What I'm Reading: Shadow Captain, Bone Silence by Alastair Reynolds

Shadow Captain follows the other, less crazy sister, as she tries to revenge herself on pirate Bosa Sennen, then keep their ship supplied, and gain clues about what Bosa was up to. Very much middle-of-trilogy syndrome, nothing happens that's necessary to the overall plot, but it's adequately more of the first volume. We find out a new behavior of the Quoins. ★★★★☆

Bone Silence is split between the sisters POV, and wanders between some excellent lightsail ship combat, a bit of urban treachery, and then pursuit by the… not Navy, but thugs employed by the bankers, so essentially the East India Company, and like the pride of the English, they're honorless scum. All to the good, except midway thru they split the party, one ship goes to town and the other stays to fight the thugs. The author fails to remember the many Chekov's Guns hanging on their fireplaces, and so this is much more of a struggle than it ought to be.

And here the plot turns into a summary, dozens of characters are introduced who have no further purpose or interest, an insurrection takes place in the sewers of an O'Neill colony, and impossible machinery is turned on. An alien explains more about the Quoins, except this is couched in superstitious nonsense for the monkeys and I don't know I believe any of it except the behavior we see. This part's absolutely disposable, but clearly Reynolds was tired of the setting and couldn't wait to get to the last bit. Where a giant precursor starship is approached… the Baubles use stasis fields, but the ship doesn't, even tho it absolutely needs it. The nature of the emergency is made clear but not why they're in that emergency. Rather preachy finale, bad guy is sent off to… smash into the habitat windows? He should be spaced, to make the punishment work, but he's not.
★★★☆☆ at first, then ★★☆☆☆ by end

Possibly better to make up your own 3rd volume than read Bone Silence. I'd still dearly love an RPG sourcebook (preferably for Traveller/Cepheus Engine) covering the mechanics of ships and Baubles.

What I'm Watching: Love Death Robots S2

Previously, part 1 and part 2.

A short set of S2, maybe not trying to flood us like S1 did. I will note, S1 had very little diversity; a couple girl MilSF authors, and the worst story of last season was by a woman who writes vamp-fucker books. S2 has zero, 0, none, not a fig: It is all white male honkie dudes. Probably all straight. A couple are English, Dutch, kinda imperialist. Look, I'm not saying "you can't use stories by honkie males", some honkie males are my friends and I pass for one, but I am saying in every video, they're fucking all honkie males?! I'm very disappointed in you, Netflix.

Anyway, the shorts:

  • Automated Customer Service, by John Scalzi: Too obviously a Scalzi piece, so it's trying to be super funny but instead at best gets a snicker or chortle, and then has a terrible ending because Scalzi can't write his way in or out of a plot. Accurately captures how I think Judgement Day will go: Stupid consumer electronics and overzealous marketing AI start terminating all the Humans. I dislike the weird stretchy big-head geriatric Humans, and the dog has creepy Human teeth which is NOT OK, but the robots are cute so it gets a better rating than the writing deserves. ★★★☆☆

  • Ice, by Rich Larson: short story has a much less kind tone than this video. The premise that you can't genetically engineer someone after birth is just false, a pre-CRISPR/mRNA view. I dislike the art style in this, shadow puppets with minimal detail. ★★★☆☆

  • Pop Squad, by Paolo Bacigalupi: Blatantly ripping off Blade Runner, from the grim cops in black murdering innocents, cars flying up above a grimy city, punching thru clouds to sunlight, Vangelis-lite ripoff music, fake geisha looking entitled rich wench. Zero subtlety or writing, just blunt: "not having kids seems a small price to pay for getting to live forever".

    Done exponentially better in Ad Vitam despite its many flaws; yes, that's 6 hours instead of 15 minutes, but this had more money in it.

    I'd be more impressed with the sets if they were anything but stock "grimy cyberpunk city" and "house inexplicably next to ruins", probably bought directly from the Unity store. Ends with a direct ripoff of the Roy Baty "tears in rain" scene. This is so preachy, obvious, and trite, it's like every trashy non-SF writer's condescending opinion of SF was true. And I fucking hate Blade Runner ripoffs. ★☆☆☆☆

  • Snow in the Desert, by Neal Asher: An old survivor, albino (but incorrectly blue-eyed, not pink; I think an error by the filmmakers, but I don't remember the Asher story well) and full of weird surprises, tries to stay ahead of bounty hunters. Very nice modelling, the desert and scrapyard bartertown are spartan enough you don't really hit uncanny valley, and the not-always-Human people don't look cartoony. Plot's kind of trivial, the reveals aren't surprising if you know anything about Neal's Polity series, but it's all well-done, never stupid. ★★★★½

  • The Tall Grass, by Joe Lansdale: Fantastic oil-paint art style. HP Lovecraft-looking protagonist gets off a train and wanders into the grass. This is a very very dumb idea, but we have the advantage of having seen Children of the Corn. I'm extremely unimpressed by what's out there, the mood is great until they're revealed and then it's just "oh for fuck's sake". Ending is moody again, it's just the whole middle bit that needed a rethink. ★★★½☆

    Notably this is vastly superior to Stephen King & Joe Hill's In the Tall Grass.

  • All Through the House, by Joachim Heijndermans: It's Xmas in May! Brats sneak up on Santa and find out why you should stay in bed and be good. This was just delightful, and doesn't overstay its welcome. Every child should be shown this one, in between Frosty the Snowman and episodes of The Cinnamon Bear. ★★★★★

  • Life Hutch, by Harlan Ellison: So far there hadn't been any dumb Call of Duty videos. Well, here it is. After attempting to murder aliens in space, space murderer crash-lands on a planet, finds an automated survival shelter, and then the systems don't like him much. Which sentiment I share. Possibly unfair. The short story was Harlan's second published, and it fits in an arc of a Human-alien war with a little more question about "why", and the robot isn't self-motivated like in this video. BUT. It's still a dumb piece. ★★☆☆☆

  • The Drowned Giant, by J.G. Ballard: A long, talky, introspective story by Ballard turns into a long, talky voiceover video over a dead giant on the beach. Bored out of my skull by this. Narrator does nothing, learns nothing. Purpose and origin of the giant is unknown. Almost literally anyone else visible in this video would be more interesting to follow. ★☆☆☆☆

RIP Ben Bova

For me, Bova's main achievements were taking over Analog and turning it from a rag full of pseudoscience published by the most loathsome person in SF, into something like an Actual Science Fiction magazine.

And a long string of his hard SF novels, from Kinsman Saga, Colony, and Mars.

But my favorite thing Ben Bova ever wrote is a short, so good that I forgive its use of "telepathy" as a narrative device, "Stars, Won't You Hide Me", collected in:

The Final Battle had been lost.
On a million million planets across the galaxy-studded universe, mankind had been blasted into defeat and annihilation.
The Others had returned from across the edge of the observable world, just as man had always feared.
They had returned and ruthlessly exterminated the race from Earth.

I Think We're Property

Dangers of near approach -- nevertheless our own ships that dare not venture close onto a rocky shore can send rowboats ashore --
Why not diplomatic relations established between the United States and Cyclorea -- which, in our advanced astronomy, is the name of a remarkable wheel-shaped world or super-construction? Why not missionaries sent here openly to convert us from our barbarous prohibitions and other taboos, and to prepare the way for a good trade in ultra-bibles and super-whiskeys; fortunes made in [155/156] selling us cast-off super-fineries, which we'd take to like an African chief to some one's old silk hat from New York or London?
The answer that occurs to me is so simple that it seems immediately acceptable, if we accept that the obvious is the solution of all problems, or if most of our perplexities consist in laboriously and painfully conceiving of the unanswerable, and then looking for answers -- using such words as "obvious" and "solution" conventionally --
Or:
Would we, if we could, educate and sophisticate pigs, geese, cattle?
Would it be wise to establish diplomatic relation with the hen that now functions, satisfied with mere sense of achievement by way of compensation?

I think we're property.

I should say we belong to something:
That once upon a time, this earth was No-man's Land, that other worlds explored and colonized here, and fought among themselves for possession, but that now it's owned by something:
That something owns this earth -- all others warned off.
Nothing in our own times -- perhaps -- because I am thinking of certain notes I have -- has ever appeared upon this earth, from somewhere else, so openly as Columbus landed upon San Salvador, or as Hudson sailed up his river. But as to surreptitious visits to this earth, in recent times, or as to emissaries, perhaps, from other worlds, or voyagers who have shown every indication of intent to evade or avoid, we shall have data as convincing as our data of oil or coal-burning aerial super-constructions.
Book of the Damned (1919), ch. 12, by Charles Fort

Eerily repeated in a lot of science fiction. Ironically, H.G. Wells' "War of the Worlds" is nearly a "we're property" story, but Wells irrationally hated Charles Fort. Likes repel, I suppose.

A few obvious ones, but there are dozens more (put them in comments if you like; archive.org links preferred!):

What I'm Watching: Deathsport

Deathsport (1978) is a sequel, of sorts, to Death Race 2000 (1975).

It immediately starts with some funky electronic music (the whole soundtrack is excellent if you like beepy '70s electronic music), and the best voiceover ever, the setting of every science-fantasy RPG setting I've ever run:

A thousand years from tomorrow, after the Great Neutron Wars,
the world consists of desert wastes and isolated city states.
A few machines remain as a reminder of the past,
but only the city-dwelling Statemen use them.
Between the cities roam the dreaded cannibal mutants
and the Range Guides. Guides are legendary warriors
leading an independent nomadic life,
owing allegiance only to their code.

Carradine and another range guide chick (an extremely drunk/coked up Claudia Jennings a year before her death) have a few battles against silver lamé-clad Statemen, riding "death machines" which are dirtbikes with some plastic plates glued on. I'm quite enamored of the clear plastic swords and light-up tube "blasters", not even a pretense of any gear being usable.

There's a child abducted by the mutants, who becomes a later sidequest. Or mutant lunch.

Eventually they're captured and spend entirely too long in bad prison cells, making small talk through a teeny grill. Some light torture, girls forced to dance naked under swinging blinky-light cables, nothing too interesting. The Statemen leader (David McLean, his last role while he was dying from lung cancer) wears black and is going insane, his sidekick (Richard Lynch, the only competent actor besides Carradine) wears black and is a traitor Guide, very very obviously some Star Wars influences.

Finally the big event, they're thrown into an arena (a dirtbike rally pit) against the Statemen. Mostly terrible teenage bike riders, but a few good explosive and pyro effects set off more or less at random. They blow up the force field walls to roam the wastes, hunted by the sidekick and a nigh-endless supply of goons.

A little bit of a "dungeon" crawl with torches, marching order, rats, some boinking in a cell. A lot of dirtbike fights, with these savage guides knowing exactly how to use the "death machines" better than trained Statemen soldiers. A second dungeon crawl in a "cave" with mutants. A third on-bike dungeon crawl/DOOM level with explosive barrels. They know what I like to see: Tits and explosions.

I'm somewhat impressed by the bike-front camera shooting. Trivial with a GoPro™ today, but in 1978, strapping a film camera to a dirtbike and getting any usable footage is amazing. Had to be some kind of stabilized rig?

The truth needs no introduction.
When the Sun rises, there's no necessity to announce it.
Clearly we have lost.
—sidekick contradicting his own thesis.

At least one of the writers must have played D&D or Metamorphosis Alpha, there's too many obvious gaming bits. The writing is all over the place, parts are somewhat clever and deep, there's what looks like some real setting lore, the rest is mashed together clichés and other movies; there were 4 writers, and probably Roger Corman fiddled with it, too. Carradine got in fistfights with the director, and another director had to finish it. Everyone was on drugs.

Dumb, only half-competent, but far more amusing than I expected.

★★★½☆

Fantasy & Science Fiction Magazine on Archive

I was looking specifically for Philip K. Dick's "Cantata 140", also found Roger Zelazny's "A Rose for Ecclesiastes" and look at that great wraparound cover! But also all of F&SF is in there, and it's pretty much all good, the best of the more literary end of SF, fantasy, weird tales. Unfortunately it hasn't all been neatly organized in a category on archive.org, but you can just page down in the pulp magazine rack.

Anyway, there's your reading stack for the next year sorted.

LibriVox Short Science Fiction

Tons of audiobook readings of mid-20th-century short SF. Ran across #11 on archive.org, and "Accidental Death" by Peter Baily amused me. "Control Group" by Roger Dee is very talky but amusing, too.

Very much in need of downloading and playing back at higher speed, though, the readers are painfully, deliberately sssslllloooowwww, tolerable at 1.5x to 2x.

What I'm Watching: 12 Monkeys (1995)

Haven't seen this since the theatre when it came out.

So, 1995. Bruce Willis was familiar from Moonlighting, and Die Hard, and his mediocre blues album The Return of Bruno, but hadn't become quite the caricature and one-note joke he is now. Brad Pitt had just come off True Romance and Se7en, whining and crying "What's in the box? What's in the box?!" Madeleine Stowe was the A-list femme fatale from China Moon, Revenge, and The Two Jakes. Plenty of smaller familiar actors, like Chris Meloni (most punchable face in the world) as the asshole cop, years before Law & Order: Formulaic Rape Is Bad Unit.

This film's a massively extended (too much so) Hollywoodization of the French experimental… it's not quite a movie, except in the way Ken Burns' documentaries are… sequence of moving pictures, La Jetée. Which in some ways is very effective, but it's dry as hell, lacks any characterization, it's an idea without implementation. Hollywooding it up was inevitable.

The style of the future, the police station, the mental institution, the shitty New York corner they keep going back to, just every set except the outdoors and the mansion, are basically Terry Gilliam going crazy with his brutalism and industrial post-war England anti-aesthetic. Visually impressive sometimes, but good grief, Terry, not everyplace looks like the concrete cell you were apparently raised and beaten in. The man needs a psychiatrist, not a director of photography.

The closed time loop of James Cole's life is pretty obvious from the first flashback, if you have any science fiction background; I'd well forgotten the details, and immediately realized it. The people of the future can't find anyone honest and sane who's tough enough to survive time travel, so they send a stir-crazy prisoner; but everyone seems to be a prisoner or a guard, there's no indication of normal life in the future. Cole's inability to calm down, act normal, like he remembers people being from childhood, is what causes all of his own problems.

The Army of the 12 Monkeys are well-cast, I've known a few people in extreme environmental causes and they're… not well-adjusted. When you're "the only people who know the truth!!!", you can either work sanely to raise awareness; or wait for it to be a giant mess so finally people act at the last minute, which is what normally happens, see global warming; or scream like a maniac and discredit everything you stand for, which is how these groups usually work. Pitt's a convincing lunatic, he's always had that twitchy look and when he gets screaming & whining & making weird hand gestures, nobody can stop him. Is there a film where Pitt doesn't flip out?

There's a nice tight 60-90 minute story trapped in a flabby, repetitive 2 hours 10 minutes of film. There's no reason for the second or third trips back, or the side-jaunt to the more distant past. A tighter version: Cole goes back, gets nabbed, stays in the asylum a few years, escapes, goes on a road trip with the shrink, the finale happens. Nobody else from the future ever needs to show up, the shrink picks up the last clue in the airport.

I so want this to be better than it is. The premise is great. It's better to watch than La Jetée. Madeleine Stowe is very nice. But I had to take a few breaks and got out my phone during the long repeat acts. The slo-mo death scene with swelling music at the end should've been cut, it shits on the tone of the rest of it.

★★★½☆

Science Fiction on the Archive.org

In light of asshole publishers attacking archive.org: Hachette Book Group, Inc., Harpercollins Publishers LLC, John Wiley & Sons, Inc., and Penguin Random House LLC.

Libraries are important, and we need to do everything to protect the biggest one in the world.

So here's some SF, mostly cyberpunk, mostly POC or marginalized protagonists, mostly collapsing urban environments. Plus Zeitgeist, which is an optimistic view from 1999-2000, remember when that was possible?

Snow Crash-Neal Stephenson

Synners-Pat Cadigan

Streetlethal-Steven Barnes-cover

Eclipse-John-Shirley

Cornelius Chronicles-Michael Moorcock

Zeitgeist-Bruce Sterling

True Names-Vernor Vinge

Hacker and the Ants-Rudy Rucker

Schismatrix Plus-Bruce Sterling

What I'm Reading: Network Effect, by Martha Wells

Finally the novel length treatment I've been asking for. Murderbot, calling itself just "SecUnit" in the company of friendly non-corporate Humans, does a perfectly adequate job protecting them from their poor decision-making, and becomes somewhat… not exactly social, but what passes for it.

“She grimaced. “Right, sorry.” Then she looked away and rubbed her eyes.

And I’d made her cry. Good job, Murderbot.

I knew I’d been an asshole and I owed Amena an apology. I’d attribute it
to the performance reliability drop, and the emotional breakdown which I
am provisionally conceding as ongoing rather than an isolated event that
I am totally over now, and being involuntarily shutdown and restarted,
but I can also be kind of an asshole. (“Kind of” = in the 70 percent–80
percent range.) I didn’t know what to say but I didn’t have time to do a
search for relevant apology examples. (And it’s not like I ever find any
relevant examples that I actually want to use.) I said, “I’m sorry for …
being an asshole.”
—Martha Wells, "Network Effect"

Then a rather familiar transport/gunboat shoots them up, and abducts them to another solar system, with some odd, hostile inhabitants, or "Targets" as Murderbot calls them.

Finally we get a little explanation of the wormhole transit system, much better detail on drone and network systems, and Corporation Rim colony setup. There's even a planetary surface described in… not great detail, but any detail? So that's different. Since reading this book I'm going back to reread the novellas with more background information.

There's as much internal chatter of Murderbot as ever, which is the thing that draws us weirdos to this, but also a lot of feed and voice chatter with others forcing some character development the novellas can't achieve.

It's organized almost along episodic A- B- plot beats, Murderbot kills everyone, there's a social/investigation sequence, backstory piece, repeat (four times? More or less).

The Targets and what's driving them takes a long time to be revealed, and how some of their software attacks are possible isn't clear until very late in the book.

And it's left set up for more stories, which is all Murderbot's after, too.

★★★★★ — inhaled it in a couple sittings.

Also, there was a prequel short story in Wired a couple years ago, which I just learned of: