In this episode we try to answer the question of why epic book series’ tend to get worse as they get further along. We also discuss the pressures and psychological effects of success on writers, what it takes to maintain productivity and motivation as a human being, and the incredible value of being bad at things.
In this episode Matt and Khemit discuss the recent Stephen King adaptation of The Dark Tower starring Idris Elba and Matthew McConaughey. They then discuss the many King book-to-film adaptation that have been made over the years, many of which you probably didn’t know came from that author! As always, there are recommendations for books and movies throughout.
In this podcast Matt and Khemit talk about their favorite lesser known science fiction and fantasy book series’. If you’ve been looking for a new (or old) series to read, this is the episode for you. We start with a discussion of classic fantasy, move on to classic sci-fi, and then give our top picks. Let us know if we mention your favorites or miss any must-read series’!
In this recommendation-heavy podcast, we discuss book series’ ranging from Game of Thrones and The Dark Tower to much more obscure works of fiction with violent themes in an attempt to divine the true nature of violence in books.
We attempt to answer the question: what makes brutality in fiction good, bad, or neutral? In this one, you’re guaranteed to learn about at least several great books you’ve never heard of.
Science fiction has never been easy to pull off in movies. In some ways it is harder than fantasy. While often wondrous to the point of the absurd, its roots are usually firmly grounded in the physics and reality we know and love(?). I make a distinction between the venerable histories which include The Day the Earth Stood Still (NOT the Keannu Reeves version), 2001, and Contact rather than the more operatic/scifi-fantasies like Flash Gordon, Ice Pirates and even Star Wars – still fun, but often blurring the line between fantasy and true science fiction.
A fantasy movie like the Lord of the Rings and Harry Potter can beguile with magic and creatures that require no further explanation other than they exist. The audience/readers make that pact from the beginning. “We are suspending all disbelief! Just be somewhat logically consistent and throw in a few dragons and we will be there to enjoy it with you!” … and I’ve spent many a happy hour doing just that.
Over the years, I’ve consumed much of the fantasy that has been written for print and screen. There are a few fundamental differences between sci-fi and fantasy. By default, fantasy and scifi-fantasy is more about pure dreaming without constraints AND is meant to be consumed rather than questioned. Even my current favorite, Game of Thrones, doesn’t really ask us/the reader any meaningful questions about how what happens in Westeros has any implications/consequences to us mortals here on Earth.
Good science fiction is always more relevant because it says “if you take where we (humanity) are now and then…. “ the edge of the universe and beyond is the limit. The readers immediately have a stake, whether they want to or not, in the outcome of the story because… that story is THEIR future!
Science fiction is also held to an (admittedly arguable) higher standard of disbelief because things have to look and feel like they will be a reality in a few (or few hundred/thousand) years. An increasingly tech and (hopefully) science savvy audience contributes to this evolution. Various actuators need to move correctly and give off a convincing (if somewhat dramatized) hiss or crank. Aliens and celestial phenomena need to at least be plausible if not probable. It’s science with a wink and a nudge.
What I’ve personally enjoyed most about science fiction are the questions that are able to be asked and explored. For instance;
- The fundamental nature and evolution of humanity in Theodore Sturgeon’s, More than Human (anything written by him is worth it btw).
- The ENDPOINT of the universe itself in Stephen Baxter’s The Ring.
- What would society look like if no one could deceive each other in James Halperin’s The Truth Machine?
- What are the fundamental purposes and relationships between men/machines/the universe in the Hyperion Cantos?
- What would you do in a society with technology that, near as to make no difference, was boundless in The Culture books by Ian M. Banks.
- Blade of Tyshalle
- I could go on and on.
In movies, some examples of this type of exploration are Bladerunner, Dune and even the Matrix.
In recent television, Star Trek:TNG (barring some questionable “we ran out of ideas” holo-deck episodes) and Battlestar Galactica (excising the ridiculous angel ending of course) and maybe even Firefly (I said it) are the apex of modern speculative science fiction on screen. All tackled modern day culture and political issues head-on and with aplomb (not with a plum, which is messier)– often leaving the viewer simultaneously more knowledgeable, but still questioning.
The best sci-fi asks questions about being human in the present day and throws it into a technologically enabled future social grinder to see if anything interesting comes out.
I enjoy fantasy fiction.
I learn about myself and humanity from science fiction.
Which, in the longest preamble possible, brings me to Neil Blomkamp. This man is the current avatar of gritty, realistic SF design. I have been a fan of his work for quite a few years now. In his Tetra Vaal movie short about a company marketing a security robot for conflict zones, I had a flash back to the sensation of awe and wonder experienced when witnessing the first brontosaurus in Jurassic Park. When a bullet shattered a wall that the CG robot was taking cover behind, and the machine flinched backwards and responded in an almost frighteningly realistic and human way, I think I had a geekasm. He followed this up with another brilliantly seductive short about an android on the run in Yellow. Finally, talks of him helming a live-action movie version of Halo culminated in some impressive, combat shorts but support for it ultimately fell apart.
However, a pattern was emerging. This guy knows how to merge the real/unreal. Almost as an exact counter-point/foil to the CG laden MESS that were the Star Wars prequels, here was a leader who intentionally took lo-fi, often hand carried, camera footage and married it with CG that could be mistaken for absolutely real. The only question was whether he had the writing/director chops for a full length movie.
Thankfully, we received District 9. The film is not without its flaws, but overall it is simply a genius film and a pleasure to watch. It took a carbon copy of apartheid and replaced black people for “prawns” (aliens). What could have been an inspirational but forgettable movie rehashing the well trodden issues between the oppressor and oppressee, becomes those things AND an exercise in human nature and character development. Blomkamp’s main character is a white middle-aged idiot who is just smart enough to marry his boss’ daughter but too dumb to do more than what he is told, or to question his life or his bigoted beliefs. His only saving grace is that he is not smart enough to be devious and is endearingly genuine and human, despite his beliefs. By the end of the movie, and because we got to witness real horror, racism and oppression through the eyes of the opressor, District 9 will remain as one of my favorite sci-fi movies.
This is not up until now mentioning Blomkamp’s REAL talent which is to have designed and filmed a world that feels and looks real – for around $30M. $30M! In an age when studios toss around $150M like it’s the new cost of entry for special effects movies, this number is simply mind-boggling. This guy could make 6 great movies for every crappy “blockbuster”, I told myself.
So it is with a heavy heart that I come to watch and review Elysium. I won’t spend much time on it. To be honest there isn’t much to it.
DO go see it for the impeccable future world design and production execution.
DON’T go see it for almost anything else.
It is hard not to see a similar theme with Elysium that Blomkamp had in District 9. What are the issues faced when there are a privelaged minority exploiting the powerless masses? But, where District 9 took a risky, creative move and explored these issues with a privileged character growing and exploring, Elysium isn’t nearly that courageous. Matt Damon’s character, I have no idea what his name is, is a recovering con-artist/future-car thief. This serves no other purpose than to dislike and hate him as far as I can tell. He is one of the masses on Earth, being continuously exploited by the affluent overlords in the floating wagon-wheel called Elysium, in space. His lower plebian status inherently means we are supposed to like him – but we never do. His humanity, skill in technology and planning is never on display but is talked about occasionally through pointless side-characters to make us believe he is a real person – don’t believe them.
Bad decision after ridiculously bad decision somehow results in a shallow “happy ending” which makes absolutely no sense. Matt Damon, no doubt cast because of his ability to play the “every man” appears to have phoned it in. I can’t remember one thing that was interesting or worthwhile about his character. So much was made in the media of how Damon got ripped for this role, but I can’t see a single plot reason why this was even necessary. The supporting cast is little better with Jodi Foster getting a special mention putting in a ridiculous accent and pretentious walk worthy of the shiniest Razzie this year.
But it’s pretty – real pretty. The design of everything from future Bugatti space-cars, robot security, to human implants implies some of the best/worst that our technology driven society will offer.
But alas, what could have been an ACTUALLY interesting tale about inequality, privilege and opportunity, turns into a boring “hero’s journey” where the “hero” is a bumbling moron, but not written as one, and his journey is linear with: no surprises, transparent villains in his way, and an ending that rings as soulless and uplifting as an Anthony Weiner apology tour. Its worst crime though is that it never asks any new or interesting questions of the viewer. It doesn’t demand him/her to examine their own ideas – in this way it is more fantasy than science fiction. It just asks you to sit back and consume – like Transformers.
In the end, it’s less the Elysian Fields and more like the Plains of Armageddon (and not in a good way).
Neil, I forgive you, but you’re better than this. Go back to making science fiction.
If you like your books uncompromising, with equal parts philosophy, imagination, wit, humor, sarcasm, epic battles, great characters, and gut punching drama, stop reading and buy/download these two books. If you need more convincing, read on.
Many authors have tried to do the anti-hero “thing”, Moorcock’s Elric saga (pic above) being one of the earliest and best-known genre examples. This is a character who is not your typical hero. He’s fallible, tragically flawed and with a moral code that often would leave you cringing. The movie Pitch Black did a decent job of this with its protagonist, Riddick.
Most authors fail. It is an inherently difficult thing to do. How do you create a character that is kindof an asshole – to other people, to objects, to Gods… to himself, but still be likeable/interesting enough that you want to go on the journey with him? It takes a good author to take a hero archetype and create a compelling story…. It takes a great one (or a good one free-basing some serious Muse) to take an anti-hero and elevate him till he resides in the hushed whispers of myth and legend.
Enter Caine. Caine is about as close to a force of nature that a human being can get without being an actual hurricane- with a sharp, intelligent, sarcastic wit that would fit perfectly on FYM Planet. He’s also an asshole (so again… he would fit in). More importantly he’s one of the most bad-ass characters I’ve ever read in fiction or seen on screen. Keep in mind that I don’t often use that term, but it’s appropriate here. This quality is not even mostly due to his lethality – which is more than potent, but more his state of mind. Caine is wracked by internal struggles buttressed by a fierce intelligence and personal code that propels him through these 2 novels like a boar shot out of a howitzer. Oh, he also spends much of Blade of Tyshalle in a wheelchair as a quadriplegic. And he’s still a bad-ass. Trust me.
But it’s not just the character, Matthew Stover creates worlds that are frightening but so fantastically interesting that you can’t help but want to live in them.
Blade of Tyshalle and Heroes Die are literally sci-fi/fantasy novels. There are actually two worlds. One, a future Earth that was so decimated by a virus that the entire planet’s culture, in recovery, became one dominated by corporations with a caste system built solely to protect those in influence and power. Caine grew up as a Laborer (the lowest caste) and in this crucible became hard and tough as graphene. It is a dark, cold, ruthless place that has many of the luxuries/advances that you’d imagine from future technology, but these predominantly only benefit the few at the expense of the many.
The other, called Overworld, with elves, dwarves, trolls, dragons and yes… humans -is a harsh/alien place. Elves aren’t Orlando Bloom with Vulcan ears. They are creepy ancient creatures who wield knowledge and magic that would give Gandalf pause. Humans are viewed on with fear/pity because of all Overworld’s races, only humans are fundamentally unaware of their connection with nature. The elves describe this phenomenon by saying humans “worship the Blind God”. This is a useful term I’ve actually used in the “real world” many times to describe the sometimes self-destructive nature humanity has to the universe around it.
Now I may have lost you at “sci-fi” AND “fantasy”, but hear me out. It’s possible, even likely, that many of you are Firefly/Serenity fans. If someone had come up to you and told you that there was this great TV show that was a sci-fi-western you would have politely/impolitely nodded and ignored that the conversation ever took place. If so, you would have been completely wrong.
It’s a similar phenomenon here. Science fiction and fantasy should not go together as a rule. It is just too much disbelief to suspend. However, Stover has done the impossible and weaved these two Worlds together in a way that makes sense and is thrilling. The supporting cast around Caine, from gods to girlfriends, all feel real and consistent with their own internal motivations and idiosyncrasies. He pokes fun/celebrates all the typical sci-fi/fantasy literary clichés while making them new and exciting.
I could go on and on, but I will conclude with why I recommend experiencing these two novels out of order. Some of you may have already checked and Heroes Die is actually the first book in the series. By starting with Blade of Tyshalle you start in the middle of the story, which could be a negative in any other series. It begins though with a middle-aged Caine, who is crippled and past his prime, reminiscing/suffering over old adventures and triumphs. When characters reverentially reference Ma-elKoth or the epic battle on Assumption Day, the reader is titillated by wondering what REALLY DID happen!? Caine’s injury was inflicted by his nemesis, Berne, wielding the great blade Kosall. Berne who is referenced as one of the most brutal and fierce opponents Caine ever faced doesn’t appear except as a stuffed mannequin in a museum of Caine’s past exploits.
Each one of these references piques your interest without being unsatisfying. Since Blade of Tyshalle is the more complex, nuanced, and ambitious novel, it is more rewarding and actually makes reading Heroes Die more enjoyable since you are finally reading the stories that were told like myths in the previous novel. Heroes Die, while still excellent, is a much more straightforward story and benefits from the depth of Blade of Tyshalle.
In short, these two books of fiction are hard to recommend highly enough. There are only a few caveats I will mention to those interested. If you have an aversion to awesome things, especially things that are fantasy/sci-fi or just an aversion to reading in general, then these books aren’t for you. That said, these stories are extremely violent. Unlike Mark Milar comics though, the violence usually isn’t an end unto itself. It’s usually to express revulsion or fear or a variety of things that have a purpose other than to be brutal or gruesome. If you are squeamish about descriptions of broken bones or extreme situations then avoid please.
If you’ve made it to the end of this recommendation, I hope you’re intrigued enough to check these novels out. When you do, leave a comment and/or message me, I’d love to talk about Hari and Kris’s unlikely friendship and their near-death experience at Acting school, one that harkens to Ender’s choices at Battle School.
If not, no worries, but I’ll leave you with some advice Duncan gives to his son, Caine. When things seem like they are at their worst, “keep your head down, and inch towards daylight.”
I read a lot.
I pretty much have to read before I go to bed or I’ll just lie awake and stare at the ceiling even if it’s 3 in the morning. Even if it’s just a page or a few paragraphs, I find it very difficult to pass out without reading something.
Kind of a false start, that. It doesn’t really relate to what the rest of the blog is about, but I’ll leave it in as a fun fact about myself.
Anyway, recently I finished wading through the 5 book Gap Cycle series by Stephen R. Donaldson which wasn’t bad, but burned me out on science fiction which I had been reading pretty exclusively for the past two years or so… I go through phases like that where I only read one genre or one author for extended periods of time.
I wanted to make a soft transition to something a little different rather than completely diverging and picking up a Thomas Pynchon novel or something. I remembered a recommendation I got from a friend several years ago that I had never taken for a book called Daemon by Daniel Suarez so I grabbed it.
It’s a technothriller so still kind of sci-fi-esque but less fantastical. In any case it was a good transition book, and a pretty good read in general.
The story takes place in the present or very near future and follows the effects on the world of a background process program (daemon) written by a dead genius/madman computer game developer named Matthew Sobol which infiltrates the global net and begins to disrupt the world economy and balance of power in interesting ways.
The Daemon’s queue to begin operating is the headline announcing the death of its creator. Through backdoors built into Sobol’s video games, it siphons the computing power of legions of unwary gamers and begins to systematically enlist the disenfranchised to accomplish its goals. It shifts its strategy and initiates pre-planned contingencies in response to keywords in media headlines. The Daemon causes death and destruction as well as silent infiltration as it begins to dispassionately execute its functions with brutal if-then logic bereft of considerations for consequence making it more dangerous than any person could ever be. And its mission is to change the world.
I immediately thought the concept was pretty cool. The writing style is very direct and utilitarian; there are very little embellishment added to the fictional events, yet somehow the story still doesn’t feel heartless. Some characters are better developed than others, and some of the character arcs feel a little forced, but generally speaking they feel and act like real people, which is nice.
The storytelling is well paced and the author never falls into the trap of making the technical explanations (of which there are many) unwieldy or tedious; as a non computer guy (I mean, I own one and know how to turn it on and off. I know how to defrag it… when it gets all fragged. But I’m not a hacker or anything. Does anyone say hacker anymore? Are those still a thing? I digress) I was pleased that the jargon and the technical detail didn’t go over my head.
The concept of the Daemon is interesting because it really feels like something that could almost be realized today. Given unlimited time and resources, the systems the daemon employs to accomplish its goals don’t seem all that impossible…only highly difficult and unlikely. This closeness to reality adds another interesting dimension to the story. It’s like imagining a world where Steve Jobs secretly programmed every iDevice to silently call your mom whenever it sensed you having sex.
At times it’s a little far-fetched in that the Daemons scripted response are too spot-on to have been pre-planned even by a super genius like Sobol, but the author still makes it seem somewhat feasible so I’m able to suspend my disbelief.
The book is also surprisingly bloody and violent at times, but the author’s use of violence is very particular. The violence is brutal when it occurs, but it doesn’t occur throughout and when it does it still has an emotional effect because it is so frugally used.
In any case, at the end of the book things are getting pretty serious and the scale of the vision of the Daemon’s creator is just starting to be revealed. The book is a pretty good non-preachy examination of some of the implications of technology in our net dependent civilization. When money and information exist primarily as electrical impulses being shunted around the world at light speed, the question of cyber security and its underlying assumptions becomes more and more crucial. And as the tangible world becomes increasingly and inextricably linked to the virtual one, the immediacy of the danger of its exploitation is increased exponentially.
It was a good book, and I’m looking forward to reading the sequel, Freedom™.