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Showing posts from June, 2015

Jurassic World

Jurassic World is a pretty bad movie.  What's interesting about it, however, is that the reasons for its badness are, for the most part, the reasons it should have been good.  With only a few exceptions, the ideas that went into Jurassic World, the fourquel-slash-reboot of Steven Spielberg's paradigm-defining 1993 blockbuster, are solid and interesting.  The basic premise of the movie--that twenty years on, people have come to take resurrected dinosaurs for granted, forcing the titular park's managers to concoct new, scarier hybrid species--is not only believable, but carries on the entertaining meta-component of the original movie.  In 1993, the embryonic CGI with which Spielberg brought dinosaurs to life was a shocking technological development, but nowadays filmmakers take abilities he couldn't even dream of as a matter of course.  Jurassic World's executives, then, stand in for every Hollywood producer who thought they could make up for the absence of a coheren…

The Revengers' Tragedy: Thoughts on the Fifth Season Finale of Game of Thrones

Yesterday afternoon, before I'd watched the final episode of Game of Thrones's fifth season, I read this essay by Aaron Bady about the show, in which he argues that it has overshot its natural ending point, and therefore no longer has anything to say:
What has changed, I think, is that tragedy has become pornography. Not literal pornography, of course, because very specific forms of gratuitous sexual titillation have been consistent throughout. Put some boobs on screen is one of the boxes each episode needs to check off, and consistently does. But what is the point of evoking terror and pity by hurting characters like Sansa or Cercei? Watching Ned, Catelyn, and Rob die was horrible not only because they were good people, but because we were watching the patriarchal fantasies of Good Kings dying with them. They represented something, the possibility of a return to the way things should be: the tragedy was coming to realize its impossibility. The Starks were the tragic heroes, b…

The Iain M. Banks Master List

As I wrote earlier this week, my review of The Hydrogen Sonata completes a decade of reading and reviewing Iain M. Banks's science fiction, and it seemed appropriate to put together a master list where all of these reviews can be found in order.  Not all of these are full-length reviews (though most are) and there are several books I might end up revisiting, in which case I'll update this post.

The next obvious step, however, is Banks's non-genre writing.  I don't know if I'll be as inspired to write about those books as I was by his SF--I've never gotten the sense that his mainstream writing was as groundbreaking as his work in genre--but time will tell.

The Culture Novels
Consider Phlebas (published 1987, reviewed 2006, full-length review) - Part of me wants to revisit this novel, which isn't very good but is so very important to setting the tone and preoccupations of the Culture sequence.  The other part of me remembers what a dour slog it was.

The Player o…

Review: Shadow Scale by Rachel Hartman

Over at Strange Horizons, I review Rachel Hartman's Shadow Scale, the sequel to Seraphina, one of my favorite books of 2013.  One of the things that most impressed me about Seraphina was how it managed to juggle so many characters, plotlines, and worldbuilding details without ever seeming overstuffed or rushed.  Shadow Scale doesn't quite manage that trick--it's longer, more episodic, and less focused than the previous volume.  That said, there's still a lot in it to love--the novel's world, characters, and ideas are as fresh and interesting as they were in Seraphina, and Hartman still combines an exciting fantasy plot with a smart exploration of issues of gender, race, and identity.  She's one of the more interesting writers currently working in YA fantasy, and I look forward to whatever she does next.

The Hydrogen Sonata by Iain M. Banks

Whichever book ended up being the last stop in my meandering progress through the SF novels of Iain M. Banks--a journey that began nearly ten years ago--it was bound to be a bittersweet experience.  That that book has ended up being The Hydrogen Sonata only makes it more so.  Banks could not have known, when he sat down to write this novel, how little time he had left, or that it would turn out to be the last entry in the Culture sequence.  And yet The Hydrogen Sonata is suffused with death, with questions about the meaning of life, of how (and when) to leave it, and with anxiety about what comes after it.  If the book itself is not quite the capstone that the Culture sequence deserved, then the coincidence of its timing and subject matter lends it significance and weight.

Like the other recent Culture novels, Matter and Surface Detail, The Hydrogen Sonata is not properly a story about the Culture, which plays a supporting role only.  The focus here is on the Gzilt civilization, a con…