bryant: (Maggie)

The last time I spent extended time in London, lo 10 years or more ago, I brought back the Malazan Empire books. Possibly thanks to Jess Nevins, I can’t recall. It was certainly a worthwhile haul in any case. This time I fine-tuned the process; Susan and I hit Forbidden Planet in the company of Catie and Ted, and we picked up a few first novels in various series which are not so readily available in the United States. We also controlled the urge to pick up some books you can easily get over here but which have much better cover treatments in Great Britain.

The ScarI mean, really. And there are corresponding designs for every Miéville book. Or how about the lovely minimalist Gollancz 50th collection? Fortunately we retained some modicum of willpower, if only to justify our later extravagance.

Which is to say: after reading the aforementioned first novels we decided which ones we really liked and would have trouble finding in the States, and went back later in the week and splurged. Ben Aaronovitch’s Rivers of London series would easily have made the cut, but they’re readily available here. (Important note: Midnight Riot is the first book in the series, originally titled Rivers of London in the UK.) Paul Cornell’s London Falling is awesome but there is no more to buy at present.

There is no shortage of British novels about ordinary people falling into a fantasy world just beneath the skin of the London we know and love, huh? I’m surprised Cubicle 7 hasn’t done an RPG along those lines. Perhaps The Laundry counts.

Empire in Black and GoldAnywise, the exciting find was Adrian Tchaikovsky’s Shadows of the Apt series. There are eight of these in print in the UK; I now have seven. Only five of them are available in the US. I am a bit concerned about that since the fifth one came out in the US over a year ago; sales may not have been good enough to justify more. This would be a shame! On the other hand, the series will end at 10 books, all of which have been turned in, so even if I have to go to Chapters or Amazon UK it’ll work out for me.

The setup is a fantasy world in the very early stages of an Industrial Revolution. There’s a barbaric empire roaring down from the north with an eye towards conquering the Lowlands. The Lowlands, of course, are unconvinced of the real danger. There are spymasters and assassins and artificers and lots of politics — it’s a very city-oriented series, which I like. I’m two and a half books in and I don’t think anything significant has taken place outside a city except one big battle.

Said Industrial Revolution and the concomitant fading of magic are the engines of change in the setting. The clever setting postulate is that humanity is divided into kinder, each with a special connection to some kind of insect: Beetle-kinder, Moth-kinder, Wasp-kinder, Spider-kinder, and so on. Some kinder are Apt, and can understand and use machinery. Some kinder are Inapt, and can’t even comprehend how a lock works, but can do magic. In parallel, each kinder has some abilities drawn from their insect connection, which are explicitly not magic. I suppose you could assume they were psychic if you felt like deconstructing it, but Tchaikovsky doesn’t feel any need to explain it.

Slight detour: if the Inapt were noble savages this would irk me. They aren’t. Spider-kinder are Inapt, for example, but they rule an advanced group of cities and have no objections to technology even if they can’t use it themselves. Moth-kinder live in isolated cities and are a shadow of what they once were, but that’s because they were once the fairly tyrannical rulers of the Apt. The Wasp Empire is an Apt empire that’s essentially still barbaric. There’s also no shortage of exceptions to the kinder stereotypes.

I get a bit of a K. J. Parker vibe from the books in that they’re examinations of change in a fantasy setting. The world’s going to be an awfully different place by the time these are done, and it’s not just that a Dark Lord will be overthrown. I don’t think I even have any certainty that the Wasp Empire is going to be defeated. On the other hand, they’re not as grim as a typical Parker book. Competence is a primary virtue, as it is in Parker’s work, but good is also pretty important and is even often rewarded.

They’re pretty sprawling books. Well, 10 in the series, that’s fairly obvious. The initial book is about Stenwold Maker, professor and spymaster, and his four proteges. It spreads out rather quickly after that, however. For reference points, I’d say there are fewer viewpoint characters than you have in Game of Thrones, and the books are closer related to one another than the Malazan Empire books.

The existence of the Inapt means that there’s plenty of justification for epic swordplay even while artificers are inventing dangerous new weaponry. I like books with larger-than-life swordplay, and the Mantis-kinder provide plenty of that. Secretive sect which specializes in combat with members who can take down groups of ten men? Check.

Finally, there are ornithopters and repeating crossbows.

Mirrored from Population: One.

bryant: (Default)

The last time I spent extended time in London, lo 10 years or more ago, I brought back the Malazan Empire books. Possibly thanks to Jess Nevins, I can’t recall. It was certainly a worthwhile haul in any case. This time I fine-tuned the process; Susan and I hit Forbidden Planet in the company of Catie and Ted, and we picked up a few first novels in various series which are not so readily available in the United States. We also controlled the urge to pick up some books you can easily get over here but which have much better cover treatments in Great Britain.

The ScarI mean, really. And there are corresponding designs for every Miéville book. Or how about the lovely minimalist Gollancz 50th collection? Fortunately we retained some modicum of willpower, if only to justify our later extravagance.

Which is to say: after reading the aforementioned first novels we decided which ones we really liked and would have trouble finding in the States, and went back later in the week and splurged. Ben Aaronovitch’s Rivers of London series would easily have made the cut, but they’re readily available here. (Important note: Midnight Riot is the first book in the series, originally titled Rivers of London in the UK.) Paul Cornell’s London Falling is awesome but there is no more to buy at present.

There is no shortage of British novels about ordinary people falling into a fantasy world just beneath the skin of the London we know and love, huh? I’m surprised Cubicle 7 hasn’t done an RPG along those lines. Perhaps The Laundry counts.

Empire in Black and GoldAnywise, the exciting find was Adrian Tchaikovsky’s Shadows of the Apt series. There are eight of these in print in the UK; I now have seven. Only five of them are available in the US. I am a bit concerned about that since the fifth one came out in the US over a year ago; sales may not have been good enough to justify more. This would be a shame! On the other hand, the series will end at 10 books, all of which have been turned in, so even if I have to go to Chapters or Amazon UK it’ll work out for me.

The setup is a fantasy world in the very early stages of an Industrial Revolution. There’s a barbaric empire roaring down from the north with an eye towards conquering the Lowlands. The Lowlands, of course, are unconvinced of the real danger. There are spymasters and assassins and artificers and lots of politics — it’s a very city-oriented series, which I like. I’m two and a half books in and I don’t think anything significant has taken place outside a city except one big battle.

Said Industrial Revolution and the concomitant fading of magic are the engines of change in the setting. The clever setting postulate is that humanity is divided into kinder, each with a special connection to some kind of insect: Beetle-kinder, Moth-kinder, Wasp-kinder, Spider-kinder, and so on. Some kinder are Apt, and can understand and use machinery. Some kinder are Inapt, and can’t even comprehend how a lock works, but can do magic. In parallel, each kinder has some abilities drawn from their insect connection, which are explicitly not magic. I suppose you could assume they were psychic if you felt like deconstructing it, but Tchaikovsky doesn’t feel any need to explain it.

Slight detour: if the Inapt were noble savages this would irk me. They aren’t. Spider-kinder are Inapt, for example, but they rule an advanced group of cities and have no objections to technology even if they can’t use it themselves. Moth-kinder live in isolated cities and are a shadow of what they once were, but that’s because they were once the fairly tyrannical rulers of the Apt. The Wasp Empire is an Apt empire that’s essentially still barbaric. There’s also no shortage of exceptions to the kinder stereotypes.

I get a bit of a K. J. Parker vibe from the books in that they’re examinations of change in a fantasy setting. The world’s going to be an awfully different place by the time these are done, and it’s not just that a Dark Lord will be overthrown. I don’t think I even have any certainty that the Wasp Empire is going to be defeated. On the other hand, they’re not as grim as a typical Parker book. Competence is a primary virtue, as it is in Parker’s work, but good is also pretty important and is even often rewarded.

They’re pretty sprawling books. Well, 10 in the series, that’s fairly obvious. The initial book is about Stenwold Maker, professor and spymaster, and his four proteges. It spreads out rather quickly after that, however. For reference points, I’d say there are fewer viewpoint characters than you have in Game of Thrones, and the books are closer related to one another than the Malazan Empire books.

The existence of the Inapt means that there’s plenty of justification for epic swordplay even while artificers are inventing dangerous new weaponry. I like books with larger-than-life swordplay, and the Mantis-kinder provide plenty of that. Secretive sect which specializes in combat with members who can take down groups of ten men? Check.

Finally, there are ornithopters and repeating crossbows.

Mirrored from Population: One.

bryant: (Rocketeer)

This is ridiculously awesome. Gollancz decided to bring a lot of classic SF/F back into print as ebooks. More of this stuff should be out of copyright by now, it’s all DRMed, and two-thirds of it can’t be bought in the United States, but despite all that I’m really happy. Cordwainer Smith, Pat Cadigan, Kuttner and Moore — lots of books that should be available, and now sort of are. It’s cultural history that matters to my tribe. There are books I’m keeping in physical form just because who knows when someone will digitize all the old Gardner Fox? But efforts like this one make me hopeful.

Mirrored from Population: One.

bryant: (Default)

This is ridiculously awesome. Gollancz decided to bring a lot of classic SF/F back into print as ebooks. More of this stuff should be out of copyright by now, it’s all DRMed, and two-thirds of it can’t be bought in the United States, but despite all that I’m really happy. Cordwainer Smith, Pat Cadigan, Kuttner and Moore — lots of books that should be available, and now sort of are. It’s cultural history that matters to my tribe. There are books I’m keeping in physical form just because who knows when someone will digitize all the old Gardner Fox? But efforts like this one make me hopeful.

Mirrored from Population: One.

bryant: (Default)

Some guy named Shane Acker apparently made a student animation film called 9, which you can see online. It’s only like 10 minutes, it got nominated for an Oscar, go ahead.

But because sometimes the right thing happens, it got picked up and now he’s directing the full-length movie version, with Elijah Wood and Crispin Glover and other people doing voices. There’s a trailer just out. I think maybe the right order is the trailer first, so your appetite is whetted, and then you can say “whoa, I can see a full version!” and watch the short, and then sit around contemplating whether or not adding voices and making it stretch longer is a mistake. It’s probably not, though.

Originally published at Imaginary Vestibule.

bryant: (Default)

Pan’s Labyrinth is not so much a children’s movie. It’s about children, but that’s not really the same thing. Easy mistake, since it’s called a fairy tale and that has certain cultural references for us, but think the original Grimm’s stories.

Which were, admittedly, cautionary. I guess you could take your kid to Pan’s Labyrinth as a cautionary measure against him or her becoming a fascist military officer, but there may be better ways to accomplish that.

Really, though, it’s a fairy tale about the Spanish Civil War. Three acts, three tasks, three parallels to those tasks in the adult world. Ofelia and Mercedes begin by capturing keys; the second task is taking a dagger, mirrored by Mercedes’ knife (and her later use of it). And finally, Ofelia’s choice regarding her brother is precisely Captain Vidal’s choice regarding Ofelia’s mother Carmen — what’s a life worth to you?

Or, perhaps, it’s Mercedes’ choice about Vidal. Hard to say. Is Vidal’s search for information about the rebels likewise a parallel to the quest for the key? Are his torture instruments his dagger? You could read it that way, although I think that’s perhaps a bit more multi-layered than del Toro intended. The pivot point of Ofelia’s brother is enough of a nexus for the parallel quests for me.

On the other hand, I’m perfectly content to assume that the fantasy kingdom is Spain without Franco. Only makes sense.

Pan’s Labyrinth fits in with Labyrinth (sans sentimentality), Heavenly Creatures (sans insanity), and The Great Yokai War (sans Miike). Awesome movie.

Originally published at Imaginary Vestibules.

January 2017

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