Monday, 12 April 2010

Blogging in the Year We Made Contact: Odyssey One (The Niche)

When I Iaunched The Speculative Scotsman in January, I'll admit: I had precious little understanding of exactly what variety of venture I'd begun. There wasn't a purpose in my mind more complex or carefully calculated than the vague notion of writing something about how much Tigana had moved me.

And yet, four months and more than a hundred posts in, here I remain. Blogging - and every day (though I fear that might change in the near future). And it's gone well; very, very well, by my own reckoning. Not to toot my own horn here, but TSS has attracted support from a wide array of publishers, professional authors and fellow bloggers that I hadn't dared hope might notice my humble scribblings. I couldn't be happier that that's the case. Their belief, their enthusiasm, lends credence to what I'm doing here - which, I should say, isn't churning out one review after another. There are reviews on the blog, certainly - and there always will be, never fear - but I have done, and will continue to do, whatever I'm able to delineate such articles with more diverse commentary and content.

In any case, the site's success has been a very pleasant surprise to me. One discerning colleague has even gone so far as to call me a Magical Scotsman. But I've a confession to make: this isn't the first time I've blogged.

I won't bore you or embarrass myself with the particulars, but yes, it's true. A few years ago, I kept another blog. And though that hardly moved the heavens and the earth, I didn't let its unfortunate failure discourage me. Between then and now, I kept writing. I reviewed video games for Ace Gamez. I was a blogless BlogCritic. I wrote articles for local newspapers and copy for a couple of adverts.

But all that's beside the point I mean to make today. Today, I'd like to make use of the perspective given me by the blogosphere's overwhelming reception of The Speculative Scotsman versus the veritable wet blanket which mercifully smothered The Other Site Which Must Not Be Named to underscore some of the more imperative differences between the blogosphere then and the blogosphere now. It's going to take a couple of posts, I'm afraid; I've a lot to say on this topic. And I'm certainly not alone in that.

Let's begin by considering the place of blogs in this enlightened era. From the entry dated March 12th in his tour journal on the wonderful Bright Weavings, Guy Gavriel Kay - author of the forthcoming Under Heaven, not to mention the very book that inspired The Speculative Scotsman - had this to say:


"One of the realities these days, and I had an email exchange with an entertainment editor for one major paper about this, is how brutally the space for books is being cut in newspapers and magazines – as in 70% in one case I just learned of yesterday.

"There's a serious fight among publishers and publicists for a diminishing amount of media real estate to 'cover' their books. (This is a reason for more of an online push.) Editors are ruefully aware that they are not doing an especially good job of covering what's being published, because they can't. And given that the size of any review is limited, the money paid is pretty trivial, and it takes time to read and carefully consider a book, the odds against (and this was the editor's point) thoughtful engagement with a novel and a well-written review are... extreme.

"In theory, online reviewers have no such space pressures or need to rush, but all sorts of other considerations come into play when you get to the book blogging world. Among others, it is widely noted that the Internet tends to steer us towards communities of the like-minded, and so you find a lot of online reviewing that is targeted to narrow genres or spheres of interest, and for many books, an appraisal that comes only from a specific perspective might be a problem.

"Having said that, it can also be an asset... someone targeting historical fiction or photography books or any other specific area is far more likely to alert people to titles in that field than any newspaper and to be well-grounded in that field. That's an upside. As I think I said earlier in this Journal, editors will speak, legitimately, of the role of the gatekeeper, the man or woman ensuring some measure of quality or appropriateness and credibility, and perhaps a push for revision or fine-tuning, to a review. But my sense is that credibility can arrive over time for some people online too, just from the craft and care they bring to their work.

"I have a general sense that the decline of newspapers is taking with it the importance of covering books, and it saddens me."

So Guy Gavriel Kay is taking us seriously. That's a hell of a start!

Moreover, his assertions regarding print media are of paramount importance. What with the collapse of the global economy and the increasingly less supplemental role of free, like-for-like internet resources, newspapers and magazines - which cost money to produce and must thus cost money to consume - are struggling to keep from going under. And in some, admittedly negligible, ways, it's our fault.

But there's no sense in crying over spilt milk. Except for a select few outlets, the print media is undeniably on the out. It's a sad fact; a fact nonetheless. And so the responsibility falls to us - amongst others of course - to bring news, views and reviews to those consumers who look now to the internet for such things, and by extension the blogosphere, where before they would buy a broadsheet or the latest glossy issue of SFX.

It was perhaps three years ago that I idled away my time with The Other Site Which Must Not Be Named, and then, though there were blogs - and no shortage of them - they catered, as Kay observes, to very narrow niches. In many respects, they still do. I would disagree, however, that "an appraisal that comes only from a specific perspective" is necessarily a problematic thing. Practically speaking, as amateur, not to mention unpaid writers, bloggers are only able to devote so much of their time to creating content for their blogs - by and large, they also have lives to lead, and must somehow, between blog posts, make enough money to pay for those lives.

However, such considerations aren't what interest me here. The most significant problem with my blog of yore was, I think, that I didn't delineate its concerns clearly enough; I had hoped that somehow, if I wrote a little about everything, people who wanted to read about any one of those things would somehow discover it. That, um... that didn't pan out. And it's easy, in retrospect, to see why. The internet is pretty huge, after all, and given that there's so very much of it - and so very much of it that doesn't interest you at all - in order to find those things you are interested in, you have to look for them. Surfing the internet is, I feel, an increasingly outdated notion. Perhaps it once had some relevance, when the web itself a more humble endeavour, but we are no longer carried along on a great wave: we drive that wave, whether by plugging a keyword into Google or following links and the like from sites we already know scratch our particular itches. Sometimes we come across something new, something that surprises us; an obscure alleyway that leads away from the thoroughfares we travel along each day in the unique online experience that we have each created for ourselves.

That bloggers tend to define the boundaries of their interests and address as thoroughly as possible those concerns is both practical and purposeful, then. And further, when you read a review of a fantasy novel written by an experienced fantasy reader, does that not lend the review that much more credibility? Certainly for those readers interested in a particular genre, criticism originating from like-minded perspectives must surely hit home more directly than any general review. An avowed fantasy reader understands first-hand the tropes of fantasy; a print journalist, meanwhile, whose purview is likely more encompassing - no-one hires, let's be a frank, different reviewers for each genre of literature - might well grasp the broad strokes, but miss the finer points of such fiction. To return, one last time, to that old chestnut, how many glowing reviews of The Left Hand of God did you see in the papers? Give that book to a blogger with any experience of such narratives, however, and... well, we all know how I feel about Paul Hoffman's first genre novel.

Time, I think, to tie a pretty little bow on this first installment of Blogging in the Year We Made Contact. But before we do, what have we learned? I'll start us off. Conclusion number one: the blogosphere has, at least in the three years I've been active (and inactive) in it, become an increasingly legimate source of criticism. And conclusion number two: though it's a fact that most blogs cater to niche audiences, their narrow focus need not be a cause for concern. Indeed, perhaps it's a cause for celebration.

For my own part, I don't know that The Speculative Scotsman would have reached nearly so many readers had I just been a Scotsman who blogged. That I am a blogging Scotsman with an interest in speculative fiction has introduced me to a wonderful, lively and thoughtful community of others with similar interests. You lot!

Readers, you really are the bee's knees.

Sunday, 11 April 2010

The BoSS for 11/04/10

This week in The BoSS, a fascinating non-fiction novel about El Dorado, zombies run amuck, nightmarish magic and pussy cats, the apocalypse happens - again - and there's some very personal fallout from the Arctic exploration of old. A fantastically diverse lot of proofs, the highlight of which, for me, has to be The Lost City of Z.

All that, and much more besides!

Click through to read Meet the BoSS for an introduction and an explanation as to why you should care about the Bag o' Speculative Swag.

Read on for a sneak peek at some of the books - past, present and future - you can expect to see coverage of here on The Speculative Scotsman in the coming weeks and months.

***

White Cat
by Holly Black


Release Details:
Published in the UK on
17/06/10 by Gollancz

Review Priority:
3 (Moderate)

Plot Synopsis: "Cassel is cursed. Cursed by the memory of the fourteen year old girl he murdered. Life at school is a constant trial. Life at home even worse. No-one at home is ever going to forget that Cassel is a killer. No-one at home is ever going to forget that he isn't a magic worker. Cassel's family are one of the big five crime families in America. Ever since magic was prohibited in 1929 magic workers have been driven underground and into crime. And while people still need their touch, their curses, their magical killings, their transformations, times have been hard. His granddad has been driven to drink, his mother is in prison and his brothers detest him as the only one of their family who can't do magic.

"But there is a secret at the centre of Cassel's family and he's about to inherit it. It's terrifying and that's the truth. White Cat is a stunning novel of a world changed by magic. In this world only 1% of the population can work magic but they have the power of nightmares."

Commentary: Holly Black, of The Spiderwick Chronicles fame, gives us book one of The Curse Workers, which sounds, despite my knee-jerk opposition of most anything that's popular, kind of interesting. I'm confess to some uncertainty as to whether White Cat is pitched at adults or an all-ages audience, but truth be told, I'm not picky, and there's enough potential in the premise - a mafia of magicians! - to ensure I'll give this a shot sometime before its release in June.

 
The Lost City of Z
by David Grann


Release Details:
Published in the UK on
08/07/10 by Pocket Books

Review Priority:
4 (Very High)

Plot Synopsis: "Colonel Percy Harrison Fawcett, the inspiration behind Conan Doyle's novel The Lost World, was among the last of a legendary breed of British explorers. For years he explored the Amazon and came to believe that its jungle concealed a large, complex civilization, like El Dorado. Obsessed with its discovery, he christened it the City of Z. In 1925, Fawcett headed into the wilderness with his son Jack, vowing to make history. They vanished without a trace. For the next eighty years, hordes of explorers plunged into the jungle, trying to find evidence of Fawcett's party or Z. Some died from disease and starvation; others simply disappeared. In this spellbinding true tale of lethal obsession, David Grann retraces the footsteps of Fawcett and his followers as he unravels one of the greatest mysteries of exploration."

Commentary: I recall hearing New Yorker columnist David Grann discussing The Lost City of Z on an episode of Alex Telander's intermittently excellent Book Banter podcast, and though I'm more often drawn to fiction than non, this short novel sounds absolutely fascinating. What better excuse than this to indulge my irrepressible boy's-own fantasies of adventuring into the unknown? Not only that: there's a mystery afoot, too! Really looking forward to this.


Plague of the Dead
by Z. A. Recht


Release Details:
Published in the UK on
13/05/10 by Pocket Books

Review Priority:
3 (Moderate)

Plot Synopsis: "The Morningstar virus. Those infected suffer delirium, fever, violent behaviour ...and a hundred per cent mortality rate. But that's not the worst of it. The victims return from the dead to walk the earth. And when a massive military operation fails to contain the plague of the living dead, it escalates into a worldwide pandemic. On one side of the world, thousands of miles from home, a battle-hardened general surveys the remnants of his command: a young medic, a veteran photographer, a rash private, and dozens of refugees -- all of them his responsibility. Meanwhile in the United States, an army colonel discovers the darker side of Morningstar and collaborates with a well-known journalist to leak the information to the public..."

Commentary: Zombie fun! Although, I'm sad to say, zombie fun rather overshadowed by the death in December of '09 of its 26-year-old author, Z. A. Recht, who completed only this, volume one of The Morningstar Strain, and a single sequel, Thunder and Ashes, before his untimely passing. That aside - and I don't mean to be at all dismissive - I've had mixed reactions to the undead in literature in the past, so though Plague of the Dead looks by all rights to be a great read, I'll be approaching it with some measure of trepidation.

Day by Day Armageddon
by J. L. Bourne


Release Details:
Published in the UK on
24/06/10 by Pocket Books

Review Priority:
3 (Moderate)

Plot Synopsis: "May 16th. 1201 hrs. We are now under siege. Beyond the silo access doors, we have a small army of beaten and battered undead to contend with. They only want one thing... Day by Day Armageddon is the handwritten journal of one man and his struggle for survival. Trapped in the midst of global disaster, he must make decisions that could mean life, or which could condemn him eternally to walk as one of them. Enter, if you dare, into his world. The world of the undead."

Commentary: A few weeks ago it was two-year-old hard sci-fi, a few weeks before that it was second novels in several series whose initial entries I hadn't read, and this time out, the book fairies have conspired to make epistolary fiction the theme of this edition of The BoSS. I should say, though, that there's a wealth of difference between the pulp - and zombies (again) - of Day by Day Armageddon and the restrained, intellectual character of the other epistolary book that fell through my letterbox this week. Still, as wont as I am to indulge in such literary treats as The Sorcerer's House promises to be, I'm no snob. I like fun, too, and with a little luck, J. L. Bourne's novel should represent exactly that.

The Still Point
by Amy Sackville


Release Details:
Published in the UK on
04/02/10 by Portobello Books

Review Priority:
4 (Very High)

Plot Synopsis: "At the turn of the twentieth century, Arctic explorer Edward Mackley sets out to reach the North Pole and vanishes into the icy landscape without a trace. He leaves behind a young wife, Emily, who awaits his return for decades, her dreams and devotion gradually freezing into rigid widowhood.

"A hundred years later, on a sweltering mid-summer's day, Edward's great-grand-niece Julia moves through the old family house, attempting to impose some order on the clutter of inherited belongings and memories from that ill-fated expedition, and taking care to ignore the deepening cracks within her own marriage. But as afternoon turns into evening, Julia makes a discovery that splinters her long-held image of Edward and Emily's romance, and her husband Simon faces a precipitous choice that will decide the future of their relationship."

Commentary: Ooooooh... did someone say Arctic exploration? I'm an absolute mark when it comes to that particular subject. Take The Terror - one of favourite novels of all time. And even without the supernatural element of Dan Simmons' narrative, there's something about the polar regions that strikes me as otherworldly enough to tickle my fancy for fantasy. Better yet: inhospitable environments, impossible climates, mystery, tragedy and adventure - The Still Point has it all. And the perhaps more relatable tale that is its other half. I know I just got through saying I wasn't a snob, but all that, taken together with the fact that Amy Sackville's narrative was Book of the Week on BBC Radio 4 not so long ago, I'm --- well... Totally sold.

Dimiter
by William Peter Blatty


Release Details:
Published in the US on
24/12/09 by Tor

Review Priority:
3 (Moderate)

Plot Synopsis: "Albania in the 1970s. A prisoner suspected of being an enemy agent is held by state security. An unsettling presence, though subjected to unimaginable torture he maintains an eerie silence. He escapes - and on the way to freedom, completes a mysterious mission. The prisoner is Dimiter, the American 'agent from Hell.'

The scene shifts to Jerusalem, focusing on Hadassah Hospital and a cast of engaging, colorful characters: the brooding Christian Arab police detective, Peter Meral; Dr. Moses Mayo, a troubled but humorous neurologist; Samia, an attractive, sharp-tongued nurse; and assorted American and Israeli functionaries and hospital staff. All become enmeshed in a series of baffling, inexplicable deaths, until events explode in a surprising climax."

Commentary: I didn't like The Exorcist. For starters, I didn't like the film, but it had been built up in my mind to such a dizzying height that I was sure I'd simply missed the point. So I read the book. I didn't like that either. Dimiter, however, is William Peter Blatty's first full-length novel since Legion in 1983, and what advance praise I've come across thus far has convinced me that the quarter-century Blatty took off has honed his horror instincts to a fine point. "A beautifully written, haunting tale of vengeance, spiritual searching, loss, and love" sounds vastly more interesting to me than that other nonsense. To hell with spider-girls and the improper use of crucifixes, I say!


The Sorcerer's House
by Gene Wolfe


Release Details:
Published in the US on
04/03/10 by Tor

Review Priority:
4 (Very High)

Plot Synopsis: "In a contemporary town in the American midwest where he has no connections, an educated man recently released from prison is staying in a motel. He writes letters to his brother and to others, including a friend still in jail. When he meets a real estate agent who tells him he is the heir to a huge old house, long empty, he moves in, though he is too broke even to buy furniture. He is immediately confronted by supernatural and fantastic creatures and events. His life is utterly transformed. We read on, because we must know more and we revise our opinions of him, and of others, with each letter. We learn things about magic, and another world, and about the sorcerer Mr. Black who originally inhabited the house. And then, perhaps, we read it again."

Commentary: The publicity boasts that The Sorcerer's House is "told entirely in a series of letters," and though epistolary novels has always been hit or miss with me, at the end of the day, were you to stamp Gene Wolfe's name on anything, given the chance, you could be damn sure I'd read it. The Book of the New Sun has to be one of my most revelatory experiences with literature; in recent memory and in all memory. It wasn't always easy reading - hence I still haven't dug into the loosely related sequences which follow it, both sequentially and on my shelf - but it pried open my eyes to the possibilities of genre, struck down those limitations I'd thought would always restrain it. On the other hand, I've heard tell that since those classic novels, Wolfe turned his attention to religion, with diminishing returns, and while The Sorcerer's House doesn't on the surface seem at all God-fearing, it's something I'll be bearing in mind when it comes time to crack this baby open.

Friday, 9 April 2010

Book Review: New Model Army by Adam Roberts


Buy this book from

"A giant has brought war to England's heartland. He stalks across the fields and towns to the west of London. The British army has tried to destroy him but each time he has beaten them. When they bring in air support and deploy heavy weapons he simply melts away, only to form again somewhere else and deliver another devastating blow. He is called Pantegral. And he is you and me.

Pantegral is a New Model Army. A giant whose thoughts flow through countless wireless communications, whose intelligence comes from the internet and real-time camera updates, whose mind is made up of thousands of minds, each deciding what Pantegral will choose to do.

And Pantegral has chosen the joy of the fight. His fury is truly democratic.

***


One of my particular quirks is that when reading a novel with the intent of reviewing it, I keep a few packets of Post-It Note page markers at the ready. When I arrive at a passage or a phrase that I feel encapsulates some vital aspect of whatever narrative I'm in the grips of, I highlight it with one of these multi-coloured sticky plastic slices so that I might return to it come the time I sit down to organise my thoughts and impressions into a coherent argument. Usually, there'll be no more than four or five of these markers in any given novel, and they're often clumped together towards the mid-point and beyond, when I begin to see the path and purpose of a narrative.

With New Model Army, a modest novel by physical proportions - less than 300 pages from beginning to end, and set, at that, in large typescript - I hadn't been reading for more than an hour and my packet of sky-blue page markers ran out. Dutifully, I cracked open another colour - neon green - finding them no less in demand as I progressed. And so it was that, by the time I'd turned the last page of multiple Arthur C. Clarke award-nominated Brit author Adam Robert's latest, and very likely greatest, the edge of New Model Army was a rainbow frill of sticky plastic like the hindquarters of some sub-tropical creature in heat.

This is a novel of ideas, great and small - a line of shots of concentrated speculation - and though many of its myriad concepts are carefully constructed studies in the complexity of human enterprise, that at the core of New Model Army can be iterated simply enough. War has long been an institution unto itself, an endless, self-propagating spiral of destruction for destruction's own sake, but in a future not too far from our own, a new sort of soldier has arisen from the ashes of the pyres that conflicts through the ages have lit. These men and women are soldiers who "exist to fight, because we are soldiers and that's what we do"; soldiers, such as our protagonist and narrator Tony Block, who fight not for ideals or oil or the bottom-dollar, but "for our army because it's home."

They are New Model Armies, spontaneous, mercenary giants of the battlefield; groups of independent citizens who believe the Regular army, "an army of slaves," are going about warfare the wrong way, stubbornly stuck in a rut of hierarchy and tradition. The NMAs are founded on a radical species of democracy, governed by all and none in the same pivotal instant. And when Scotland, which "had once sold oil on the world market but was now reduced to that international dole, tourist income, supplemented by sales of a type of sulfur-coloured alcohol," contracts Pantegral to reclaim from the English the country's independence, the so-called Midlothian mafia go to war against their own.

The Regular army are of course no match for the here-today, gone-tomorrow force of the NMA, and soon the UK, and then all of Europe, are in the grip of pure democracy. But democracies are nothing without individuals, and so it is from the perspective of one such sort that we learn of the Battle of Basingstoke and the other guerilla campaigns Pantegral wage across the heartland of England. Tony's experiences form the larger part of the narrative of New Model Army, and though he is quick to dismiss his part - the novel itself begins with his declaration that "I am not the hero of this story" - it is through his eyes that we come to frame the revolution. In point of fact, it is Tony, and not the NMA he is a part of, that is haunted by the spectre of a dead child he glimpses in the conflict's first real skirmish: a boy with a key embedded in his forehead. The key, "an old-style piece of ironmongery: a metal ring and shaft at the end of which was fused an abbreviated row of metal tetris blocks," is but one instance of the penetrating imagery that serves to make a more relatable affair of the otherwise grand concerns of New Model Army.

The cutting humour throughout functions similarly, as well as anthropomorphising the "body militic" that is Pantegral. Of the British police force, Roberts asserts that they "are supposed to enforce the law using, as I understand it, the moral force of their example and personality, as well as a piece of wooden broomhandle," while he fashions an unforgettable allegory taking to task the part love plays in human existence: "I enjoy eating beefsteaks, and because beefsteaks serve the useful purpose of keeping me alive, I therefore declared the universe to be beefsteak, God a beefsteak, and beefsteak the universal core value of everything." Furthermore, New Model Army is self-aware speculative fiction, grounded in a cultural consciousness we can share and shot full of disparate references ranging from The Terminator to Tolkein and The Cranberries. Such touches leave the distance between our world and the world whose axis Pantegral helps to invert that much closer.

At times, New Model Army is a challenging novel, but rise to the task and you'll find it a revelatory one. A short, sharp shock of a narrative: masterfully composed, rich in ideas and dangerously daring. Adam Roberts is truly a giant of British speculative fiction. From Yellow Blue Tibia to this, one can only wonder, breathlessly, what glorious horrors the man might enact upon us next.

***

New Model Army
by Adam Roberts
April 2010, Gollancz

Buy this book from
Amazon.co.uk / Amazon.com /
IndieBound / The Book Depository

Recommended and Related Reading

Thursday, 8 April 2010

Thou Shalt Not Covet Thy Neighbour's Hugo

I've been quiet on the award nominations and shortlists that have been such a hot topic across the blogosphere these past few weeks. It's not that I haven't read any of the contenders, but I haven't read all of them, and short of reposting a list of the nominees, without that base of knowledge I don't know I'd be doing anyone any good by expressing an uninformed opinion.


That said, an awards-related post that went up on Jeff Vandermeer's blog Ecstatic Days yesterday struck me as somewhat telling. Full the whole kit and caboodle, go here. But this is the part that interests me:


"...a few people expressed condolences that Finch wasn’t on the Hugo finalist list. That’s very kind, but not only do I not expect to be on any list, ever, I do not lobby for awards (why would you want something you can influence like that?), and I do not set my goals for success around them, although this isn’t meant as a repudiation of awards. Still, if you need proof of how in the long-term awards don’t always matter much, and I’ve been up for my share of them, City of Saints didn’t win anything it was up for and is in print and remembered far more than many other award-winning books of the period. It’s nice to be up for an award, but it shouldn’t be an expectation (indeed, my fiction has never been up for a Hugo and I’m doing just fine). I am thrilled to be up for a Nebula, would’ve been thrilled for a Hugo or anything else, but not getting something that’s a perk is like crying about not having chocolate sprinkles on your ice cream. And being too wrapped up in stuff like that is detrimental to life, liberty, and the pursuit of happiness. The work is the important thing, and making the work as good as humanly possible is the goal."


Now correct me if I'm wrong here, but that sure sounds like sour grapes to me. For the sake of coherence, let's leave to one side the somewhat dubious argument that City of Saints and Madmen is "remembered more than many other award-winning books of the period." Not to be reductive, but Vandermeer's essentially saying that the only reason Finch isn't on the shortlist is because he didn't lobby for it to be. Now I loved Vandermeer's last Ambergris novel - read the full review here to see just how much - and in my opinion, it's certainly more deserving of a place amongst the finalists than the likes of Cherie Priest's Boneshaker, which was fun, don't misunderstand me, in a pulpy, steampunk Stephen King sort of way, but hardly revelatory in the mode of Finch - nor The Windup Girl and The City and The City; which is to say, the other best novel candidates I've read.


But the notion that bother me is that had Vandermeer tried to get Finch on the list, it would be on the list. And I ask you, internet: is that true? Are the Hugos really so easily swayed? Or is Vandermeer just miffed about the oversight?

>>> EDIT TO REFLECT THAT: Popular opinion has deemed this post accusatory, and were it not for the likelihood that some readers would accuse me of backpedalling, I'd gladly reword anything that suggests I genuinely believe Jeff is being elitist or disingenuous. That was not the plan at all. I was, of course, stirring the pot a bit, but I'd meant for the spillage to fall on the Hugos; to engender discussion about how, despite their perceived importance, they're basically the American Idol equivalent of more considered awards, awards less about how thoroughly one author has pimped their qualifying novel over the others and more about objective merit. Bottom line, though, is - as one anonymous commenter observed - I "failed miserably" at that. Apologies to Jeff if I've caused any offense, and indeed I'd extend my regrets to anyone who took what I'd intended to be interesting questions as out-and-out insults. I do not mean to be the Daily Mirror.

Wednesday, 7 April 2010

The Dark Life of Robert Zemeckis

Variety reported yesterday that Robert Zemeckis, sometime mastermind of the Back to the Future trilogy, has - in cahoots with the mouse house - optioned none other than Kat Falls' profoundly imaginative all-ages debut, Dark Life.

It seems like only last week I was writing about Dark Life - and wait just a cotton-picking minute... it was! Do click through to read the full review in case you missed it the first time out. In that article, I called Kat Falls' first novel "fantastic fun... a lesson in how to write fiction for one audience without excluding another," and though its official release date is still a month out, the buzz on Dark Life has been building exponentially. So much so that Disney, it seems, have partnered with the director of motion-capture extravaganzas such as The Polar Express and A Christmas Carol.

I'm not sure how I feel about this. Dark Life is, as I've said, a great read with an inventive premise and all the follow-through to fit, and it could be as fun a film as it is a book. But... Robert Zemeckis?

Now the man's a fine filmmaker, but he's hardly at the top of his game, and I don't know that his return to form will come to pass until he gets over showcasing the uncanny valley in one unconvincing family-friendly movie after another. I know Zemeckis is invested in the technology, but I don't think I'm alone in thinking it represents a sort of MiniDisc of cinema: a format with potential but outmoded by a better format before it even found its feed. It's difficult, all told, to waste Jim Carrey, but A Christmas Carol sure gave it a shot.

That said, no-one's said word one about Dark Life being turned into another mo-cap mess, and given the news of the impending closure of ImageMovers Digital, the odds are probably even; here's hoping I'm fussing over nothing. I'd love to see Dark Life adapted - but I'd like to see it done justice, and I don't believe that unconvincing CGI gurning is the answer to every question. There's nothing in Kat Falls' novel that couldn't be realised by more traditional techniques.

Basically, get me the Hensons!


Damn it, Muppets, wherefore art thou?

Tuesday, 6 April 2010

The Splice of Life

I've written about Splice before, in the sixth part of Speculative Cinema in 2010, but it's my second most anticipated film of the year - after Inception, of course - and what better excuse could there be to draw it out from the confines of that sprawling feature series than the release of a new trailer?

Have a gander at this:


My excitement for Splice derives largely from my love of director Vincenzo Natali's back-catalogue of brilliant film, beginning with Cube and encompassing Nothing and the tremendously underrated Cyper. Excepting a documentary he shot for Terry Gilliam's Tideland, it's been seven years since Natali made a movie, and the high sci-fi concept he returns to the silver screen to explore is so packed full of promise it's fit to burst.

Elsa and Clive, two rebellious young scientists, defy legal and ethical boundaries and forge ahead with a dangerous experiment: splicing together human and animal DNA to create a new organism. Named Dren, the creature rapidly develops from a deformed female infant into a beautiful but dangerous winged human-chimera, who forges a bond with both of her creators - only to have that bond turn deadly.

The trailer embedded above is perhaps too overwrought with typical pre-release hyberbole to properly represent Splice, though it's safe to say that film will be as seamless a hybrid of ultra-stylish cinematography and effective low-fi execution as I've come to expect from Natali. And while my previous impressions of Splice might yet bear out - that it would be "a more considered take on the sort of subject matter explored in Stephen Chow's hilarious CJ-7" - it seems more of a thriller than I'd imagined it would be.

Still, I remain excited. Whatever the doubts this trailer sets romping about my mind, Natali has not disappointed me yet, and though there's a first time for everything, I don't believe Splice will mark that first time.

I'll leave you with another first look at Splice, with this brief scene being, I would wager, more representative of the final film than the rather contrived trailer:


Anyone else half as psyched about Splice as the Speculative Scotsman is?