Cover Identity | Edward Miller's Mieville

As longtime readers of The Speculative Scotsman will be well aware, China Mieville is one of my very favourite authors, and The Scar is far and away my favourite of his exquisite fictions. But there was a time when I hadn't a clue that this book existed—that this was an author I'd be interested in.

I still remember the moment I became aware of both.

It was 2002. I was eighteen years old. Coraline was on the cusp of coming out and I'd gallavanted to Glasgow to hear Neil Gaiman read a bit of his new book. The event was held in Ottakars, as I recall. I miss Ottakars...

Anyway, whilst waiting in line to meet the man, I spent quite a bit of time admiring the Science Fiction & Fantasy section of the store. Mostly I could see spines, but a few of the books were faced out, the better to attract the attention of eejits like me.

My eye was drawn to a little book called Perdido Street Station in particular. The cover art was extraordinary, I thought. Weird and wonderful. That said, even then I knew not to judge a book by its cover, so I made a mental note to read a bit about the book when I could.

Weeks passed—months, even—before I took the plunge and bought a copy alongside what has become one of my most prized possessions: a first edition hardcover of The Scar. Both books had incredible covers by a man called Edward Miller (aka Les Edwards), and if I'm honest, I don't know that I'd have discovered China Mieville—certainly not so early on—were it not for his lavish art.

Tor have long since dispensed with Miller's services, I'm sorry to say, in favour of the icons that adorn the award-winning author's back catalogue today. But whilst researching some stories for this week's edition of the British Genre Fiction Focus, I came across a blog called Out There Books, and on that blog, a post about the Czech cover art of Mieville's ten texts to date. 

Evidently, Edward Miller has been keeping busy. Feast your eyes on these, readers!

A thousand thanks to Tom for alerting me to these Mieville-related paintings. They've made me a very happy man... albeit rather nostalgic.

Oh, the good old days, eh? 

Film Review | ParaNorman

From afar, Laika Entertainment's first feature film since Coraline in 2009 looks questionable at best.

But come a little closer. Look again. How about now?

Coraline was of course adapted from the charming Neil Gaiman novel of the same name, whilst ParaNorman springs from an original script by a first-time filmmaker. Likewise, Coraline was directed by stop-motion maestro Henry Selick, whereas Laika's latest has its own unknown author at the helm, chaperoned by Sam Fell of Flushed Away fame. One can't help but wonder where all the talent went, and why.

ParaNorman's premise is similarly discouraging: there's this little outcast kid called Norman - voiced by The Road's Kodi Smit-McPhee - and he can see dead people. That old chestnut again, then.

And isn't the title terrible? On the other hand, inappropriate capital letters are a real pet peeve, so maybe that's just me.

But never mind the title, and rest assured that the premise improves. Finally, forget the apparent lack of talent, because ParaNorman wants for nothing once it gets going. Admittedly it takes a little too long to get to the good stuff - the story goes, though very slowly - but beyond this belated beginning the pace improves, the narrative arc becomes darker, indeed deeper, and once the ante is upped, the cartoonish characters come into their own.

It's hard to express how different this film is before and after the half-hour mark... suffice to to say some shock of creative energy seems to possess ParaNorman at this point. Make it that far and you'll be blown away by the array of fantastic surprises the filmmakers have been holding back.

ParaNorman deals in a very real way with bigotry, religion, peer pressure and yes, death; astounding and encouraging in what is ostensibly a children's film. The film tackles such topics lightly but not loosely, investing the proceedings with meaning enough to last past the end credits. More movies like ParaNorman, and perhaps there's hope for the next generation yet!

In terms of entertainment, writer/director Chris Butler - alongside Sam Fell - equips himself incredibly well. Its iffy offing aside, ParaNorman builds and builds towards a remarkable finale, and all the while it's bloody lovely to look at, and beautiful musically, too. 

Overall, ParaNorman is a less consistent film than Coraline, but at its best? I'm as surprised as anyone to find myself saying that it's actually rather better.