Monday, 17 July 2017

The Cthulhu Casebooks: Sherlock Holmes and the Shadwell Shadows by James Lovegrove (Titan Books) | review by Rafe McGregor

I’ve recently made several comments on the evolution of Sherlock Holmes from the cold criminal investigator who calmly rejected supernatural explanations of even the most outré circumstances created by Conan Doyle to a character who is probably most accurately called an occult detective in the twenty-first century. In my review of Sherlock: The Abominable Bride in TQF55, I mentioned that Holmes and several others who cross the threshold of 221b Baker Street are more akin to superheroes and supervillains, giving the series very much of a fantasy feel, and Guy Ritchie’s Sherlock Holmes: Game of Shadows (2011) was served with a deliciously strong steampunk sauce. I recently responded to an article in The Conversation on the decline in the popularity of Doctor Who by noting that Doctor Who and Sherlock have become increasingly close in the last couple of decades and Steven Moffat is one of many writers who have written either official novels or screenplays for both the doctor and the detective. In my review of Simon Kurt Unsworth’s The Devil’s Detective in TQF56, I mentioned “the many failed and few successful attempts to combine Sherlock Holmes and the Cthulhu Mythos” of late, and the subject of this review is James Lovegrove’s contribution to precisely that subgenre – a contribution that is by and large successful. The subgenre was launched with Michael Reeves and John Pelan’s Shadows Over Baker Street: New Tales of Terror! in 2003. Re-reading my somewhat scathing review in TQF24, I stand by most of what I wrote (though not my dismissal of Neil Gaiman’s “A Study in Emerald”). One of my main criticisms of this volume was that there had been little or no effort to recreate the atmosphere of Victorian or Edwardian London in most of the stories. The shadows are, after all, over Baker Street, not Angell Street or Clinton Street. James Lovegrove’s shadows are, as his title suggests, in Shadwell (the district between Whitechapel and Limehouse), and he has paid close attention to both the historical setting and the original Holmes stories such that the few anachronistic turns of phrase he uses are insufficient to distract the reader. It’s the relationship between old and new where Lovegrove’s contribution to literary pastiche is revealed at its most ambitious and most promising.

His intention is that the three volumes of which this is the first will “effectively rewrite the Holmes canon”, peeling back the illusion of detection to reveal the reality of the Mythos. As such, Sherlock Holmes and the Shadwell Shadows begins in a similar manner to A Study in Scarlet, with Watson returning from Afghanistan with more mental than physical damage and meeting Holmes through Stamford. The location is not the Long Bar of the Criterion, however, but an unnamed public house in Limehouse which is a haven for illegal gambling, bare-knuckle boxing, cock-fighting, and prostitution. Holmes and Watson meet by making independent attempts to assist Stamford when he falls foul of a pimp and his henchman. Stamford flees in the ensuing fracas and it emerges that he is an opium addict and a suspect in a series of murders. The murders have been linked by Holmes but not Scotland Yard in that the victims are all of the unlikely-to-be-missed (in Victorian England) variety and appear to have been starved to death. Stamford quickly removes himself from play – after being found wandering the streets while raving about the Old Ones – committing suicide in a particularly gruesome manner. Lovegrove’s writing is crisp and clean, lacking the laboured quality characteristic of so much pastiche and the narrative is fast-paced, more of a thriller than a mystery, but none the worse for it. Indeed, Lovegrove’s Holmes and Watson are somewhat reminiscent of Ritchie’s and his portrayal of Watson as a physically adept ex-soldier is particularly pleasing. The trail of the case quickly leads to Stamford’s employer, a Chinese immigrant by the name of Gong-Fen who runs an opium empire in Limehouse. At Gong-Fen’s bidding and under the influence of a cocktail of narcotics, Holmes undertakes a dream-quest where the existence of the world of the Elder Gods and Outer Gods is revealed to him. On his return to Baker Street, Watson discloses the truth of his experiences in Afghanistan and the cause of his wound. At the mid-point in the narrative, Gong-Fen, Holmes, and Watson are attacked by what appears to be the shadows of the title. This unequivocal manifestation of the supernatural in the present of the story, which is both gripping and otherworldly, marks the point of no return from crime to horror. The incident takes Holmes and Watson to the second layer of the puzzle, Gong-Fen’s employer, whom they find following researches at the British Library, and thence to the Mythos itself, with a climactic battle underneath St Paul’s Church in Shadwell.

My only real criticism comes compliments of Lovegrove himself. The novel is preceded by both an author’s preface (where he employs a conceit based on the similarity of his own surname to Lovecraft’s) and a fictional foreword by Watson and concludes with a brief epilogue in which Watson, writing in 1928, provides a teaser for the next instalment (due for publication in November this year), Sherlock Holmes and the Miskatonic Monstrosities. The first novel is set in 1880, the second in 1895, and the third (Sherlock Holmes and the Sussex Sea Devils, due for publication in 2018) in 1910. If Lovegrove is indeed reinventing Doyle’s canon – and I think reinvention is the key to successful pastiche – then he needs to do a little more than rewrite the meeting of Holmes and Watson. Given that this volume is supposed to tide us over until 1895, it covers the first two novellas and the first two collections of short stories but alludes to very few of the incidents or characters with which readers are familiar. Lovegrove has Watson explain that he wrote “one sort of story [detection] to deflect attention from another [horror], which strays into realms most ordinary people are incognisant of and are all the better off in their ignorance”. Granted, but if the canon is being rewritten as opposed to Holmes and Watson simply undertaking an alternative set of adventures, then there needs to be a little more explanation or demonstration of the relation between Lovegrove’s reinvention and Doyle’s canon. Why, for example, did Watson write the particular stories that comprise The Adventures of Sherlock Holmes and The Memoirs of Sherlock Holmes rather than others? What happened in the reality of the Mythos that caused him to draw this particular veil of detection over it? If it weren’t for Lovegrove’s preface, this expectation would not exist, but it does exist and remains unrewarded at this point in the trilogy. Notwithstanding, the novel is an entertaining and accomplished contribution to the occult detective genre and an original and ambitious contribution to the Holmes and Mythos subgenre.

Saturday, 15 July 2017

Nominations for the British Fantasy Awards 2017

The British Fantasy Awards nominees have been announced for 2017, and it's the first time since 2012 that our magazine and its contents have been eligible, thanks to me stepping down as awards administrator last September.

Sadly, though, fate did not hear our call, and we did not receive any nominations, although I do contribute on average a page per issue to one of the best magazine nominees, Interzone, edited by the apparently tireless Andy Cox, so I'll be celebrating that while the rest of the TQF team weep into their teacups. Andy's equally fine Black Static, to which I occasionally contribute a review (albeit not last year), also received a nomination.

The other magazine nominated was Uncanny Magazine, a first-time nominee which I haven't read, but which looks very interesting. There are also first-time nominations in this category for Tor.com and Ginger Nuts of Horror, both websites which don't style themselves as magazines or periodicals – they don't publish in issues, for example – so it's a bit of a surprise to see them on the list. But the BFAs often follow the voters' heads in this kind of thing: see for example how the best small press award morphed over the years from being an award for small press publications to being an award for the small presses themselves.

The full list of nominees is here. Congratulations to all of them!

Scroll down to the bottom and you'll see that I'm a juror on the best comic/graphic novel category, and the work for that kicked off when we were appointed on June 24. I was glad to find I'd already read 29 graphic novels and comics collections from the relevant year, and I read another dozen or so highly-recommended books in the course of us deciding whether to add egregious omissions to the list. In the end, we added two to the four put forward by the voters of the British Fantasy Society and FantasyCon. Now I'm reading and re-reading all the nominees, but I know already that it's going to be a very tough decision.

Not going to say much about the other categories, since there's a lot of overlap between juries, so I might be seen as having inside information about the juries I'm not on. (I don't – I didn't even know my fellow comics jurors were on a couple of other juries, or that my all-male jury wasn't the only one, until yesterday's announcement.) It does seem a bit of a shame that the best horror novel, best fantasy novel and best artist juries decided not to add any items to their shortlists, given all the work out there deserving of awards recognition, but maybe the jurors were deadlocked on what to add.

A Wizard's Henchman was my favourite book of last year, so I'd hoped it might get a nomination in best fantasy novel. I'd also had hopes for Glen Weldon's The Caped Crusade in best non-fiction and A Taste of Honey by Kai Ashante Wilson in best novella, and it was a big surprise to see that Central Station by Lavie Tidhar didn't make the best collection list – perhaps its votes were split between people voting for it as a novel, and people voting for it as a collection?

If I'm not picking out my favourite works from female writers there, that's because they made the shortlists: overall nine of the thirty-nine items I voted for made it on, a pretty good batting average! It's definitely worth using all of your votes. The plan is for winners to be announced at FantasyCon 2017, in Peterborough. Memberships of the convention and tickets for the awards banquet are available here. Good luck to everyone!

Friday, 14 July 2017

A Taste of Honey, by Kai Ashante Wilson (Tor.com) | review by Stephen Theaker

An interesting and romantic novella, in which Aqib, a young and good-looking member of the Olorumi minor nobility with a special way with animals, falls for a rough soldier from the Daluçan embassy. Forbidden and sweaty things happen, to their mutual delight, but it is important to his family that he makes the right marriage, and so when the opportunity for one arises he must choose between love and duty, happiness and family. As the story progresses we are also shown episodes from progressively deeper into his future life, placing ever more weight upon the decision he will have to make. This was a very well-written, exciting and romantic book; the relationships of Aqib with both his lover and his other significant other are tender and believable. Using an extremely famous literary title for another book always seems a bit odd (see also Signal to Noise and Journal of the Plague Year), but the story works hard to justify it. A word for the evocative cover art: fantasy and science fiction book covers often feature great design, but it’s brilliant to see that not every publisher has given up on illustrative artwork. ****

Monday, 10 July 2017

Sherlock, Series 4, by Mark Gatiss and Steven Moffat (BBC One) | review by Rafe McGregor

Like Conan Doyle, who famously tired of his creation, the BBC seem curiously reluctant to represent Sherlock Holmes on the small screen. Compare Sherlock, which began in 2010, with CBS’s Elementary, which began in 2012: the former has a total of thirteen episodes across four seasons (I’ll use the American term to distinguish an individual season from the series as a whole); the latter is, at the time of writing, in its fifth season and will have aired a total of 109 episodes by the time this review is in print. In addition to the British tendency to disguise mini-series as series, writers Mark Gatiss and Steven Moffat seem intent on frustrating our enjoyment of the Benedict Cumberbatch (Holmes) and Martin Freeman (Watson) partnership in a way that Robert Doherty does not with Jonny Lee Miller (Holmes) and Lucy Liu (Watson) in Elementary. Season 1 ended with Holmes and Watson about to blow up, season 2 with Holmes’ faked suicide leaving Watson bereft, and season 3 with Holmes exiled to certain death. Ominously, the final episode of season 4 is called “The Final Problem” and it is telling that Doyle’s story of the same name – his half-hearted attempt to kill off Holmes after 26 episodes – is the only original case to have inspired two of the TV adaptations.

In my review of Sherlock: The Abominable Bride (the 2016 Special, which bridged the gap between seasons 3 and 4) in TQF55, I was clear that the conclusion of Holmes’ drug-fuelled investigation is that, whatever appearances to the contrary, Moriarty is dead. I’m pleased to say I was right. Moriarty is dead and he did commit suicide in the finale of season 2, “The Reichenbach Fall”. Season 3 was Moriarty-free and the overarching plot across the three episodes was the discovery of the real identity of Mary Morstan (Amanda Abbington), whom Watson married in “The Sign of Three”, interwoven with Holmes’ struggle against Charles Augustus Magnussen (Lars Mikkelsen), a very nasty blackmailer of people in high and low places. The third season ended with “His Last Vow” (based on the Conan Doyle story “Charles Augustus Milverton” rather than “His Last Bow” as the title suggests), where Holmes was sent on a suicide mission to Eastern Europe in lieu of standing trial for the murder of Magnussen. The episode finished with Moriarty (Andrew Scott) apparently returning from the dead, being broadcast on every television screen in the UK and asking “Did you miss me?” The Special began with Holmes being recalled only a few minutes after his exile and its purpose was to confirm Moriarty’s death and establish his revenge as posthumous. Most of the Special takes place inside Holmes’ Mind Palace (AKA his drug-addled brain for this case) so the time elapsed between the end of season 3 and the start of season 4 is a matter of days rather than the three years the tormented audience has had to wait. Once Holmes reassures the authorities that Moriarty is dead, his murder of Magnussen is covered up, and he is reinstalled in Baker Street to await the unfolding of Moriarty’s retribution.

The three episodes in the season all take their titles from original stories – “The Six Thatchers” (“The Six Napoleons”), “The Lying Detective” (“The Dying Detective”) and “The Final Problem” – and succeed in both paying homage to them and creatively reinventing them for viewers who have and have not read them. Following the segue from the Special to season 4, “The Six Thatchers” sees Moriarty’s machinations fade into the background as a link emerges between two of Holmes’ new cases. The focus of the episode is actually Mary’s past catching up with her (she was a freelance military contractor who worked for the CIA and the British government amongst others). Mary decides to leave John and their child for safety’s sake and is persuaded to return by Holmes. The episode ends with Watson blaming Holmes for the consequences and demanding that he never darken his door again. Watson’s reaction is completely unfair, but provides the writers with an opportunity to deprive audiences of the beloved partnership without the threat of death to one or both of them (par for the course by now).

The series as a whole has been a mix of crime, fantasy, horror, and humour, but took a sinister turn after the confrontation with a really unsettling villain in Magnussen. The events of the first episode and the Holmes-Watson rift that results set an even grimmer tone for “The Lying Detective”. The villain of the piece, millionaire entrepreneur and philanthropist Culverton Smith (Toby Jones, whose performance inspires a perfectly-pitched combination of fear and disgust) makes Magnussen pale in comparison. In fact, after Magnussen and Smith one begins to wonder what all the fuss about Moriarty was. The case becomes a descent into hell for Holmes and his return to excessive drug use following Watson’s departure is employed as a device to blur the line between reality and hallucination, giving the story a surreal edge that marks the change from fantasy to horror for the last two episodes of the season. I was completely gripped and saw the episode as the highlight of season 4, although I wasn’t surprised to see it was the least popular – it is very dark in tone and Toby Jones’ Smith may be too much for many viewers. I do wonder, however, if Holmes’ drug addiction hasn’t become definitive of the character in a way that marks a complete departure from the original. Holmes’ occasional use of cocaine and morphine were only mentioned a handful of times by Doyle and were indicative of his desire for mental stimulation rather than addiction. They were also introduced at a time when both drugs could be bought over the counter in department stores. In contrast, Miller’s Holmes is a recovering heroin addict and Cumberbatch’s Holmes an addict in denial. I also wonder if Cumberbatch’s Holmes doesn’t glamorise drug abuse. Unlike Miller, whose day-to-day battle with heroin makes his life more-than-miserable, Cumberbatch emerges from his binges with barely a hair out of place.

“The Lying Detective” ends with the revelation that the third Holmes child, to which there has been previous allusion, is a sister rather than a brother and that she – Eurus (Sian Brooke) – is the instrument of Moriarty’s revenge. “The Final Problem” sees Holmes and Watson not only reunited, but joined by Mycroft (writer Mark Gatiss) in a Freudian excavation of the shared childhood traumas of the Holmeses. Eurus is a psychopath who shares the superhuman skills of her brothers and has spent most of her adult life in a maximum security prison on an island off the English coast. Mycroft allowed Moriarty to meet Eurus and when Holmes and Watson arrive on the island they find the tables turned and the inmate running the asylum. Eurus sets the brothers, Watson, and the prison governor a series of tasks to achieve in order to survive and the narrative is nothing short of harrowing, maintaining the grim atmosphere of the previous episode. The plot is quite similar to the final episode of season 1, “The Great Game”, but this is to be expected given that both involve Moriarty’s prolonged torture of Holmes. As there is currently much speculation about a fifth season it is no spoiler to say that the episode (and season and probably series as well) ends with Holmes and Watson back in practice in Baker Street.

There is no little irony here. Holmes is now free of the three supervillains that have dominated each season and he and Watson can, well, just get on with solving crimes and stuff (plus a bit of child-rearing, let’s not forget baby-Watson). Indeed, the ending is reminiscent of the first story in The Return of Sherlock Holmes, “The Empty House”, which sees a miraculously resurrected Holmes and conveniently widowed Watson set up shop once again, ready to resume business for another 33 episodes over the next 24 years. In a strange way, then, Sherlock ends where Elementary begins. The American series has been far less concerned with overarching plots and links between episodes than the British one and this, combined with the American focus on crime rather than fantasy or horror, has made it more rather than less faithful to the original stories, despite appearances to the contrary. Given the predilection of Gatiss and Moffat for frustrating the desires they have stimulated, I feel I can almost guarantee that the only season that does not end with the Cumberbatch-Freeman partnership teetering on the brink will be the last. At least there are 25 episodes of season 5 of Elementary to ease my withdrawal…

Thursday, 6 July 2017

Spectral, by George Nolfi (Netflix) | review by Stephen Theaker

James Badge Dale (24, The Pacific) here plays Clyne, a character quite similar to the chap he played in the underwatched spy show Rubicon. There he was an extremely intelligent analyst who grew concerned about the patterns he was beginning to see, and he stayed for the most part in his office. Here, on the other hand, he is an extremely intelligent engineer who gets pulled away from his usual work at a DARPA lab to address a problem in the field. There is a civil war in Moldova, at some point in what appears to be the near future, and American peacekeepers on the ground have been seeing things through the special goggles he created: spectral things. And now the things have started to kill, leaving victims flash frozen. Once there, he meets CIA analyst Emily Mortimer and chap in charge Bruce Greenwood, and applies himself to the job. He confirms that whatever they are, they aren’t glitches in his goggles, just in time for a massive surge in their numbers. As the city falls to their attack, Clyne must work with the surviving troops to track the spectrals to their source. This is a really good little film, with an excellent cast, sort of what you might expect the Syfy channel to produce if they weren’t pumping out deliberate rubbish (enjoyable as that can sometimes be). It’s directed very nicely by Nic Mathieu, and could easily have justified itself as a cinema release, although you know that if it had been, bigger stars would probably have been cast, their pay packets requiring the movie to be more of a traditional blockbuster, and it wouldn’t have been the same. It never feels cheap (it feels not unlike a big budget Asian film), the spectrals have a interesting origin, and James Badge Dale makes a very likeable lead. It’s great that the economics of Netflix made a film like this possible, and I hope there’s more of the kind to come. ***

The Drowning Eyes, by Emily Foster (Tor.com) | review by Stephen Theaker

The Windspeakers, weird weather wizards who have their eyes replaced with stones in order to gain control of their powers, have been attacked by the marauding Dragon Ships, and the seas are no longer safe. This means less work for sailors, since no one wants to travel. Chaqal, Tazir and Kodin, who sail on the good ship Giggling Goat, have found a job: Shina, a rich young woman who seems to be on the run from her family. They might be overcharging for their services, but she has secrets of her own, and they are all going to get in much more trouble than expected. Being a fan of short books in general, I like the Tor.com series of ebook novellas, not least for their diversity and for having original artwork on the covers (Cynthia Sheppard provides the art for this one), and this is another fine example. It does feel like more of a novella than a short novel, covering for the main part just one journey, though it is an important one with serious consequences for their passenger. The ebook has a slightly annoying quirk – at least on Kindle, each incidence of italics is followed by a line break – but that wasn’t anywhere near enough to spoil my enjoyment of a very entertaining book about a dashing group of characters. ***

Monday, 3 July 2017

The Mummy | review by Douglas J. Ogurek

Just leave your brain at the door and enjoy it. 

When Tom Cruise takes on a role, no matter what it is, he’s going to put his all into it—his characters are believable. In less capable hands, The Mummy, directed by Alex Kurtzman, could have been lifeless. Instead, we get a likable protagonist who smiles and sprints his way through (as Cruise so often does) a solid action film wrapped in all the creepy-crawlies, monsters, grand displays of destruction, and narrow escapes for which the most entertaining entries in the Mummy canon are known.

Adventure-seeking American soldier Nick Morton (Cruise) has a weakness for treasure hunting. He has zero interest in the cultural/historical value of the “antiquities” he seeks. So when he and fellow soldier Chris Vail (Jake Johnson) unwittingly discover the crypt of mummified Egyptian princess/murderess Ahmanet (Sofia Boutella) in northern Iraq, they’re only interested in the valuables that surround it. But bossy archeologist Dr Jenny Halsey (Annabelle Wallis), a sexual conquest of Morton’s, understands the momentousness of the find. Alas, the crypt isn’t so much a burial site as it is a prison for Ahmanet, who made a pact with Egyptian god of disorder and violence Set, then killed her entire family so that she would gain power. Nice lady. The trio sets out to move the mummy to London. Mistake. Ahmanet chooses Morton to be the vessel for the return of Set, with whom she will take over the world.

Morton and Halsey, in their quest to stop Ahmanet—Morton refers to her as “the chick in the box”—confront a series of challenges ranging from an underwater chase featuring the reanimated corpses of Crusaders to a massive sandstorm in the middle of modern-day London. Morton also deals with an internal struggle—is he a completely self-absorbed a-hole or is he willing to make sacrifices for Halsey and others?

Russell Crowe’s professorial Dr Jekyll brings an amusingly unnecessary element to the film. Not only does Jekyll inject himself with a giant hypodermic to keep his monster at bay, but he also makes certain to show everyone in the room. The critics scoff, but the aficionados of grandiosity rejoice. And though this Jekyll has vowed to protect the world by eliminating evil, we all know he has a dark side. This is the type of film that demands it comes out.

To those who were disappointed in the film, one must ask—what did you expect? An Oscar-worthy drama? A groundbreaking fantasy film? What I expected was action, silliness, and the Cruise charisma. And that’s what I got. – Douglas J. Ogurek ****

The Man in the High Castle, Season 2, by Frank Spotnitz and friends (Amazon Video) | review by Rafe McGregor

Philip K. Dick’s The Man in the High Castle (1962) is one of the most disappointing books I’ve ever read and it’s no spoiler to say that the novel simply doesn’t end. It’s not even as if Dick deliberately withheld closure to fascinate or frustrate his readers, but more a case of found himself in a narrative corner from which he saw no escape, stopped writing, and moved on to the next project. He could have used a disappointing device like that employed by Sarban (the nom de plume of John William Wall) in his similarly dystopian The Sound of His Horn (1952) or declined to publish, but left what I suppose is a rare artefact in itself, an unfinished novel published during an author’s lifetime. What is even more baffling is that it won the Hugo Award for Best Novel in 1962. The work is of course rich in Dick’s trademark complexity, weaving several subplots together and combining literary themes with genre conventions, transporting the reader to a strange and very unpleasant world where the Axis powers were victorious in the Second World War. It was perhaps the careful crafting of this alternative twentieth century that won Dick the award, although that world is not represented with quite as much verisimilitude as the subsequent efforts of Len Deighton in SS-GB (1978) and Robert Harris in Fatherland (1992). I mention the novel in such detail for two reasons: first, as a spoiler alert (alert: Dick spoiled the novel by not finishing it), and second, because the suggestion that there are two different realities in season 1 (that of the story world and the real world revealed in the films of the real world that appear in the story world) was cause for concern that season 2 would follow Dick in failing to explain the very question it had raised.

Season 1 managed to capture many of the finer points of the novel and Dick’s writing more generally, including his use of multiple and often apparently unrelated subplots. Viewers were introduced to a host of characters without knowing which of them the overarching plot would coalesce around or who would live or die, all of which added to the suspense. The narrative appeared to focus on the two characters used to advertise the series, Obergruppenführer (SS-General) John Smith (Rufus Sewell), based in New York in the Greater German Reich, and Juliana Crane (Alexa Davalos), a young woman who has remained remarkably free from prejudice in the San Francisco of the Japanese Pacific States. The two are linked by a third, Joe Blake (Luke Kleintank), a young American who is employed as an SS agent by Smith and meets Juliana on a mission in the Neutral Zone between the two empires. The main problem with season 1 was that Sewell stole the show. (I must interject here to berate the BBC for cancelling Zen, which featured Sewell in the title role, in 2011 and reducing the best British crime series to date to a meagre three episodes.) Granted, Smith is head of SS-US, has previously participated in genocide, and keeps his fellow citizens under the jackboot, but he is also fiercely loyal (to his family and the Führer), very shrewd (in outwitting the various Nazis jockeying for power as Hitler’s health declines), and pretty much un-killable (whether the assassins be fellow-Nazis or enemies of the Reich). In contrast, the heroes, including Juliana, are continually wavering between joining the Resistance and accepting their status as a colonised people and when the Resistance in either the (Japanese) West or (German) East does take action it is either pointless, useless, or both. What is perhaps most disappointing is the heroes’ general selfishness and lack of interest in sacrificing their personal safety for a greater cause – unlike Smith, who has devoted his life to service, albeit it to a completely reprehensible cause.

Producer and writer Frank Spotnitz wisely decided to change the book that was written by Hawthorne Abendsen (the man in the high castle), The Grasshopper Lies Heavy, in Dick’s novel to a series of film reels. This adaptation both enhances the film and reveals a further weakness in Dick’s story. The Grasshopper Lies Heavy, the book within the novel, is a representation of a world where the Allies won the Second World War (i.e. the real world) and naturally banned by the authorities. But the fascination with the novel is never quite explained nor is there any need to explain how the author came up with the ideas – that is, after all, exactly what authors do, make things up. In contrast, the existence of documentary film reels seems to show an actual alternative reality, particularly in an era where special effects were extremely limited in scope. The films immediately suggest a science fiction element in addition to the alternative history and the presence of Blake and others therein at the end of season 1 creates a compelling mystery that is largely absent in the novel. At the beginning of season 2 it is revealed that these films do not depict what has happened, but possible futures – events that have not happened yet, but might, and Abendsen is cataloguing them year by year in order to attempt to change the future of the story world.

The main plot of season 2 revolves around geo-political events, specifically the escalation of the jockeying for power within the Greater German Reich as Hitler’s health takes its final turn for the worse and the rush for the Greater Japanese Empire to build a nuclear bomb in order to maintain the Cold War peace. The events in the two empires are exacerbated by the presence of jingoistic elements on both sides: Germans who are attempting to pre-empt a war with Japan before she is capable of nuclear retaliation and Japanese who want to build a bomb as a precursor to declaring war on Germany. In the midst of these momentous world events, the various subplots in season 2 focus on five main characters, the three from season 1 and: Frank Frink (Luke Evans), Juliana’s boyfriend and newcomer to the Resistance, and Nobusuke Tagomi (Cary-Hiroyuki Tagawa), the Trade Minister of the Pacific States. This narrower focus sees all five characters, including the heroes, pursuing clear goals as Juliana and Frink commit fully to the Resistance, Joe commits to the Nazis, and Tagomi finds himself capable of moving between the story world and the real world. The tension and action are heightened for all five and the revelation of the relevance of their own stories to the apparently inevitable Third World War makes for exciting viewing. In a reversal of the way in which I was amazed at Dick’s novel winning a prize, I am amazed to see negative reviews of this series, which – if watched as intended, as the sequel to season 1 – is really outstanding in terms of plot, acting, cinematic production… it really is difficult to find a flaw. Perhaps the most satisfying aspect of the series is the way that season 2 ends. The films and, more importantly, the two realities between which Tagomi can move, are explained in full. There is a resolution with respect to both Smith and Juliana’s plots and the geo-political situation reaches a milestone rather than a climax. The contrast with Dick’s original is stark: where the novel terminated without concluding, season 2 has been perfectly-judged, such that the narrative concludes in a satisfying manner as-is, but could continue in future seasons. Where Dick’s novel failed to provide any closure, Spotnitz’s closure is unusual – if not unique – in working equally well as both an interim and final conclusion.

Monday, 19 June 2017

It Comes at Night | review by Douglas J. Ogurek

Uncertainty and mistrust take the lead in post-apocalyptic realism at its best.

A sickness is on the loose. It kills quickly. Paul, Sarah, son Travis and dog Stanley hide out in an austere home within the woods. Though they’ve seen the toll the disease can take, they have no idea of the extent to which it has affected the world. And it seems like something else could be lurking out there. Then another desperate family (Will, Kim and young son Andrew) enters the home. Everyone hopes for a mutually beneficial relationship. Alas, this is a horror movie.

It Comes at Night, written and directed by Trey Edward Shults, is a believable portrayal of what happens when two families, both intent on survival and burdened by mistrust, come together in the midst of an indeterminate threat. The film combines the stripped-down, post-apocalyptic feel of The Road (2009), the backwoods locale and defensive paranoia of The Walking Dead (2010–present), the intimacy of Signs (2002), and the tension and desperation of Breaking Bad (2008–2013).

It Comes at Night relies heavily on the unknown to build tension. For instance, the film reveals very little character backstory – it doesn’t even divulge their last names – because in this world of uncertainty and immediacy, the past carries little value. More than once, the camera focuses on a frightened Travis as he looks into the forest. What is he seeing? Travis’s foreboding dreams and the many instances of light moving through darkness enhance the effect. Additionally, Shults keeps tossing in wrinkles to keep Paul (and the viewer) unsure of his guests’ true motivations.

Worth highlighting is Kelvin Harrison Jr’s portrayal of an awkward teen struggling in extraordinary circumstances. Travis eavesdrops on the home’s occupants, tries to please a severe, though caring father, and deals with a crush on Kim (a subtlety that a less thoughtful film would skip).

Shults, perhaps taking a page from the brilliant horror film It Follows (2014), was wise to insert the word “It” in the title of his film. The pronoun underscores the film’s ambiguity. What, exactly, is “It?”

Don’t expect to see a lot of “the enemy” in this film, but do remember: some of the most frightening horror films in the last couple decades have employed that very strategy. So if you, like me, delight in films like The Blair Witch Project (1999) or Paranormal Activity (2007), then you’re going to enjoy this one. – Douglas J. Ogurek *****

Tuesday, 13 June 2017

Wonder Woman | review by Douglas J. Ogurek

Resolutely she enters the fray.

Finally, a female has joined the contemporary pantheon of high-profile cinematic superheroes . . . not as a peripheral wisecracking vixen or troubled outcast, but rather as an ass-kicking, yet empathetic lead.

Wonder Woman is tearing up the charts—fourth highest opening weekend for a solo superhero origin film, and the highest-grossing opening weekend for a female-directed (Patty Jenkins) film—with good reason.

Using her shield, sword, magic rope, and physical prowess, Diana/Wonder Woman (Gal Gadot) gracefully dispatches the bad guys. When the film grandiosely portrays Diana in full superhero poise with hair blowing, one can’t help but feel exhilarated by the immense physical and moral power of this protagonist.

The “fish out of water” story is told in frame format, with a present day Diana reflecting on her escapades. American spy/pilot Steve Trevor (Chris Pine) inadvertently discovers the beautiful Paradise Island and its all-female warrior inhabitants, including Diana. When Trevor tells her of the atrocities of the “war to end all wars”, Diana, convinced that Aries is responsible, sets off with Trevor to the front. She hopes to kill the god of war and therefore bring the battle to an end. Trevor, eager to get back to his superiors, goes along with it. So begins a burgeoning co-attraction, an exploration of evil and forgiveness, an opus on women’s empowerment, and an irresistible action film featuring one of the most versatile superheroes to date—Wonder Woman can just as easily bash through a brick wall as she can pull off stupefying gymnastic feats.

Never mind that Diana really has no weaknesses and that villains are one-dimensional. Even more admirable than Diana’s ability to plough through the enemy is her unabashed approach to a misogynistic London. She is not afraid to wear what she wants, speak her mind, and most important, to do something in the face of injustice.

Each of the two main characters’ vastly different world views helps shape that of the other. Diana, raised on an island cut off from the rest of the world, is willing to drop everything to help those in need and harbours no reservations about walking the streets in her conspicuous battle regalia replete with sword and shield. The war-wise Trevor, on the other hand, understands that achieving the ultimate goal sometimes requires tact and covertness.

The spectacle that is Wonder Woman keeps the viewer engaged from start to finish. It’s also inspirational as an artistic achievement. Lately, when I want to take a project to the next level, I’ve been asking myself, “How can I Wonder Woman this?” – Douglas J. Ogurek *****

Monday, 5 June 2017

Pirates of the Caribbean: Dead Men Tell No Tales | review by Douglas J. Ogurek

Shallow content, deep fun.

Seeing a Pirates of the Caribbean (POTC) film is kind of like spending time at an all-inclusive tropical resort—you don’t have to think, there are lots of drunken antics, and you walk away with a smile on your face. In the series’ fifth instalment, directed by Joachim Rønning and Espen Sandberg, the party continues.

Dead Men Tell No Tales offers no profound life lesson. The bickering young lovers and comic book goal (i.e. find Poseidon’s trident) are shameless echoes of the previous films and the talk of maps and stars grows tedious. However, after indulging in the film’s strengths, the viewer who doesn’t need a serious film to be entertained can brush aside these shortcomings with all the nonchalance of Captain Jack Sparrow (Johnny Depp).

Sparrow at the Crux
Every major player (i.e. Captain Salazar, the British Empire, Royal Navy sailor Henry Turner, horologist (listen for the pirate banter on this one) Carina Smyth, and Captain Barbossa) is intertwined with Jack Sparrow.

Chief protagonist Henry wishes to use Sparrow’s magic compass to lift the curse that has indentured his father Will (Orlando Bloom) to servitude on a ghost ship. Primary antagonist Captain Salazar (aka “Butcher of the Sea”), played superbly by Javier Bardem, wants not only to unleash the curse that renders him and his crew ghosts, but also to kill Sparrow, who he blames for this misfortune. The power-hungry Salazar takes rasping breaths and his hair constantly undulates as if underwater. “Every time that I’ll stamp my sword,” he tells one adversary, “one man of your crew will die.” And Salazar’s ship rears up animal-like before slamming down on its victims.

Action and Eccentricity
The two-and-a-half hour escape that is Dead Men Tell No Tales immerses the viewer in lighthearted entertainment: humour, drama, a bit of horror, special effects, beautiful scenery, an entertaining villain, and that adventurous score. But that’s all on top of the two strengths that have propelled the POTC franchise: over the top action scenes, and the sometimes (physically and mentally) bumbling, sometimes graceful Captain Jack Sparrow.

Among the key action sequences are an escape from a botched robbery, a diverted execution, and, most gloriously absurd, an attempt to outrow a group of zombie sharks and pirate ghosts who run on water. Often, Sparrow’s clumsiness transforms into extraordinary acts of agility. When the film goes slo-mo at key moments, resist the temptation to roll your eyes, and instead just cheer! Yes, a zombie shark jumping over Sparrow and Henry’s rowboat is completely pointless, but it underscores the schoolboy spirit of the entire film.

Jack Sparrow, with his swaying movements and rum-infused, yet snappy commentary, secures his spot among the most engaging characters in the contemporary action-fantasy genre. This time, he seduces a politician’s wife, falls asleep (standing and pantless) while someone talks to him, fights while attached to a board, and asks his crew members to pay a tribute as they’re saving him. And what other character would tell zombie sharks to “shoo” while flapping a hand at them?

Justified Extravagance  
Like all the gems in the POTC treasure chest, Dead Men Tell No Tales recognizes itself for what it is: a high-action, high-special effects film that isn’t overly serious.

Admittedly, I watched this one in a “4DX” theatre replete with moving seats, fog, flashing lights, and sprays of water. But wouldn’t Captain Jack Sparrow applaud such extravagance? With the pirate Sparrow, overboard is the way to go. – Douglas J. Ogurek ****

Tuesday, 30 May 2017

Alien: Covenant | review by Rafe McGregor


Scott forgets female leads and the human species in a strange sequel.

Alien: Covenant is the second in a proposed trilogy of prequels to Ridley Scott’s Alien (1979), following Prometheus (2012), which was also directed by Scott and reviewed for TQF by myself, Howard Watts, and Jacob Edwards. The titles of the prequel trilogy have been selected by the spaceships whose stories they tell and the story of the Covenant is set ten years after the disappearance of the Prometheus. The Covenant is en route to Origae-6, a distant planet designated for human colonisation, and is carrying several thousand settlers and embryos and a small crew, all of whom are in stasis with the exception of the ship’s synthetic, Walter (Michael Fassbender). The ship is caught in a neutrino blast, which kills the captain and prematurely wakens the crew. The captain’s loss proves significant for two reasons: it introduces his widow, Daniels Branson (Katherine Waterston), who will turn out to be the only human character to make full use of her agency, and it places the second in command, Christopher Oram (Billy Crudup), in charge. Oram is not cut out for his unplanned promotion and makes a series of disastrous decisions, beginning with a diversion to investigate a signal that appears to provide evidence of a human presence on a nearby planet. The signal, as anyone who has watched Prometheus will realise, is from Elizabeth Shaw (Noomi Rapace), the sole survivor of the doomed mission to find the origins of human life.

Oram makes another poor judgement call in taking Daniels, who – like Ellen Ripley (Sigourney Weaver) before her – is a third officer turned deputy, with him in the expeditionary force. The first sign of alien trouble occurs about thirty minutes into the film, when one of the crew is infected by spores. These spores and the particular species of alien that will hatch from them are new, but viewers of the series know that something nasty is coming and will not be disappointed by the eye-watering, gut-wrenching gore that ensues. Up to this point, Alien: Covenant follows the pattern of Prometheus very closely: two spaceships with command problems, two over-confident expeditions to an unknown planet, the infection of two crew members in each expedition – all of which set the scene for an exciting complication, crisis, and climax. Shortly after the emergence of the first aliens from their human hosts, however, the film makes a radical departure from both the initial prequel and the series as a whole.

No sooner has the first alien gone on the rampage, than it is revealed that Shaw is dead and that the sole survivor of the Prometheus is David (also Michael Fassbender), the sinister, secretive synthetic with a Peter O’Toole fixation. Prometheus ended with Shaw and a badly-damaged David on their way to the planet of the Engineers, the mysterious creators of human life, which is where the crew of the Covenant meet David. Curiously, the characters, plot, and themes of the previous film are all handled with complete anti-climax: Shaw is dead, the Engineers have suffered an apocalypse, and no one cares about the origins of humanity anymore. The last of these is especially strange because Alien: Covenant begins with a short scene in which billionaire Peter Weyland (Guy Pearce), who funded the Prometheus mission, tries to convince David that humanity cannot be an accidental result of the process of evolution. The conceptual unity in the second prequel is provided by creation rather than origin and David has become obsessed with creating life himself.

The Alien quartet was dominated by Ripley, the calm, cool, and collected warrior queen who repeatedly saved humankind from the alien menace. Prometheus appeared to be setting up Shaw to take over as she proved herself every bit as tough and resourceful as her predecessor/successor. Alien: Covenant makes a half-hearted attempt to do the same with Daniels, but Waterston doesn’t have the presence of either Weaver or Rapace and – in fairness – receives much less screen time. Fassbender, playing both David and Walter, becomes the most familiar face and dominates the film with crucial roles in the first and last scenes as well as a great deal of what comes in between. In fact, it is not just a strong female lead that is missing in this instalment, but humankind itself and the human beings in Alien: Covenant are very far down the food chain. As a sequel to Prometheus, this is a non sequitur, but as a standalone film set in the Alien universe it provides all the thrills and chills one expects from the franchise.***

Monday, 15 May 2017

Prometheus | review by Rafe McGregor

Scott sacrifices the superficial to the substantive in disappointing prequel.

Sequels and more recently prequels constitute something of a genre of their own in that the play between similarity and difference is at least as important as the director’s inventiveness and imaginativeness.  Viewers familiar with any one of the Alien quartet expect to see gut-wrenching body horror and a gutsy heroine who overcomes adversity, but will be content with neither a re-run of Kane’s exploding chest nor a mere replication of Ripley.  The demand for resemblance without replication is exacerbated in Prometheus, which is both a prequel to the quartet and a prequel to the remaining pair of prequels in the prequel trilogy.  One of the concerns of the quartet was the opposition of the capitalist imperative to what one might call basic human values or the more charitable of the religious virtues.  Some of the trouble in Alien was caused by the profit motive and all of the trouble in the rest of the series was caused by the military-industrial complex’s interest in capturing a live alien to create yet another weapon of mass destruction.  In this respect, Prometheus takes the series to new heights because the quest around which the narrative revolves, the search for the origin of human life, is completely commercial.  The venture is not only sponsored by the Weyland Corporation, but undertaken at the whim of its owner and commanded by his representative, Meredith Vickers (Charlize Theron), who treats the Prometheus’s captain like a lackey and is openly contemptuous of the scientist passengers.

The new Ripley, Elizabeth Shaw (Noomi Rapace), is one of those scientists and she is responsible for identifying a series of star maps that apparently guide humanity to the planet where our creators, the Engineers, live.  Shaw considers the map an invitation to meet our makers and the Weyland Corporation considers it a source of profit for the company and personal gain for an influential board member.  Once the Prometheus arrives at its destination, the scientific mission begins, albeit very much under the thumb of Vickers and with the corporation’s android, David (Michael Fassbender), clearly having been programmed to pursue an agenda that belongs to neither Vickers nor Shaw.  It is at the point of touchdown that the emphasis of the film switches from the superficial story of discovery to a substantive exploration of the human infatuation with genesis.  Underlying the literal quest for the origin of human life is a reverence for the species, creature, or being that created humanity and Scott succeeds in capturing the combination of intense curiosity and naïve optimism that drive so many adopted children to seek out their biological parents and so many of the rest of us to investigate our family trees at great financial and emotional cost.  The star map must be an invitation rather than a trap, there can’t be any need for the landing party to arm or protect themselves, and the Engineers must be benevolent towards their creations.  If these assumptions were true, the play of similarity and difference would resemble Stanley Kubrick’s 2001: A Space Odyssey (1968) rather than the Alien quartet, and they are quickly revealed for what they are – astonishingly naïve.

The problem for the film is that in exploring this obsession with origins, an exploration that is mirrored by the prequel trilogy’s apparent concern with the origins of the species after which the quartet is named, Scott sacrifices the story’s suspension of disbelief in its entirety.  The result is a film of two parts, the first third plausible and full of suspense and the rest theme-driven to the extent that the plot holes gape as wide as the inevitably self-administered hole in Shaw’s stomach.  Neither of these two gaping wounds has any recognisable effect: the plot picks up a frenetic pace that Shaw has no trouble matching once she has stapled her stomach shut.  I have been generous in my rating on the basis that Scott has not only chosen a highly significant theme for the film, but that his analysis of humankind’s origin fetish is serious and sophisticated.  I may, however, have been overly generous because Scott provided ample evidence of his ability to pose philosophical questions while maintaining narrative credibility in his first three films: The Duellists (1977), Alien (1979), and Blade Runner (1982).  Prometheus is his twentieth outing as director and, as such, viewers familiar with his work will expect more.  In a word, disappointing, but not disappointing enough to put me off seeing the next prequel.
***

Monday, 8 May 2017

Murder on the Einstein Express and Other Stories, by Harun Šiljak (Springer Science and Fiction) | review by Stephen Theaker

This title is part of a range intended to bring science and fiction together, which has familiar sf names Gregory Benford and Rudy Rucker on the editorial board. Their ethos is highly appealing: “Authored by practicing scientists as well as writers of hard science fiction, these books explore and exploit the borderlands beteen accepted science and its fictional counterpart.” Unfortunately this book, a short collection of four stories – “Normed Trek”, “Cantor Trilogy”, “In Search of Future Time” and “Murder on the Einstein Express” – doesn’t seem to have been copy edited or proofread. Articles definite and otherwise are frequently absent and tenses are often wobbly, making it a trial to read. If it hadn’t have been short enough to read in a couple of hours I would have given up on it. The author is clearly very clever and an expert in his field, but he is trying to get across ideas that would at times be very difficult for the general reader to follow in even the clearest prose, and that isn’t what we get. Not infrequently I was enlightened more by Kindle’s lookup feature providing the appropriate Wikipedia page (e.g. for the Monty Hall problem) than by the explanations in the book itself. As for the stories themselves: I understood very little of “Normed Trek”, but mathematicians may enjoy puzzling out its functions. “Cantor Trilogy” imagines a future where computers take over the writing and peer-reviewing of academic articles. I stumbled through “In Search of Future Time” without really understanding much more than that it seemed to concern the Turing Test. And “Murder on the Einstein Express” uses an extremely thin fictional frame to support a socratic canter through various thought experiments and puzzles. The author seems to acknowledge the book’s flaws in this story, joking that “criticism of the author’s literary style is strictly forbidden”, and having a character say: “I have always enjoyed writing. The fact that I am not good at it couldn’t stop me, since I had the will and thought it’s enough.” Stephen Theaker *

Monday, 1 May 2017

The Book of Kane, by Karl Edward Wagner (SF Gateway) | review by Stephen Theaker

Kane is a warrior, big as two of his friends put together, three hundred pounds of bone and corded muscle, tremendously strong, startlingly agile, able to see in the dark, red-haired and left-handed. He is very long-lived, supposedly the son of the original Adam, and has in the course of that life accumulated many useful abilities, some of them mystical. Time to him has no meaning, “a dozen years or as many minutes – once past, both fitted into the same span of memory”, and when he makes his entrance in a story, it is often a surprise to those who thought him long-dead, or just a legend. The five stories in this collection all find him in a pseudo-medieval setting, the longest, “Reflections for the Winter of My Soul”, stranding him in an isolated castle threatened by highly organised wolves. Reading that story, one could think Kane a hero, but later stories make it clear than he is a thoroughly bad person, a rapist (“Raven’s Eye”) and a mass murderer of men, women and children (“The Other One”). In “Misericorde” we see him at at work as an assassin, while in “Sing a Last Song of Valdese” he plays a minor role in revenge being taken upon another gang of rapists and murderers. He isn’t a character you can admire, and of course you don’t have to always admire characters to enjoy reading about them, but “Raven’s Eyrie” in particular makes for uncomfortably problematic reading, being apparently more dismayed by how Kane’s victim let the trauma affect her than by the crime itself. Perhaps this story appears out of chronological order because as the first story it would have left readers much less sympathetic to its protagonist. The ebook does have rather odd pagination, with the first story beginning on page 187, the second beginning on page 83, the third on page 143, but is mostly free of the scanning errors that have plagued other SF Gateway titles. A book of fairly decent stories with a loathsome protagonist. Stephen Theaker ***

Monday, 24 April 2017

Preacher, Season 1, by Seth Rogen, Evan Goldberg and chums (Amazon Prime Video) | review by Stephen Theaker

The comic Preacher was in development for so long, first as a film and then as a television series, that you might easily have concluded that there was something fundamentally unfilmable about the project. You – okay, I – might have thought there was no way this programme, having finally made it to the screen, could possibly live up to the standards of the comic. And it’s quite an old comic now. Would it still work? Well, anyone who had those thoughts, me included, has been proven utterly wrong by a programme that rollicked with an energy rarely seen on television, that has left every other programme since feeling muted and low-key. But not everyone has read the comic, and the show is not quite the same as the comic, so I should say something about the story. Jesse Custer (Dominic Cooper) is a half-assed preacher in a dirty, rotten town. His church helper Emily (played by Lucy Griffiths, the former Maid Marian in the BBC’s Robin Hood) has a crush on him, but he’s in no fit state to notice. Then three lightning bolts strike his life. Genesis, the offspring of an angel and a demon, embeds itself within his body, giving him the power to command. The vampire Cassidy (Joseph Gilgun) drops out of an aeroplane and pals up with Jesse in a bar. And old flame Tulip O’Hare (Ruth Negga) roars back into town, wanting Jesse to help her get revenge on an old colleague who left them in the wind. All of a sudden Jesse’s in the middle of a lot of trouble, so it’s a good thing he is surprisingly handy in a fight. It seems as if this show might, like The Walking Dead, cluster its seasons around particular locations, as this one is mainly set in the town of Annville, but it works very well, and at the end of a very satisfying season it’s a treat to know how much more from the comics is still in store. The cast is brilliant, coping with the shifts in tone from horror to comedy as if it was all the same thing, and without exception perfectly portraying the characters we’ve loved and loathed from the comics. Credit to Jeanie Bacharach, casting director, who must have clapped herself on the back for a job well done after watching each episode. One minute it reminds you of Justified or Fargo, the next it’s Monty Python or Hitch-Hiker’s Guide to the Galaxy, all while successfully reclaiming its storylines from Supernatural in a way that Constantine didn’t quite manage. Altogether it adds up to something totally new. Confident, brash and bloody, I reckon it’s my favourite programme on television right now. *****

Saturday, 22 April 2017

THEN: Science Fiction Fandom in the UK: 1930–1980 by Rob Hansen #rednosereviews

I recently had the pleasure and the privilege of attending the British Science Fiction Association (BSFA) Awards for the first time, mere hours after having had the publisher of this book hold the door open for me as I left the hotel toilets. The ceremony itself was marvellous, despite the Powerpoint problems that so often beset these events, and despite only four awards being handed out (a mere amuse-bouche compared to the epic fourteen given out by the British Fantasy Awards during the period when it was my good fortune to run them). I had a marvellous time watching them. So full of good-humour, friendliness, and bonhomie.

What a tragedy it was, though, to see this astonishing, informative and amazing book lose out to Geoff Ryman's writing about one hundred African science fiction writers. Yes, Ryman made everyone laugh the instant he came to the stage by kneeling down to the low microphone, and yes, he provided a brilliant example of "paying it forward" by taking his moment in the sun to announce the nominees for best novel in the new Nommo award to celebrate African writers, but what does any of that matter when the victim was THEN: Science Fiction Fandom in the UK: 1930–1980 by Rob Hansen, so cruelly deprived of that glorious transition from nominee to winner that is reserved for a fortunate few.

Perhaps I am to blame? I think I voted in the BSFA awards, being a member of that fine and august institution, but the screen went blank after I submitted the form so who can say? Surely, for all the wondrous writers covered in Geoff Ryman's articles, those articles were not the revised, expanded and corrected edition of a history that originally appeared in four fanzine-format volumes from 1988 to 1993. And surely, however popular the winner of the non-fiction award was, it did not include over three hundred photos of contemporary fans of all eras, nor dozens of scans of fanzine covers from each decade, nor an index of those photographs.

Did Ryman's work feature an introduction by Peter Weston, was it published by David Langford, and did it feature chapters enticingly entitled "Man and Supermancon", "Aardvarks, Wombats, Gannets and Rats" or "The Bastard Offspring of Science Fiction Monthly"? I think not. If it did, I apologise for my mistake. But I suspect that the only place you will find these things is in THEN: Science Fiction Fandom in the UK: 1930–1980 by Rob Hansen, which might not have won the award that night, but wins a place in all our hearts, just like the genre and the fans it chronicles. What else could it get but five red noses? So it does.

Buy the book here and count yourself lucky that you can! It's available in paperback, hardback and ebook.



This is the last of our Red Nose Reviews, written for fun (about a month after the event) without reading the book.

Friday, 21 April 2017

Children of Eden, by Joey Graceffa (and Laura L. Sullivan) (Simon and Schuster Audio) | review

This is the Audible edition of Joey Graceffa’s first novel. I enjoyed his previous memoir and I was just as pleased with this book. Although it is published under his name, he didn’t actually write it. He probably came up with the ideas, but I think that it might be written by Laura L. Sullivan because she is thanked at the start. He is more well-known as a YouTuber and this is why I was interested in the book. He is very funny in his videos and he comes up with very creative and exciting ideas. I’m a big fan of his.

In this dystopian future couples are only allowed to have one child because they don’t have enough resources. Almost everything is artificial: the plants, the food, everything. The world was saved by Aaron al Baz. He made the Eco Panopticon which is what keeps the world (and the humans) alive. Rowan is a girl who has lived her life as a second child. Her parents didn’t want to kill her so they kept her hidden and had the birth at home so that no-one would know they had a second child. Rowan is Ash’s twin and they are very close but Rowan wishes that she could go outside the wall and make friends.

So she does. She goes outside and has an huge adventure. She meets Ash’s crush and they fall in love and Rowan kisses Lark (Ash’s crush). But then she gets found out and reported so she needs to hide somewhere. Lachlan takes her into the underground, which is a home for second children, and tortures her to check whether she was actually a normal second child. Second children can be identified by their colourful eyes. At birth all legal children have their eyes protected from the artificial air but people can survive a long time without getting their eyes damaged. They go on an adventure that will save the second children but end up saving the world, solving a mystery and revealing secrets.

I really enjoyed the story because it was full of suspense; the writer managed to fit in a lot of other dilemmas while the main storyline was going on. The vocabulary kept me engaged and made me want to keep listening. I felt the panic in the parts with the wall because you never know whether she’s going to get caught or fall. It is definitely open to sequels: it has an ending that could lead on to another story.

I am not really bothered that Joey Graceffa didn’t write it because it’s fun to know that it is based on his ideas, and even though it’s not written by a YouTuber, it’s still a great book. I enjoyed this so much and I would love to read more books by Laura L. Sullivan and listen to more books read by Sarah Grayson. I think that it is very well read by her. She really makes it feel like Rowan is speaking to you, and she also changes the tone of her voice to show different characters very well. If you are a teenager you will especially enjoy this book, as I did. ***** LCT



This review originally appeared in Theaker's Quarterly Fiction #59, which also included stories by Rafe McGregor, Michael Wyndham Thomas, Jessy Randall, Charles Wilkinson, David Penn, Elaine Graham-Leigh and Chris Roper.

Monday, 17 April 2017

The X-Files, Season 10, by Chris Carter and chums (Ten Thirteen Productions et al.) | review by Stephen Theaker

It took me a little while to warm up to The X-Files when it first began. Round about the episode “Deep Throat” is where I started to become a fan, rather than someone who watched it because my girlfriend was watching it. Before then I had a big problem with the way Mulder would throw lots of so-called evidence at Scully in support of his irrational crackpot theories, evidence that in our world had been totally discredited, and then be proven right by what came next. That led to a resurgent real-world interest in the paranormal, just before mobile phones and their cameras laid ghosts, nessies and bigfeet to rest forever, but I made my peace with it after realising that on Mulder’s Earth there is good evidence, because in his world monsters and aliens do exist. Of course I then became frustrated with the idea of Scully being the rational, scientific one, when she ignores all the evidence – the implication being that in our world that’s what our scientists do with regard to the paranormal. This new season, following hard on the heels of Gillian Anderson and David Duchovny’s showstopping performances in shows like Hannibal and Californication, severely tested the grudging peace I had made with all that. A two-part story, “My Struggle”, where the worst nightmares of anti-vaxxers and rightwing talk show hosts come true, for example, left me very cold, to the extent that I’d call it irresponsible. If it had been good dramatically and creatively, that would have been one thing, but it was like a Syfy original movie written by the kind of people you block on Twitter. Similarly, “Babylon” explores the aftermath of an apparent terrorist bombing, and you wait for the supernatural twist, for our stereotyped assumptions to be undercut... and it doesn’t come. The paranormal element is that Mulder is apparently now able to enter people’s minds, Dreamscape-style, if he takes the right drugs. And don’t get me started on the “everything you know is a lie” bit they try to pull, yet again. Those were three of the worst episodes of the programme to date. But I’m still glad it’s back. I’d rather have Mulder and Scully back for bad episodes than none at all – and the three other episodes of this short series were good enough to outweigh the bad. “Founder’s Mutation” and “Home Again” both delivered a series of good scares, while “Mulder & Scully Meet the Were-Monster”, featuring the hilarious Rhys Darby as a man who turns into a lizard creature, or so it seems, was a delight from start to finish, one of my favourite ever episodes. So a mixed season, but that’s how it often was with The X-Files, and even the bad episodes had their share of startlingly weird imagery. What worked, worked very well. I hope there are more seasons to come. ***

Friday, 14 April 2017

The Dispatcher, by John Scalzi (Audible) | review by Stephen Theaker

This is a two hour twenty minute story, told in the first person and read with gusto by Zachary Quinto (Spock from Star Trek films eleven to thirteen). He plays Tony Valdez, the dispatcher of the title. We first meet him in a hospital, where his presence in the operating theatre is required by the insurers. He’s quite cagey about the precise nature of his job at first, and we know the surgeon isn’t happy about having him in there. Is he there to kill people if the treatment gets too expensive? Is the patient someone of such significance that the staff will be punished if he dies? Or is this like Nick Mamatas’s The Last Weekend, where someone has to drill the deceased before they turn into zombies? We don’t find out until the operation takes a turn for the worse and Tony has to step in to do his thing. His job is interesting, as is the reason it is needed. The story soon segues into a hardboiled search for a missing dispatcher, while exploring throughout the implications of the difference between Tony’s world and ours. The two-hour length reflects how much this resembles the pilot for a television series, with Tony teaming up with a tough female co-star for an adventure that establishes a strong premise, while leaving plenty more to be investigated. It’s good, and very well read. It was free to Audible members at the time of writing, but if it’s not by the time you read this it is well worth one of your Audible tokens. ***



This review originally appeared in Theaker's Quarterly Fiction #59, which also included stories by Rafe McGregor, Michael Wyndham Thomas, Jessy Randall, Charles Wilkinson, David Penn, Elaine Graham-Leigh and Chris Roper.