn going, but not $250 million tent pole epics and hopeful franchise catalysts like John Carter of Mars.

The film did pull in an impressive $70 million at overseas markets, and in the long run the movie will turn a profit for Disney, albeit not a huge one. But the chance of us seeing Andrew Stanton direct The Gods of Mars feels remote at this point. Prince of Persia did similar numbers in 2010, with a $30 millions U.S. opening leading to a poor $91 million overall domestic gross, while pulling in big international coin — and you aren’t hearing about a sequel to that coming out next year. Disney will probably announce during this week that they will go ahead with a John Carter sequel, but that’s standard promotional talk to make a show to the public that the company has confidence in the film, and perhaps get a few more folks into the cinemas during the second weekend. Remember, Disney immediately announced a sequel to Tron: Legacy, and Warner Bros. for Green Lantern — and neither of those will happen.

At this point, the best hope that filmgoers have to see more Barsoom is for John Carter of Mars to keep steady attendance through the next few weeks. With The Hunger Games poised to take a big bite out of its demographic in two weeks, this battle will be fought uphill against a raging horde of warriors from Warsoon on thoat chargers.

But in the face of this negative news, there are some reasons for pulp literature, science-fiction, and fantasy fans to feel good about John Carter of Mars. Taking the path of the Stoic, I present six things to consider that might give you some cheer about the film’s performance:

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Is John Carter a Flop?

Is John Carter a Flop?

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john-carterI’ve been enjoying Ryan Harvey’s enthusiastic review of the new Disney film John Carter, although I wasn’t able to make it to the local metroplex to see it myself this weekend. Apprently, I wasn’t the only one.

Entertainment Weekly, in assessing the weekend box office take, calls the film “one of the most high profile box office misfires in years.”

Carter really needed to open to $50 million at a bare minimum. Other films that reportedly cost around $250 million include Spider-Man 3, Harry Potter and the Half-Blood Prince, Pirates of the Caribbean: On Stranger Tides, and Avatar, and those four movies debuted to an average of $99 million. John Carter, on the other hand, collected an estimated $30.6 million this weekend… a dismal showing for such a costly project.

Today’s New York Times, in an article titled Ishtar Lands on Mars, estimates the film’s total cost at closer to $350 million:

John Carter, which cost an estimated $350 million to make and market… took in about $30.6 million at the North American box office… That result is so poor that analysts estimate that Disney will be forced to take a quarterly write-down of $100 million to $165 million. The amount will depend on ticket sales overseas, where John Carter took in about $71 million over the weekend, a better total than Disney had feared…

Because of its enormous cost and the way ticket sales are split with theaters, analysts say the film needs to take in more than $600 million globally to break even. The only silver lining for Disney may be a dubious one: last March the studio’s Mars Needs Moms flopped so badly that it also required a write-down, making year-on-year performance comparisons less brutal.

Although the numbers look grim, $71 million overseas is nothing to sneeze at. With a combined weekend take over over $100 million, it may be too early to label John Carter a clear bomb. We’ll see what the future holds… and I still plan to see it this week.

New Treasures: Allen K’s Inhuman Magazine #5

New Treasures: Allen K’s Inhuman Magazine #5

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inhuman-magazine-5Allen Koszowski is almost supernaturally talented.

I first hired him more than a decade ago, when I was desperate to find an artist who could capture the eldritch horrors of Edmond Hamilton’s classic “The Monster-God of Mamurth,” a tale of ancient desert ruins and unlucky explorers from the August 1926 Weird Tales, which I reprinted in Black Gate 2. Allen’s work for Cemetery Dance, Whispers, and Weird Tales convinced me he was the guy.

He delivered three knockout pieces of art (see the first here). And the envelope they arrived in was stuffed with additional pieces which he offered for free. It was remarkably generous, and I was glad I was able to hire him again for Black Gate 3.

Since 2004 Allen has been publishing his own horror magazine, Allen K’s Inhuman Magazine. Every issue he assembles the top names in dark fantasy and horror, and he handles the art for each story personally.

The results have been consistently excellent, but with Issue 5 Allen has outdone himself. This issue Centipede Press has taken over production, and the magazine looks better than ever. To showcase other artists Allen has added a gallery, highlighting the Lovecraft Mythos work of Randy Broecker, Bob Eggleton, Jill Bauman, David Carson, and others, although Allen still handles the cover and interiors. Click on the image at left to get a closer look at his cover art for this issue.

This issue features fiction by Michael Shea, Darrell Schweitzer, Tim Curran, Tim Waggoner, James S. Dorr, Christopher M. Cervasco, John Pelan, and many others. The magazine is huge — 208 pages! — and copiously illustrated. It is perfect bound for the criminally low price of just $6.95, which makes it the single best buy you’ll hear about all week.

My thanks to my buddy Chris Cervasco for tipping me off that the magazine was available. Like many beautiful and precious things, copies can be hard to come by. I bought mine from the excellent online seller The Overlook Connection, who still have most issues in stock. There’s also ordering information on Allen’s website.

Support an excellent magazine, and discover a terrific source of quality dark fantasy. It’s a win-win. Buy your copy today!

Frederic S. Durbin’s The Star Shard Now on Sale

Frederic S. Durbin’s The Star Shard Now on Sale

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star-shardOne of the most acclaimed stories in Black Gate 15 was Fred Durbin’s “World’s End,” a terrific sword & sorcery piece featuring two young warrior heroines.

Since it appeared we’ve been looking forward to his new novel The Star Shard, and now the wait is over. His first novel for children takes place in a deliciously imaginative setting, a massive wagon city that rolls across a dangerous and magical land:

Twelve-year-old Cymbril is a slave on Thunder Rake, a gigantic wagon city that rolls from town to town carrying goods to be sold by its resident merchants. The Rake’s master purchases a new slave, a mysterious boy named Loric who is one of the magical Fey. Because he can see in the dark, Loric’s duty is to guide the Rake through the treacherous wilderness at night.Cymbril and Loric secretly join forces to plan their escape — soon the two friends thread their way through a series of increasing dangers, encountering an enchanted market and deadly monsters as their one chance for freedom draws nearer.

Frederic S. Durbin’s previous novel was Dragonfly, published in hardcover by Arkham House in 1999. If you have not heard him read one of his delightfully stories out loud, you are missing one of the great pleasures of the fantasy genre. You can read Patty Templeton’s Black Gate interview with Fred here.

The Star Shard was published by Houghton Mifflin Harcourt. It is 320 pages in hardcover for $16.99. Look for it in better bookstores around the country.

Forbes Presents Five Leadership Lessons From James T. Kirk

Forbes Presents Five Leadership Lessons From James T. Kirk

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kirkIt’s not often I get to use this space to link to Forbes magazine. In fact, let me check real quick… yeah, that’s what I thought. Last time we drew your attention to Forbes, Barry Goldwater was president.

Be that as it may, I feel compelled to alert you to an article posted this week by Alex Knapp, a Forbes staff writer, titled “Five Leadership Lessons From James T. Kirk.”

Yes, that James T. Kirk. Why does the flagship magazine of American capitalism feel the need to draw on the wisdom of the Captain of the Starship Enterprise? Here’s why:

Captain Kirk may have a reputation as a suave ladies man, but don’t let that exterior cool fool you. Kirk’s reputation at the Academy was that of a “walking stack of books,” in the words of his former first officer, Gary Mitchell. And a passion for learning helped him through several missions. Perhaps the best demonstration of this is in the episode “Arena,” where Kirk is forced to fight a Gorn Captain in single combat…

If you think about it, there’s no need for a 23rd Century Starship Captain to know how to mix and prepare gunpowder… But the same drive for knowledge that drove Kirk to the stars also caused him to learn that bit of information, and it paid off several years later.

In the same way, no matter what your organization does, it helps to never stop learning.

Well, nuts. The secret of my success is finally out. At virtually every junction of my life, I simply mumbled “What would Kirk do?” under my breath, and then did that. At least until my wife asked me stop mumbling all the damn time, and to stop putting the moves on every attractive woman I met.

Nonetheless. If you want to know how your life too can be easier, more exciting, and accompanied by a cool jazz soundtrack, your first step is to follow the five leadership lessons refined by Captain Kirk and outlined by Mr. Knapp here.

Soon men in red shirts will be flocking to your side, ready to take a bullet for you. Use them wisely.

Apex #34 and Black Static #27

Apex #34 and Black Static #27

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apexmag03_12

This month’s Apex Magazine features ”A Member of the Wedding of Heaven and Hell” by Richard Bowes  and ”Copper, Iron, Blood” by Mari Ness; the classic reprint is “Lehr, Rex”  by Jay Lake, who is interviewed by Maggie Slater.

Julie Dillon provides the cover art: Julia Rios and editor Lynne M. Thomas penned nonfiction columns round out the issue.

429_large1Further details about this on-line publication can be found here.

The February-March Black Static features new horror fiction from Simon Bestwick (”The Churn”), Gord Sellar (”Empty of Words, thePage”), Jacob Ruby (”The Little Things”), V.H. Leslie (”Family Tree”) and Stephen Bacon (”Cuckoo Spit”).

Nonfiction by the usual suspects, Peter Tennant, Christopher Fowler, Tony Lee, and Mike Driscoll.
The editor is Andy Cox.

Black Static alternates monthly publication with sister SF and fantasy focused Interzone.

John Carter [of Mars] Is a Perfect Edgar Rice Burroughs Movie

John Carter [of Mars] Is a Perfect Edgar Rice Burroughs Movie

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johncarterposter-with-apesJohn Carter (2012)
Directed by Andrew Stanton. Starring Taylor Kitsch, Lynn Collins, Willem Dafoe, Mark Strong, Dominic West, Samantha Morton, Ciarán Hinds, Thomas Haden Church, James Purefoy, Darryl Sabara.

Update: Thank you to all Black Gate readers who have shown the love for John Carter and Edgar Rice Burroughs, and who boosted me with positive comments and emails regarding my long-term project of reviewing all the Martian novels. I’ve never felt so much support from the Internet in the eight years I’ve been an active blogger and reviewer, four of them at Black Gate.

Don’t expect the brackets in my post title John Carter [of Mars] to endure. People who have already seen John Carter will know what I mean: Walt Disney Pictures could not stop director Andrew Stanton from making John Carter of Mars the true title of his adaptation of Edgar Rice Burroughs’s century-old classic A Princess of Mars. Stanton, a fan of the Martian novels since he was a child, has given the perfect fan treatment to the material. If you’re a fan as well, then John Carter will carry you from the beginning until the end on a wave of childhood joy until you choke up at the final title cards.

If you’ve been reading my reviews of the Martian novels, then you already know my bias; I am also an Edgar Rice Burroughs fanatic from a young age. As with Captain America: The First Avenger, I am inclined to love this film more than most viewers. But, as with Captain America, I feel confident that the majority of viewers will enjoy this film, with a few caveats. Burroughs fans, however, may purchase with rock solid confidence.

In fact, the fan-service the film offers might end up a problem. If anything holds back John Carter from being a sizable hit — aside from some poor marketing choices — it will be that it is relentlessly “Burroughsian.” Never has an adaptation of Edgar Rice Burroughs caught so closely his spirit and his style. But John Carter goes even farther than finding the tone of its source: it is steeped in the mythology of Barsoom — ERB’s fantasy version of Mars — crammed with its politics, its biology, its language, its technology. For general audiences who know little about The First Citizen of Tarzana, the film may confuse them. Director Andrew Stanton shows how much he loves his source material in the way he refuses to water down any of it. The intricacies of Martian politics and its array of races appear on screen without apology and without hand-holding the audience.

I applaud that in a movie that on the surface looks like nothing more than a standard science-fiction popcorn event offering big action thrills and beautiful people armed with swords and guns. But I wonder if this will turn off the casual viewer. I hope not, because John Carter far exceeds other recent films of its genre with strong characters and CGI that enhances the experience instead of turning it into Transformers 3-style noise. Perhaps the movie isn’t a classic, but I have a sense that if Andrew Stanton gets a shot at making the next movie in the series, The Gods of Mars, then classic-dom is within his grasp. And ours.

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Retro Movie Posters

Retro Movie Posters

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nimoy-in-die-hardOver at his blog, artist and designer Peter Stults has been having fun with “What If…” movie posters, depicting retro versions of great modern films — complete with a re-imagining of the entire cast and crew.

This sort of thing has been done before, but I’ve rarely seen it done with such a deft touch, both artistically and in his spot-on cast selections.

Probably my favorite is Leonard Nimoy as New York cop John McClane in the re-imagined Die Hard.

But I also greatly enjoyed seeing Sean Connery and Christopher Lee in The Fifth Element; Dean Martin, Jerry Lewis and Jack Lemmon in The Hangover; Steve McQueen and Faye Dunaway in The Terminator; and especially Frank Zappa as The Big Lebowski.

Stults has shown more than some fine skill with Photoshop, however. His design sense  is terrific, and he unerringly mimics a wide range of Hollywood advertising styles through the decades. One of his best is the faux poster for Fritz Lang’s magnum opus 2001: A Space Odyssey (written in German, naturally).

He’s been adding more posters each month. Check out the latest here.

It’s worth the click just to see John Wayne as Superman (and who else but a young Clint Eastwood as the menacing General Zod?).

Bram Stoker’s Dracula Reconsidered

Bram Stoker’s Dracula Reconsidered

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200px-dracula1stbram-stoker-dracula-1Bram Stoker’s Dracula (1897) has gradually won acceptance in literary circles over the past few decades as a legitimate work of literature after years of being dismissed as an influential work in a genre unworthy of serious consideration. Horror, much like mystery and fantasy, has always been dismissed as lowbrow entertainment. If mass acceptance is any measure of success, the book’s place has long since been secured. It is the only one of Stoker’s titles that has never fallen out of print at any point in the past 115 years. Public domain copies abound alongside dozens of editions from popular presses.

Most readers who happen upon this article are likely familiar with the book. Enthusiasts can be divided into two camps, although this division is rarely spoken of in polite company. The deciding factor that divides the two elitist camps is based solely on the matter of whether or not one chooses to accept “Dracula’s Guest,” the posthumously published excised chapter of an earlier draft of the novel, as an integral part of the story.

For most, the inclusion of the fragment is the deciding factor that determines whether one is obliged to purchase a particular edition of the book to sit alongside the others that inevitably collect upon one’s shelf. The more discerning consumer will also consider the placement of the story before or after the text of the novel as a deciding factor for a purchase. Contrarians will inevitably dismiss the fragment for the minor continuity errors it introduces to the narrative. Their smug dismissal sits rather uncomfortably in the face that the novel itself contains several other quibbling points of equal inconsequence. Sadly, the enlightened defender of “Dracula’s Guest” is invariably the more rational and less vocal of the two groups. Needless to say, I choose not to reveal which camp I fall into so as to preserve my objectivity and not alienate those heathen who fail to appreciate it.

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