What I’m Reading, October 8, 2014

Why Nobody Ever Asks If Irony Has Ruined Science Fiction, Charlie Jane Anders, io9, September 29, 2014

Every few years, there’s another essay insisting that irony is ruining culture. Hipsters and postmodernism have created an insincere world where nothing means anything. But you never hear anybody insisting that irony has ruined science fiction. That’s because irony is part of the creative life-force of the genre.

We tend to talk about irony in terms of a disconnect between a stated expectation and what actually happens — in other words, as a kind of failed futurism. But irony, more broadly, is about dislocation. And the description of types of irony in the introduction to the book Irony in Language and Thought (ed., Gibbs and Colston) seems like it could be a list of science-fictional story setups: “coincidences, deviations from predictions, counterfactuals, frame shifts, juxtapositions of bi-coherences, hypocrisy, etc.”

Anybody who writes about history, and then tries to imagine history continuing into the future in the same bewildering, illogical, bendy fashion is going to bake a certain amount of irony into the cake. That’s partly because storytelling is about humans, who use technology in ways that its creators never expected, and make choices that no rational observer would expect. The law of unintended consequences is fundamental to narrative irony.

The ironic twist is also part of the DNA of SF, from War of the Worlds onwards — H.G. Wells’ disease-ex-machina ending only really works as irony, rather than as straightforward narrative: they’re too big and powerful for us, but in the end they’re unexpectedly defeated by the tiniest of creatures.

Henrique Alvim Correa [Public domain], via Wikimedia Commons


Photo credit: Henrique Alvim Correa [Public domain], via Wikimedia Commons.

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SciFi Glory that Never Was

Via mashable.com

Via mashable.com

I’m actually a fan of David Lynch’s Dune, despite its many flaws. (A lot of people seem to like that Sting was in it, for whatever reason.)

The 2000 television miniseries made up for some of the deficiencies of Lynch’s version, but added in new deficiencies of its own.

The Children of Dune miniseries was much better (I especially liked the Godfather-esque montage at the end of the first episode, with a song in the actual made-up Fremen language.)

Simply knowing that another version of Dune—directed by Alejandro “Free SXSW Hugs” Jodorowsky, designed by H.R. Giger, and featuring Orson Welles as Baron Harkonnen and Salvador-fucking-Dali as Emperor Shaddam IV—could have existed but never came to fruition makes me ponder the value of everything that has happened in human history from that point in the 1970’s onward.

At least there is a documentary about how the movie did not get made.

The movie business is finicky. Remember how Saw had six sequels?

At least Giger went on to give us Alien.

Photo credit: Via mashable.com.

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Science Fiction from the “Friend Zone”

A man who believes he has been condemned to the dreaded “friend zone” seeks the aid of a higher power, of sorts, in “Gather Your Bones” by Jenn Reese (h/t PZ Myers).

The story comes from Daily Science Fiction, a website that apparently delivers exactly what it’s name says, which is awesome.

I should probably also mention, for any denser reader(s), that the concept of the “friend zone” is bullshit.

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Before “Game of Thrones,” There Was “Nightflyers”

Science fiction based in the future is fascinating for what it tells us about the present, or at least the period when the particular work was produced. The scifi movies of the 1980’s are especially interesting now, in the sense that they might have anticipated technology that has not yet happened, like distant human space travel, but failed to anticipate technology that did happen, like flat-screen computer monitors. Their most egregious predictive failure, of course, was in the realm of fashion. Many 1980’s scifi movies now look like period pieces about time travelers from the 1980’s going to the future.

I vaguely recall a movie from my early teenage years called “Nightflyers.” Mostly, I remember noticing that it starred Catherine Mary Stuart, a/k/a Maggie from “The Last Starfighter” and Regina from “Night of the Comet.” It was released in 1987, and it looks like what you might imagine would happen if a spaceship captain grabbed a group of people out of an era-appropriate diet cola commercial and sent them out of the solar system. Story-wise, it’s a but like “2001: A Space Odyssey” meets “The Breakfast Club,” if HAL had a mullet.

About the only reason it grabbed my attention recently is that I learned it was based on a novella of the same name by George R.R. Martin. That makes it at least worth a look. Luckily, the whole movie is on YouTube, albeit broken down into multiple parts. I made it all the way to part 5, so see if you can beat my record. Enjoy! Continue reading

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We have quite a bit of post-apocalyptic or dystopian SF about the U.S., but what about everyone else?

1153288_52572910I came across this brief post as I was scrolling through Tumblr entitled “I still wonder what happened to the rest of the world in The Hunger Games”:

Do they still have meetings and stuff?
France: Anyone heard from America lately?
Mexico: Same old, same old. They’re still sending out children to fight to the death in a reality show.
UK: Shouldn’t we do something about that?
China: Just leave them, at least they’re not annoying us.

We have a rather extensive set of post-apocalyptic or dystopian speculative fiction set within the boundaries of the United States or North America, but not much looking at such an America from the outside. Speculative fiction, by offering a view of a possible future, is often the best vehicle for commenting on or criticizing today’s political, economic, or social realities. Think of how much social commentary the original Star Trek was able to accomplish by setting its stories in a quasi-utopian future humanity. I too wonder what a post-disaster U.S. would look like from a non-U.S. perspective, particularly one from the “developing world.”

In terms of post-apocalyptic or dystopian future Americas, aside from The Hunger Games, Cormac McCarthy’s The Road comes to mind, along with alternate history works like Harry Turtledove’s “Timeline-191” series and about half the episodes of the TV show Sliders. Then there are TV shows like Jericho, which portrayed a modern-day nuclear attack, and Terra Nova, which was set 85 million years ago but centered around a dangerously polluted 22nd-century America. The new ABC show Last Resort, about which I will probably write more later, depicts a potentially dystopian contemporary or near-future United States. These all focus on America itself, though.

Robert Silverberg’s Time of the Great Freeze takes place during a future Ice Age, where ice sheets have covered much of North America. The protagonists leave their underground city in North America after picking up a radio signal from the London area, intending to cross the ice sheet over the Atlantic. The book mentions that, with much of Europe, North America, and East Asia covered in ice, the equatorial nations of South America, Africa, and Asia have become dominant world powers. It still doesn’t tell us anything about life in those places.

The Brits Seem to Have No Problem Blowing Us Up in Fiction

The best examples I can think of, that deal with the rest of the world, should the United States go all post-apocalyptic or dystopian, come from Great Britain or other English-speaking countries. The films V for Vendetta and Children of Men both came out around the same time in 2005 or 2006. Both are set in the relatively-near future: V for Vendatta mentions the year 2015 as the not-too-distant past, and Clive Owen’s character in Children of Men wears an extremely ratty London 2012 Olympics sweatshirt for much of the film. Both films reference events in “the former United States,” and both depict a UK turned to dictatorship in one form or another. Nevil Shute’s On the Beach, set in Australia, shows a U.S. devastated by nuclear war. Continue reading

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Pleasepleasepleasepleaseplease may “Prometheus” be good…

The official trailer for “Prometheus” came out last week, and I must admit that I am very excited.

The initial teaser trailer, released on December 22, 2011, was like brain foreplay for fans of the original “Alien”:

The “official” trailer came out last week to the collective squee of millions:

Finally, the “international” trailer pretty much rubs the awesome in our faces:

I have to allow for the possibility that this movie will not be good, or that it even might suck. Ridley Scott might have given us the original “Alien” and “Gladiator,” but he also gave us “Robin Hood” and “Hannibal.” I’m enough of an “Alien” fan, though, that I even went public with my excitement about Aliens vs. Predator: Requiem, a film that took two incredible science fiction icons and turned them into a slightly higher-budget Jason Voorhees.

“Prometheus” has a remarkably solid cast, probably the most solid of any film in the franchise since the original. I’m not a fan of Michael Fassbender (he gets on my nerves for some reason), but I can’t deny the guy can act. I’m glad to see Noomi Rapace get a chance to reach a wider audience, especially now that most Americans picture a different actress when they think of Lisbeth Salander. I will watch anything with Idris Elba in it, just sayin’.

Of course, I am assuming that “Prometheus” actually is a prequel to the “Alien” movies. The director and producers have been extremely coy about that issue. Anyone who has seen the original “Alien” will recognize the derelict ship and the Space Jockey’s chair in the new trailers. Then again, that last Aliens vs. Predator movie seemed to want to set up the Predators as the race that piloted the derelict, although it could have been an homage. I suspect “Prometheus” will pull a reboot and ignore the AvP movies entirely (and justifiably). The project began with the idea of a prequel telling the story of the Space Jockey’s race, and that appears to be where this film is headed.

I can delve more into the “Alien” films, but for now just enjoy the anticipation of “Prometheus.”

Also, “enjoy” might not be the right word for this, but marvel that someone actually took the time to compile all the “kill scenes” from the first four films:

Spoiler alert: although I disagree with the math, they find the total score to be Aliens 53, Sigourney Weaver 17.

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