Veteran’s Day

Today is a day to remember the sacrifices of those who had died for one’s country. In the United States, November 11th has been designated as a day to reflect and celebrate the sacrifices of American Servicemen, while in the Commonwealth, Remembrance Day likewise commemorates the those who made the ultimate sacrifice. November 11th was selected because of a worthy anniversary: the end of the First World War, on November 11th, 1918, the conflict that had shocked the world so much, that many hoped that it would be the last.

Sadly, this never came to fruition, as humanity has continued their destructive streak across the century, and will likely to far into the future. In many ways, the trials of soldiers in the far future have provided some of the more interesting science fiction tales.

When thinking to military science fiction, the first book that often comes to my mind is Starship Troopers. Robert Heinlein’s masterpiece has the right tone and the right messages throughout about not only the plight of the soldier, but the responsibility and honor that veterans upheld because of their service. In one particularly early scene in the book, when Johnnie and Carl go to join the service, they are bluntly told that military service isn’t the romantic adventure that seemed to have been the perception. This doesn’t come too much as a surprise, as Heinlein himself was a Veteran, having graduated from the United States Naval Academy in Annapolis in 1929, and served as an officer until 1934, when he was discharged. As the Second World War roared into the lives of Americans, Heinlein worked once again for the military as an aeronautical engineer, alongside two other notable science fiction authors, Isaac Asimov and L. Sprague de Camp. Starship Troopers realistically and in a relatable fashion, sums up the soldier’s experience in wartime, and demonstrates that Science Fiction can be used as allegory in a number of instances.

Another remarkable example of military science fiction is Orson Scott Card’s Ender’s Game and related books that take place during and after. Card’s character, Andrew ‘Ender’ Wiggen, a tactical prodigy and statistician, is a prime example of a soldier who has a varied experience with warfare – and a mixed legacy in the years following his and humanity’s successes over the Buggers at the end of the book – a nearly complete and utter destruction of the alien homeworld. Ender’s Game is brilliant in its use of characters – Ender proves himself in Battle School, where he uses unconventional tactics to ultimately succeed and demonstrate that he has a superior mind for this style of warfare. A second series of supposed tests are designed to prepare Ender for the invasion of the Bugger’s homeworld, only to find that there was no tests – his battles were real, and he was ultimately responsible for the destruction of an entire race. Ender’s story is an interesting one, compared to other soldiers, in that he never hit the front lines – rather, he was orchestrating the war from light-years away. Despite this, the war had a profound impact on Ender for his actions – a similarity that is shared with American soldiers who pilot UVAs, according to P.W. Singer in his book Wired for War.

The franchise that embodies warfare in space is Star Wars. Love it or hate various elements of it, I’ve been greatly impressed with the stories that have been told about the Grand Army of the Republic, through a couple of different sources. The first is the Clone Wars television series, for really emphasizing on the troopers who fought on the part of the Republic. However, the real person who deserves attention for the portrayal of the troopers is Karen Traviss, with her fantastic Republic Commando series. Traviss had quite a lot of experience with the military to draw upon. As a result, Traviss goes far more into the mentality and motives of the soldiers, bringing them far more into view as people, not merely clones. Even better, the events of Order 66 seem very relevant throughout, and Traviss works hard to not only ensure that their motives for following those orders are explained in a logical fashion, but as to the intentions of the soldiers entire existence. The Clones are in a unique position here – bred only for the purpose of war fighting. For them, they’re not volunteers, and they aren’t expected to live beyond the war – something that the TV series touches on a little bit as well.

While thinking of Traviss’s Star Wars books, another good look at war comes with her book City of Pearl and the follow-up novels in the Wess’Har Wars, which examines interstellar conflict over several systems and many thousands of years. Two of her races, the Wess’Har and the Isenj, have been at war over conflicting lifestyles – the Isenj are rapid colonizers, due to a high birthrate, and did so at the cost of their environment, while the Wess’Har believe heavily in the natural world and literally applied a scorched earth policy to planets that they felt were out of line – there’s a heavy environmental message here, but it does help to reinforce a point that theorist Carl von Clausewitz made, that Warfare is an extension of policy, and thus, fought on the terms of one’s society. The soldiers here are deeply affected by the conflict, as several are essentially immortal, because of a parasite that they had picked up, one that ensures their survival. The long term toll of warfare on these soldiers is an interesting one, and several are noted to have killed themselves (prior to the events in the books) because of the stresses associated with their condition.

When it comes to interstellar warfare, as well as the potential for long term and dedicated purpose, John Scalzi’s Old Man’s War is another prime example of this sort of Science Fiction. This book, the first in a series (I have the follow up book, but haven’t gotten around to reading it yet), sees a world where old men and women are taken, because of their life’s experiences thus far, and had their minds transferred to a new, enhanced body. There are many similarities to Starship Troopers and The Forever War (another one that I have, but have yet to read), and Scalzi has an interesting take on the enhanced soldiers and their purpose. One argument in the novel is that these soldiers have been given an artificial lease on life – the best that they can do is to continue to fight. However, in this instance, they aren’t necessarily fighting for any particular cause, just the broad, overarching idea of ‘humanity’, as their citizenship on earth has been terminated by joining the fight in space. This somewhat bothered me, and a couple of the main characters, but highlights another, important aspect in warfare – soldiers, foot soldiers, are trained to fight for one another, to preserve their squad and fellow soldiers, and that message rings heavily through Old Man’s War.

Timothy Zahn has also addressed the idea of enhanced soldiers, through his books Cobra and Cobra Two, where a group of soldiers have been enhanced with a number of internal improvements – better skeletons, weapons, a sort of commando unit that are nearly unstoppable in urban combat on alien worlds. However, what really struck me with these books is that the focus is not necessarily on the fighting, but the lives of the soldiers afterwards – these soldiers, with permanent enhancements, had to adapt to civilian life where they were mistrusted and abused because of their abilities, enough to cause conflict in their homes and enough to force the entire Cobra population off world to better offerings.

Military Science Fiction has its share of veterans, and examines, as a whole, not just the cool elements of science fiction, such as powered armor, lasers, epic ship to ship combat and the like, but also the impact, and continued impact that warfare will have on those that are asked to do the fighting, for whatever reason. The concept is such a large one that it is interesting to find a number of different themes – all of which might be found with any given soldier in a real military – have essentially been separated out amongst a number of novels, and examined in depth. The overall message that can be taken from this is that the hopes following World War I were unrealistic, and that humanity will continue to fight – wars large and small will continue, and no doubt, that will continue when we reach the starts. However, it is important to remember the human cost of warfare, not just on society, but upon those who ask to serve their countries, or even worlds.

What’s the Point of a Genre?

Working at the bookstore, I come across a constant annoyance: trying to put a book into its proper place, using BITS, the internal store inventory system. The program is antiquated, clunky and a pain to use, and whomever is hired to enter the information into the system in the first place should be duct-taped off the ground and had rotten fruit thrown at them. It would be a good incentive to get the information entered in correctly and consistantly. Still, while annoyed about this the other night at the store, a thought came to me that’s been further pushed along by a post from John Scalzi on his blog, Whatever.

This recent post highlights something that I’ve noticed within the SF genre, and fandom: a general cry to be recognized by the literary establishment as a whole. Science Fiction, in general, has been trivialized by a number of establishments and authors of other genres – Margaret Atwood’s comments come to mind at just how against being labeled in the genre some peopel can be: “Science fiction has monsters and spaceships; speculative fiction could really happen”, and “Oryx and Crake is a speculative fiction, not a science fiction proper. It contains no intergalactic space travel, no teleportation, no Martians.” (From the Guardian and Book of the Month Club).

To some extent, there’s good reason for this – early science fiction, while fun, is loaded with rubbish, pulp and childish stories that were primarily geared towards selling as many copies as possible to the lowest common denominator demographic. Atwood’s characterization of the genre is highly flawed – science fiction is far more than intergalactic travel and aliens, and while that’s a common element, I see little difference between the superficial elements such as those, and the elements that contain a so-called speculative fiction. In the end, it’s the story that really matters, and provided that an author can put together a compelling plot and array of characters, I’ve often found that those more unbelievable elements, such as ‘monsters’ and intergalactic travel works out just fine.

Scalzi’s argument brings up a further version of this point – if the surrounding plot elements don’t matter all that much – and I’ve noticed an increasing number of books with horror, science fiction, paranormal, fantasy, urban fantasy and other themes – where does the overall label matter when it comes to books? Indeed, with the aforementioned types, they’re all lumped into the same small section in the larger bookstores, usually towards the back so the bookstore owners can hide the nerds and geeks from the rest of the cliental. (You know, kind of how the pretty people in gyms are always working out next to the windows?) I personally love the science fiction genre for its ability to tell stories, in addition to the settings and out there concepts that generally crop up. However, my enjoyment of one particular genre doesn’t necessarily cloud my feelings towards books of another, nor does the label on the back of the book affect how I feel about another genre.

To some extent, I think that the argument is largely fueled by egos and excess time of overeducated people, and out of marketing necessity. Since much of bookselling comes out of browsing, it makes sense to group books accordingly, by genre, which is in turn placed on a pedestal, as something that is so profound, it can’t possibly be associated with other books that have the reputation as science fiction / fantasy has.

This is where I have problems with the people who insist that any one particular genre is worthy of attention more so than the others. The same issue appears in Military History – I had a reading about this very same issue, as Military History is percieved by the larger academic community as an unimportant, somewhat annoying little cousin that wants to join in on the fun. Unfortunately, with the more established genres pushing out the newer ones, they miss out on a number of really good stories and insights into their fields. Cormac McCarthy’s book The Road is arguably one of the better books of the past decade, and it won the Pulitzer Prize, despite the post-apocolptic storyline that appeals to the many followers of the ‘geek’ genre. Still, it wasn’t marketed as such.

Marketing aside, I think the best alternative to all of this would be to get rid of the genre labels, sort out everything between fiction and non-fiction sections and shelve everything by the author’s last name. Non-fiction can be sorted by subject, while people can just figure out what they like ahead of time and just go by author. Scalzi’s hit on a huge point – this is an intellectual argument that really doesn’t matter in the long run. Honestly, if Science Fiction starts scoring more people, longtime fans will just find something else to complain about – the new fans who don’t have quite the same appreciation for the genre as they do.

It’s Gonna Be The Future Soon

One of the main elements of the science fiction genre is the future. Looking to the future extends far beyond just the world of Science Fiction, but to speculative fiction, religion, the business and military worlds, and indeed, is a question that everyone inevitably asks, can we predict what will happen next? George Friedman’s latest book, The Next 100 Years: A Forecast for the 21st Century purports to just that. While Friedman makes a number of interesting, and at times, good points, the resulting work is deeply flawed in its reasoning. I’ve since reviewed this book for io9 – much of the summary for the book can be found here.

There are three major points that I took issue with when it came to this book, which are instrumental to the book’s findings: lack of sources, an overemphasis and reliance on history and the assumption that the world will return to similar political connections that characterized the Cold War. However, while this is the case, Friedman imparts a very important lesson through this book, reminding the reader that history and nations work with a sort of cause and effect mentality, where x event causes y reaction over z time. Major events take years to build and grow, and an essential thing for the reader to keep in mind is that the world and political structure can change over the course of twenty to thirty years.

This book has no index, notes or sources anywhere in the book, which is odd, considering the number of places that there should be some sort of citation, such as a UN report citing declines in birthrates, or historical information on the political stance of a country. The result of this is a lengthy opinion piece that gets stranger and stranger as the decades pile up. Unfortunately for the book, this does nothing to help with the book’s credibility, despite the author’s credentials, and essentially turns it into an extended op-ed. With no scholarly information to back up the author’s assertions, the book rests on the idea that the author knows just what he is talking about, and given some of the things that he comes up with, I am more inclined to file this under fiction, rather than non-fiction.

Much of the book’s reasoning seem fairly flawed to me. Friedman, right off the bat, suggests that what he terms the US-Jihadist war (This should probably be Western-Jihadist war, in all actuality) is merely a small problem that will go away within a couple of years. I’m not well versed in the intelligence community or up on the current information, but I would imagine that that’s as far from the truth as you can get. The conflict that’s ongoing in the Middle East is one that has been brewing for years, even decades. Israel, Palestine, Iran, Iraq, Pakistan, Afghanistan and others close by have long-seated issues with the United States and the Western world, fueled by extremists who believe that our way of life is detrimental to theirs, and have literally been killing themselves to try and stop us. This is not a problem that will vanish without many of those underlying problems being corrected, which I don’t see happening. Furthermore, Friedman fails to take into account how things will change with time – the importance of petroleum, for example, which is not a sure thing. What will the effects of climate change legislation have on nations, and how will changes in these resources affect countries. Furthermore, South America, Oceania and Africa are barely mentioned throughout the book.

Friedman hangs his hat on this one assumption – that the global war on fundamentalist terrorists will go away, and that the world will resume tensions that were in existence during the Cold War. He predicts that Russia will consolidate its power and a Russian bloc in Europe. While there are indications that this is happening, I don’t believe that it will be anything like what happened before, and that the US will essentially enter another Cold War. Furthermore, down the road, he predicts that the eventual demise of Russia will lead to the rise of Japan, Turkey and Poland, which I find somewhat more unlikely, at least with Poland and Japan.

Much of his reasoning in these instances depends upon historical record and what has gone on before with these countries. He notes that Japan, despite its recent pacifism, will return to warlike routes and eventually challenge the United States. Turkey will do the same. I find Turkey’s case slightly more reasonable, because of its diplomatic ties, stability and economy. In addition to these two countries, he also cites German and Russian tendencies to war. This to me is a particularly dangerous assumption, because countries and cultures are redeemable, as seen with Japan. Countries will not go to war or suddenly become aggressive simply because they have done so in the past. Japan has become incredibly tame, with a culture and multiple generations of people to support that. Germany similarly. Warfare, as Clausewitz notes, is an extension of political policy, and with a culture that is largely against war and conflict supporting a political structure, a highly militant Japan rising again seems unlikely. Friedman’s assertions that by the middle of the century, with lunar bases and ‘Battle Stars’ operated by the United States, are on the face ridiculous. (The cost alone of creating the International Space Station, which houses 6 scientists is in the trillions – the prices for stations that house people in the hundreds is magnitudes higher. Even then, with a mindset of defense against other nations, this still doesn’t fly.) But, even then, the idea that the Japanese will bomb these US facilities in a Pearl Harbor-esque attack on Thanksgiving evening is just nothing sort of laughable. History certainly has its place, but it cannot be used reliably to predict the future with an instance such as this. Analyze trends and motivations, yes, but using a country’s prior methods of warfare, in this manner, is pure fiction.

This is unfortunate, because the book is presented as fact and not necessarily as an exercise in history or how to think about how these events might work in the future. The result is a ridiculous and absurd argument for a return to older political thinking from people who were immersed in that world for so long.

Review: The Windup Girl

Paolo Bacigalupi’s debut novel The Windup Girl is a frightening, realistic and brilliant look at the near future of the world. Taking place in Thailand at some point in the future, Bacigalupi paints a picture of a world that is caught between several major problems: climate change has affected the lives of many people around the world, and in turn, has brought a rise in global agricultural corporations, and global energy resources have been depleted, forcing major changes in the way people live their lives, and how a world-wide economy functions with different resources. Corporations have run amok with trying to maintain their profit margins, and released a number of plagues upon the world that devastated the planet’s ecology upon which we all depend, and because of their actions, remain just a single step ahead of the latest mutation of blister rust and other assorted plagues. Thailand is a country that has thus far weathered the storm – the Royal government has maintained a fierce isolationist policy to keep the country from succumbing. As a result, Thailand has a precious resource that western companies desperately want: a genebank, containing thousands of new strains of crops that could be utilized to combat the ongoing struggle against plagues and hunger world-wide.

The story follows several discrete storylines and characters, each with their own motivations and demons. Anderson is a ‘calorie man’, a westerner who ostensibly manages a factory that manufactures kink-springs, a renewable power source. Jaidee is a member of the Environmental Ministry, tasked with maintaining a barrier between Thailand and the rest of the world and the dangers that it poses. Emiko is a windup, a genetically engineered woman, designed by the Japanese for servitude and for sex, who has been abandoned in Thailand and fears that she will be mulched (killed and burned for energy). In addition to these main characters, there are a number of other background characters who are just as complex as their counterparts. In a nut-shell, Anderson has come to Thailand on the behalf of a major Agricorporation that is hoping to gain a foothold in the country in order to obtain rights to the country’s gene banks. While he is ostensibly looking for ways to combat the plagues, Thailand officials believe that the corporations have far more sinister and selfish motivations for the gene banks. While in the country, he has to walk a narrow line to stay in the country, as the Environmental Ministry intends to keep Thailand free.

Captain Jaidee is a leading member of the Environmental Ministry, and throughout the book, it is clear that the country is not necessarily unified in its position to remain away from the rest of the world. Limited trade and imports occur through the actions of the Trade Ministry, which is at frightening odds with the Environmental Ministry, to the point where open bloodshed and crimes are committed on both sides to try and force their position upon the rest of the country, which eventually interrupts into violence, which helps to push forward some of the plans that Anderson and others have laid to gain more traction into the country.

Emiko’s titular character is somewhere between the various storylines. As an artificial biological construct, she is a representation of what is wrong with the outside world in the eyes of a secular nation that believes heavily in the value of one’s soul and rebirth. To the Thai people, she is a soulless being, one who is against nature, and essentially lumped in with the problems of the world. Thus, Emiko, who is unsuited for Thailand’s climate with reduced pores (she overheats easily) and a body structure that makes her stutter while moving, which makes her a literal odd woman out, and thus a target to the Environmental Ministry (also known as White Shirts for their uniform) who see her as a threat to the country’s independence.

Futuristic worlds are a common element in Science Fiction, but it is very rare to have one that is so deeply realized as Bacugalupi’s Thailand, one that takes the current state of existence for the country and extrapolates into the future with hypothetical events. The portrait that he paints of the world is very scary indeed, and the constructed world has reacted accordingly though a number of levels. What makes this novel so interesting is just how everything fits together. There are economic elements that make sense, social, biological and political, all of which are not mere exposition in a prologue in the novel, but where they are an active part of the storyline. This, in a way is one of the best examples of show, don’t tell, a writing exercise that I remember from creative writing courses. What is even better (or sobering, depending on how you look at it), this world makes sense. I can see major corporations putting profit ahead of common sense, and I can see the world going to hell in much more vivid detail now. Furthermore, Bacugalupi posits the power struggle between various departments of government, each with their own agendas and motives, both at odds with one another, which trails up through to the very end of the book.

There’s a strong look at morality and ethics when it comes to bioengineering and the eventual fate of the species, and how our role fits within a society such as what we see in the future. Emiko, a Windup, is shunned, hated, in reaction to what she was, and what she represented: something highly unnatural. By the same token, there are holes in that sort of feeling, as one character confronts towards the end of the novel. One thing that particularly stuck in my mind was how much of evolution is an unnatural, random occurrence, verses how much of it is conscious decisions that any sort of creature makes that better enhances their chances of survival? In this world, survival is predicated on the work of gene rippers and scientists who remain just a couple of steps against plagues – it is noted that the windups are built for a purpose, and that they are immune to most problems in the world because of their unique design. Like the clashes in the Thailand government, there is a larger struggle at stake, survival, with both sides making valid arguments for their continued existence. In a sense, this story is a look at how the human race might choose to survive, and enter a new stage of development. To me, this is a very profound element to the story.

When all is said and done, there is one big theme that goes through and through with this book: survival. Each element of the book deals with this very issue, from the ultimate survival of the human race in a hostile world, to the immediate survival of several characters who are neck deep in political and economic conspiracy to the various branches of government who want to see their vision of the future for their country to survive the coming turmoil.

What truly stands out for this book is the rich detail and fantastic prose. I’ve purposely taken my time with this book so that I could absorb as much as I could. What Bacugalupi puts together is a superior story, one of the best science fiction novels that I have read in a long time, one that takes the best from well thought out characters, plausible economics and science and a complicated story.

Stargate Universe

On Friday, the SyFy channel unveiled its latest addition from the Stargate franchise, Stargate: Universe to high ratings, showing that the third series has a good potential at life for the newly relaunched channel. This new version is an enormous leap forward for the series, evolving characters, storylines and the entire universe in which the show is set to bring about what looks to be a very promising addition to both the franchise and the genre.

Stargate: Universe opens quietly, with several location shots of space and the Destiny, the ship on which the show will be taking place, with an eventual cut to the familiar image of an active Stargate. A single soldier flies through the opening (Lt. Matthew Scott), falling and quickly checking his surroundings. What happens next is a mad rush of people and equipment. There is no explanation, no introduction of characters or their situation. It proves to be one of the most compelling moments in the franchise to date, and is so out of character for the Stargate Universe that this could very well be a different show, unrelated to the Stargate franchise, one that utilizes only one of the elements of the original show to any large degree, the titular Stargate.

The rest of the episode is shown through alternating scenes, the frantic scenes onboard the Ancient ship and the moments leading up to their predicament. Notable characters, such as Daniel Jackson, Jack O’Neill and Samantha Carter all make short cameos, which helps transition this universe from the familiar world of SG-1. I was happy to see that the characters got their moments, (they did the same for Atlantis), but I was equally happy that these appearances were just placeholders, showing that the franchise and storylines moved on after SG-1, and that there were other things to explore. The episode storyline is also very different from what longtime viewers of SG-1 or Atlantis might expect, both in story and execution. With the unconventional start to the episode, we go back to see Eli Wallace, a typical geek-type, solves a puzzle on an MMORPG and is visited by O’Neill and Dr. Rush, who tell him that the puzzle was to help solve a problem that the SGC was having off world. Eli is brought to a spaceship (where we see Daniel Jackson at his best, explaining things in long form) and brought to Icarus Base, where Rush is working out an equation to uncover the meaning behind the 9th chevron of the Stargate. Because of the planet’s unique properties, this is the ideal place to study, for power reasons. Shortly after the delegation’s arrival, the planet is attacked and the team, with Eli’s help, is able to dial the new address with the 9th Chevron, bringing the storyline to The Destiny, an Ancient ship designed to explore, but that is also falling apart.

Thus, the series begins, not with the very typical elements that defined the earlier shows, but with even more basic ones – air supply (the first three episodes are called Air, Parts 1, 2 and 3, with 3 airing next Friday) food and water, with the very survival of the people, all unprepared for this unexpected journey. This is a huge change from the two prior series – the characters were laid out, the story generally involved a new planet or technology, and everyone was home by supper. This changed over the evolution of the shows, but by and large, this formula didn’t change all that much. This, on the other hand, takes the formula and throws it through the Stargate. While this isn’t BattlestarGate like a lot of people had thought, it’s clear that SyFy has realized that the method of storytelling that Battlestar Galactica utilized would work well for this show, and from all appearances, it’s been utilized very well.

What I liked most of all was that this isn’t a rehash of SG-1 like Stargate Atlantis was. SG-1 was a very fun show, one that really grew with time, but a show that really held to many of the same conventions throughout. Thus, it was consistent, but as viewers tastes in shows matures, the show did not. Atlantis was essentially a rehash of SG-1, just with different characters in a different galaxy, but with many of the same stories and even situations carrying over. This show, on the other hand, seems to seek out a very different path with the overall intent of the storyline, going over some new territory and retreading some very basic older ground.

What the show does to the franchise is that it removes many of the assumptions that the earlier shows held. Travelling to another planet, after a while, became very routine and as such, much of that energy and enthusiasm vanished in the first couple seasons, and were aptly replaced by the major storylines that developed. This is in no way a bad thing, but it was a noticeable thing. With Universe, that sense is back, but with it is much of the danger and feeling of the unknown. Where SG-1 sprinted through stories, Universe is taking the slower and more deliberate route, which should be more realistic, but more interesting to the modern viewer.

Like in SG-1, the core of the story is exploration; really capturing what I believe is the central essence of Science Fiction, exploration. This is demonstrated after the refugees from the base find themselves on the ship, and it is explained that they can fulfill something important while onboard, exploring the universe around them, essentially making the best of what is a really terrible situation. This is where the show delves into new territory, with a race for survival for basics – security and air. This was explored a bit in Atlantis, but not nearly with as much urgency as here. SGC members tread around the ship, almost getting killed when they open the wrong doors, and they race to repair the atmospheric conditions on board by plugging a couple of leaks that they find and fixing the air scrubbers. This is something that never seemed to happen in the original shows, and to some extent, it feels a little more like the original film upon which the shows are based. This is something that will most likely continue with the rest of the series, as the characters begin to inventory what they have – tape, paper, but not much when it comes to necessities. Hugo Award winning author John Scalzi has been brought in as a consultant, and noted that the crew has a finite number of resources, such as bullets and food, and that this figures into the style of the show.

What is also very promising for the rest of the series is the characters. While initially reading over the early plots and character descriptions, I wasn’t very hopeful for how the show looked. Fortunately, SyFy has assembled a very promising cast of characters, each with their own moments in the limelight as the story progressed in the first episode. There is enough background hinted at for each character for a whole multitude of upcoming stories, somewhat along the lines of what was done in LOST, which is good. We have a number of characters that really aren’t the cut and dry, good and bad sort of characters. Rather, we’re treated to numerous shades of gray, and I’m not sure where these characters will end up by the end of Season 1. Of the entire cast, however, Dr. Nicholas Rush, played by Robert Carlyle is the most intriguing, with a hinted tragic past and unclear motivations, and will clearly be a person to watch during future episodes. A number of the other characters are also quite interesting, and I am eager to see what they do with a couple of them.

Universe, when it was first announced, was not a show that I was looking forward to. Early news reports did not look good, and even with the first trailers, I wasn’t won over by the premise. It was not until I began to hear that this show would be different, not only in how it was shot, but how it was structured, that I began to take more of an interest, and watching the results, I was amazed at how the franchise had grown up to what I saw before me. This is a good move for SyFy and the Stargate franchise, because it shows that the story can move onto different story models and styles, rather than essentially rehashing much of the same, as Atlantis did with SG-1. Atlantis failed after only five seasons, compared to SG-1’s massive run of ten seasons. Indeed, the eventual failure of SG-1 is most likely the same as Atlantis’s - the show simply did not change enough from the original model, even with a fairly new cast and set of storylines that would have carried it into future seasons. Universe seems to be that change that the franchise has so desperately needed, one that retains the familiar aspects of the shows that we know and love, but with newer elements that have been shown to work very well in a number of newer shows.

Air, Parts 1 and 2, are a fantastic start to the new show, and if they are any indication of how this season will fare, it will be very interesting indeed. Already, it is amongst the best two hours in the entire franchise, and I have a feeling that the rest of the show will put Universe as one of the better shows in the franchise, if not the best of the three. I am now eagerly awaiting the rest of the season.

The Progressive Era, Government and Industry and Trust

The political climate over the past year has gotten me thinking about the relationship between government and the economy, and it’s turned my thinking around in a number of different ways. It’s an incredibly difficult subject to approach, and I’ve often found myself caught between both sides of the argument.

I’ve recently been studying the Progressive Era, especially in the state of Vermont, in the early 1900s. From the mid 1800s to that point, Vermont underwent a bit of a technical revolution, with larger industries, namely with Granite in Barre, coming into the state, with their own histories with organized labor and several incidents of unrest. In my current research, I’m examining Byron Clark, a Burlington man who I feel exemplifies the Progressive era as a model representative, and through this research, I’ve come across several sources that have noted that the Progressive Era was a time of massive social reform in response to industry.

“The progressive era has long been recognized as one of substantial contribution to social legislation. Working through state and national legislatures, reformers rewrote child labor laws and safety and factory inspection statues. They cast the society’s response to industrial accident and death into the new form of workmen’s compensation. They limited working hours for some women and in a few cases, for men. In some states, night work became illegal. By 1915, several states had passed minimum wage legislation.” (1)

As business and the economy grew in the United States during this time, many of these reforms were left to the states. As the economy likewise began to nationalize, so to did reformers, who saw a need for uniform legislation to cover a more uniform economy. (2) Clark wasn’t involved with this level of the Progressive era, as I’ve found little evidence that he worked in state-wide or national politics, but his actions clearly indicate that he saw a need for the sort of things that industry detracted from in society – the need for a well rounded education in the body, mind and spirit of children, for example, which still lives on with him today through the continued operation of YMCA Camp Abnaki in North Hero, VT.

My point in all of this is that the unfettered rise of industry in this country is one that is not pretty. It was exploitative on a wide scale level, by industry bosses who raced to undercut their competitors at the expense of the workers who made up their bottom line. One of the more interesting reads that I’ve come across is David Von Drehle’s book, Triangle: The Fire That Changed America, which looks at the Triangle Shirtwaist factory fire that killed a number of workers because the company’s upper management felt that the risk of workers taking too many smoking breaks outweighed the risk of proper safety. As it happened, workers died because the fire escapes were chained up.

A friend of mine, in her blog, pondered the question, why is it more important to distrust government over industry? There are valid arguments for distrust of any sort of governmental setup – an overabundance of regulation when it comes to industry can harm the innovation and expansion of market power that helps keep the economy robust, as many Republican members of congress have noted in their oppositions to the current reforms that are ongoing in legislation at the moment.

This, I think, is where the Progressive era can be extremely helpful. Faced with the excesses of industry and overwhelming legislation, the Progressive Era is a transitional point between the two extremes, from a laissez-faire part of history prior to the era, to the New Deal reforms of the 1930s and 1940s. The Progressive Era was the middle ground that seems to be so coveted by the American public, but for some reason, it seems to be unobtainable.

Like Amber noted in her blog, I don’t trust Industry. From its own history throughout its rise, it has proven, time and time again that the interests of a nation and the well being of the people are not at the forefront of any sort of industrial agenda, aside from the added effect of raising a country’s GDP and economy. In this excuse, it seems to be okay for companies to contaminate our ground and air, duck responsibility for accidents and try to deceive the general public. While I was in college, I worked with a small company that helps to inspect and analyze groundwater contamination, and by Dad, who’s worked at the company, has been called as an expert witness on the behalf of some, going up against larger oil companies who try to pass off the problem to those who ultimately are not responsible. Similarly, with companies such as Union Carbide, Pfizer and Monsanto Corporation are all modern companies who have had similar accidents for which they have shown that while they can provide much good for the well being of the nation, they can also cause a great amount of harm for those who are unfortunate enough to live in the same areas. People who argue that industry can be responsible may have some valid points, but they miss or disregard most of the arguments that prove that this isn’t the case. Industry cannot be responsible for its own actions because it has shown that. Regulation, in many cases, not all, helps to keep this behavior in check, to keep industry responsible for its actions. This is the greatest lesson out of the Progressive era that I’ve come across.

From the past and present, we have to look to the future. The current argument of government vs. economy is one that will rage on for a long time, and I’ve found myself thinking about it while reading Paolo Bacigalupi’s first novel, The Windup Girl. It’s a hard SF novel that deals with this very issue – a world that is overrun by industrial greed, in the form of large agricultural companies who have decimated the planet with artificial plagues that have run out of control. I’m hoping to write up a review for the book in the coming week or so (I’m taking my time with it right now), but I think that there are some valuable lessons here – industrial and corporate powers are really not the ones to be trusted – their interests lie elsewhere. While generating a profit is hardly a bad thing, it should not be at the expense of the lives of the people around them.

1 – William Graebner. “Federalism in the Progressive Era: A Structural Interpretation of Reform.” The Journal of American History, Vol 64, No. 2 (Sept 1977), 331
2 – Ibid, 332

Recommended Readings

My friend Tyler copied an idea from another blog about his ten must-read books. I figured that I’d get in on the game with a list of my own essential books. I’ll try and avoid some of the more obvious ones, as he noted, such as Lord of the Rings and The Golden Compass with some stuff that usually doesn’t get enough attention. I can’t, however, promise that I’m going to limit it to an arbatrary number. I will limit it to geek-related reading, however. SF, Science, Fantasy, etc.

The Magicians, Lev Grossman. I read this book late in the summer, and was really impressed with the storyline and direction that it took. While ostensibly a ripoff of Harry Potter and The Chronicles of Narnia, this book explores more realistic feelings of a young man being trained in the art of magic.
Wired for War, P.W. Singer. This was an earlier read this year, for which I wrote a review for io9, and had a chance to meet and speak with Mr. Singer. This book is ripe with SF references and potential, looking at the introduction of robotic entities into warfare, and how that effects not only combat, but our military’s structure.
Jonathan Strange and Mr. Norrell, Susanna Clarke. Suzanne Clarke is possibly one of the best fantasy writers of our generation. JSMR is a stunning book, rich in depth and prose, and is a very deliberate book to get through. It’s long, challenging and absolutely fantastic.
Men of Tomorrow: Geeks, Gangsters and the Birth of the Comic Book, Gerald Jones. This book is what got me interested in social history, which has then gotten me further interested in the field and writing. This book presents a very interesting chronicle of the comic book industry, linking it to major events throughout US history, and traces the beginnings of the first comic strips to the industry that it is today.
Coyote, Allen M. Steele. Coyote was initially published as a series of short stories by Steele in Asimov’s Science Fiction, and is a great read on intersteller travel, near future politics (this was born out of the Bush Administration, and while it’s interesting, it’s not necessarily accurate or really in depth) and the colonization of a world, a sort of parallel with the foundation of the United States.
The World Without Us, Alan Weisman. Alan Wesiman askes an interesting question: what would happen if humanity just vanished? He then goes on to say what would happen – infrastructure would collapse and vanish quickly, and this premise was used in the recent film I Am Legend. However, there’s a really good part of this that examines our relationship with nature.
The Lies of Locke Lamora, Scott Lynch. Scott Lynch’s first novel is an absolutely riveting read. Lynch is a master at epic world building, creating a detailed fantasy society that includes the darker elements that most Fantasy series seem to avoid. His followup novel, Red Seas under Red Skies is also well worth reading.
The Icarus Hunt, Timothy Zahn. This is an older book by one of my favorite authors, Timothy Zahn. It’s fairly light fare, but it’s an entertaining space opera novel that holds up well.
In the Shadow of the Moon, Francis French and Colin Burgess. With the 40th anniversary of the Lunar Landings, there has been an influx of interest in the history of space travel. The University of Nebraska has been on the ball for a couple years now, with the release of In the Shadow of the Moon, which has no connection to the wonderful documentary of the same title. This book examines the history of space travel, on the behalf of the US and Russia, from Gemini to Apollo 11, covering the territory in fantastic detail. The other books in the series are also wonderful.
City of Pearl, Karen Traviss. Karen Traviss’s debut novel is the first of a six book series and helps to establish her as one of the best new SF writers of the decade. Her stories take place in a number of well concieved worlds and looks over near-future technology, environmental issues and corporate demands. Oh yeah, and some interesting first contact situations and interstellar warfare.
American Gods, Neil Gaiman. What’s to say about American Gods that hasn’t been said before? Gaiman has put together an incredible story.
Altered Carbon, Richard K. Morgan. Richard K. Morgan is another up and coming SF writer who has just burst onto the scene in wonderful fashion with this book, Altered Carbon. Morgan puts together a fantastic futuristic world through the story of a noir-esque mystery.
Ringworld, Larry Niven. This is already a classic in the SF world, but I wanted to include it because it doesn’t get as much attention as some of the other heavyweights of the genre. Ringworld combines epic science fiction from the best elements and lofty themes of the 1970s with another classic theme of SF, exploration.
Soon I Will Be Invincible, Austin Grossman. Austin Grossman’s first novel about a group of Superheroes in modern society is a fun, exciting and interesting read. These superheroes are a far cry from those of the classic superheroes that are in the comics: these guys have affairs, problems and a rich comic book-style history behind this world. Fans of Watchmen should enjoy it.
The Amazing Adventures of Kavalier and Clay, Michael Chabon. Michael Chabon’s Pulitzer Prize winning novel is the story of the creation of Superman, and I would actually recommend reading it along with Men of Tomorrow. It’s a wonderful and engaging read.
The Science Fiction Hall of Fame, Vol 1, Robert Silverberg. This last book is one that I would recommend above all others. If there was ever a situation in which you could only read one SF book, this is the one that I’d recommend. A collection of superb SF stories from the best minds of the genre, this book is one that is absolutely essential. The stories, writing and authors are all top-notch for their times, and this collection of their best works is easily the best snapshot of the genre that I can think of.

Review: Old Man’s War

Now that I’m done with my Master’s, I’ve been finding myself with lots of free time. Fortunately, I’ve amassed a small pile (okay, quite large) of books that I’m starting to tackle. Right close to the top was Old Man’s War, by John Scalzi, which was recommended to me by a number of io9 readers after releasing a list of top military SF books and films. I hadn’t included this book because I was unfamiliar with it, but after reading it, it certainly deserves a place on the list.

Old Man’s War was Scalzi’s first science fiction novel, and for it, he won the John Campbell Award for best new writer. The story follows John Perry, a seventy-five year old man on Earth who has joined the Colonial Defense Force (CDF). People of his advanced age are specifically recruited because of their lifetime of experiences. He receives a new body, bonds with new fellow recruits and goes into training to become an advanced soldier. Humanity has spread to the stars, and its numerous colonies are largely under constant threat from other alien races throughout the galaxy. Perry goes into action with his unit against numerous races in a number of various battles, before a fateful final battle that leaves him the only survivor.

This is a fun read. Scalzi does a good job conceptualizing a futuristic warrior, the training and captures the battlefield and training bond between soldiers. A constant theme that is explored throughout the book is the idea of fighting for humanity, as a race, despite being a radical variation of said race, while not fighting specifically for a unified government or planet. The soldiers go from fighting for a grand concept such as the survival and foothold of the human race to something much smaller and more concrete, fighting for the survival of their unit.

Fans of military science fiction will really enjoy this book for the tech and action. Scalzi sets some fantastic battles throughout the story, and does a good job linking some of them together along with John Perry’s reaction to warfare and his role that he’s playing. A particular draw of military science fiction is the advanced super soldier, and Scalzi’s green, cat-eyed, rapidly healing and computer interfaced soldiers are nothing new to the genre, but they are fun to read about, and provides just enough new twists to the concept to make it modern and interesting.

On the whole of it, the book is a very standard military science fiction novel. It is a fun read, but it has a number of flaws throughout that substantially weakened the novel. The first of these is the title of the novel, and the gimmick that is relied on – the use of old men and women as soldiers, because supposedly their lifetime of experiences will help with their combat experience. This is only touched upon in the book – it’s noted that soldiers have a lifetime of experiences to undo, and throughout the novel, Perry only references his old life back on Earth a handful of times. There’s very little practical help that a long life really provides for a soldier, save for one, and that’s the link to humanity and earth, but even then, that is not utilized in a way that it really could have been, and all in all, older soldiers are really no different than younger ones, given the tech and upgrades that they receive. Furthermore, the end of the book sees the introduction of the Ghost Brigades, experimental soldiers who have grown up fighting, who seem to be generally more effective than the regular soldiers. This entire aspect of the book left me wanting for more.

The last quarter of the book felt incredibly rushed to me. An alien race has utilized a new technology that proves to be devastating to the human ships during one of the final conflicts in the novel, and Perry is assigned to help the Ghost Brigades capture the devices on the planet. This to me seemed to have very little relation to the experiences that Perry had accumulated throughout the book, breaking an overall good story and character arc, and it misses the vital arguments above that would have helped link Perry’s motives in the military with the rest of the human race. Instead, it was a final bang and exposition to which the book ends and it left me both disappointed that there wasn’t some revelations to be found from the characters, and that it seemed to just exist for the sole purpose of the next book, titled The Ghost Brigades.

Scalzi falls into a trap that a lot of military science fiction writers seem to fall into: take soldiers, enhance them, and then turn them loose against alien foes. Essentially, most military science fiction novels utilize military doctrine and tactics that seem to be right out of the Second World War 2 or Vietnam, with little exploration to how the military actually works, and how military tactics change to reflect new technology. Infantry warfare is one of the earliest types of warfare, and I honestly find it difficult to believe that it will exist in the future as it is portrayed. There is no mention of other styles of fighting, such as maneuver warfare that pairs up infantry with armored forces, or the capabilities of air power against infantry forces. A quick survey of warfare in the past couple of decades will show that both are as equally important as infantry forces. Indeed, this is the future, with far advanced technology – what advances might there be in the next hundred years, and how will that inevitably impact warfare as we know it? People with guns in hand fighting as they do in this book is a fairly unrealistic method that places characters in an extreme situation to extract some sort of revelation – that never really comes – from the protagonist.

Furthermore, while Scalzi has put forth a fairly well worn and conceptualized universe, the entire system of the CDF and colonies isn’t fully explained or realized in the book. There doesn’t seem to be any unified system of government between the colonies, and the CDF is deployed at a moment’s notice to wherever there are problems with one of the colonies. For a massive government waging constant war against aggressors, it seems illogical that there doesn’t appear to be any sort of overall plan or guiding strategy that both utilizes diplomacy to secure its borders and military force as a way of enforcing those borders, if you’re a student of Clausewitz. Military forces are not deployed willy-nilly in the real world, without extensive benefits to that government. Here, the colonies seem to be fighting holding actions, with some allies, to hold onto their planets. The absence and outright rejection of diplomacy in this world seems even more illogical.

That all being said, this is an interesting, fun and light read for anybody who is inclined to read military science fiction. While the book doesn’t really add anything significant to the subgenre, that’s not necessarily the requirement for a good read in the genre. I am interested to see where Scalzi will take this world and characters, and as such, I’ve already picked up The Ghost Brigades. Hopefully some of the issues will be corrected at some point in the upcoming novels in his series, and if not, it’s not detrimental to the world that has been set up.

iPhone

The future is here, I’m sure of it. For the past couple of years, I’ve owned a variety of Apple iPods to keep up with my growing interest in music. Looking back at my record with the devices, I’m a little surprised that I actually stuck with the product – since my first one, I’ve gone through five. Two 3rd generation Classics, 2 2nd generation Nanos and a 2nd generation iPod Touch, which has since been swapped out for an iPhone. Fortunately, I’ve only paid for a couple of these, because of Apple’s fantastic warranty, which covered the first couple devices when their hard drives broke.

I resisted the idea of buying an iPhone for a while, which was one reason why I bought the Touch from a fellow 501st member earlier this year. That was where I realized that there was quite a lot to these devices, and partially the reason why I went out and got a phone. The sheer functionality of the two devices have been a very interesting one, and I believe that it’s something right out of science fiction.

I’m finding that the iPhone is an invaluable tool – just carrying it around with me allows me ready access to my calendar, a camera, my e-mail, a calculator, notebook, dictionary, thesaurus, first aid guide, an e-book reader, maps, a compass, the weather, and the internet, among other things, as well as being my phone and music player. I’m slowly getting into the habit of tracking my bills, 501st and work events, concerts and a bunch of other things by using it as a planner, while noting down my food shopping list, interesting books as I browse and looking up the occasional word when I come across something I can’t readily remember.

Essentially, what I can hold in my hand is an entirely new method of communicating with the world. I know I’m preaching to the choir here on the Internet. But I’m absolutely astounded that I can check my e-mail, various discussion forums, the news, weather and so much more, practically everywhere I go. (Given AT&T’s crappy coverage of Vermont, my options are pretty limited in places). Thinking back to my family’s first mobile phone, a clunky, bulky thing that could hardly be put into a pocket, and could only do one thing: call another phone. Here, calling another phone is almost an afterthought.

Star Trek is largely credited with the idea of a hand-held communicator, and the idea has been used throughout the SF genre for years. Taken back to the 1960s, an iPhone, even without having any form of cellular network to operate on, would still be a pretty handy device – it already would be more powerful than the Apollo spacecraft, and considering that the computers of the time were the size of a room. No wonder that the idea of a handheld, wireless communications device would have been a radical idea at the time, and even throughout the next couple of decades, this sort of thing can be used as a prop in the genre.

What interests me more is that for such a rapid development in our society, the influence of something such as a smart phone doesn’t seem to make its appearance in Science Fiction as prominently as it might have been. During the Golden Age of Science Fiction, the knowledge that someday, people could walk around, constantly in contact with one another via an impossible technology would have made prime story material for some of the authors. Indeed, some of the effects of these devices would probably fulfill some science fiction authors worst nightmares about a healthy society. The declines in reading, the mutilation of reading and writing abilities, the shorter attention spans and other, similar troublesome trends that we are seeing now help provide the need for such devices.

I for one, have noticed the changes in my own behavior with my phone. Before, I existed without internet at my apartment, although I could check my e-mail on my prior phone. I didn’t have television and most of my news updates came from my commute to and from work. Now, I find myself checking my messages every hour or so, while being able to access an incredible amount of information whenever I think of it. Should I want to learn anything about the Faroe Islands (an island group in Northern Europe between Norway and Iceland), or if I need to look up the meaning for the word ’causerie’ (light informal conversation for social occasions) or tomorrow’s weather, (Mostly sunny, highs in the mid 70s, Light and variable winds…), I have it at my fingertips. I’ve made a conscious effort to fill my phone with things that are useful, and as such, I’ve found that in this regard, the phone is a very powerful tool, akin to the Hitchhiker’s Guide to the Galaxy, or the Encyclopedia Galactica. But at other times, I just want to put it away, and just read a book.

Unfortunately, the phone has that covered. I downloaded the iPhone’s version of Amazon.com’s Kindle technology, which further adds to its already impressive array of uses by turning it into an ebook reader. I’ve downloaded a handful of the free offerings from the website. I’m currently reading Mary Shelly’s Frankenstein, Naomi Novik’s His Majesty’s Dragon, Kim Stanley Robinson’s Red Mars and China Mieville’s Perdido Street Station, which is sure to keep me occupied at the next time that I am stuck in a line or away from my books. I can’t say that I’m sold on the idea of an ebook reader, but with the option, and the occasions when I’ve found myself away from whatever I’m reading, I find it to be incredibly useful.

A couple years ago, this sounded like something out of a science fiction novel or film – the advances in technology and miniaturization over the past couple of years has the potential to change how we learn, access information and communicate with one another, but it doesn’t change the way in which we interpret that information – it just gives us more and more as people’s appetite for information over knowledge increases, which I find more worrying. I like to think that I have customized the programs in my phone be of use, for communications and information access, as well as for entertainment, and as a result, it’s by my side constantly. It’s handy, but I’m happy that there is one feature on it that has been a staple of all computers since their creation: an off switch.

Substance vs. Style in Science Fiction

Producer Jesse Alexander just wrote up an interesting guest column on website io9 recently, (which you can read here), where he talks about a couple of subjects that I’ve been thinking about lately: the vast difference between substance and visual appeal of the science fiction genre, particularly in movies.

In his piece, he notes that CGI-laden blockbusters have really taken over the movie theaters over the summer season, almost completely. This past summer, we’ve had Terminator 4, Transformers 2, GI Joe, Star Trek, and Harry Potter all costing in the hundreds of millions of dollars to produce from beginning to end, none of which were really all that great, while the two standout movies in the SF genre were Moon and District 9, both of which cost $5 million and $30 million to create, respectively. This begs the question, as Alexander does, where did these two films succeed where the others failed.

The above films all did really well at the box office, grossing back quite a bit of money (although Terminator: Salvation did pretty poorly, but it will warrant a sequel, if the rumors are to be believed) but of everything that was released this summer, only Moon and District 9 really captured the essence of science fiction on all levels. They were wholly original, influences aside, and are the ones that have come out of this summer that will be remembered for a long time as solid entries in the genre’s film side of things.

One of the things that charges are laid against is the use of CGI in films, which has become far more sophisticated and prevalent in films, especially science fiction films. I’m not totally sure that CGI is really the thing to blame here, but the effect that it has on filmmaking and the entire process. CGI is a fantastic tool for filmmakers, especially in the science fiction field. The problem comes when the glamor and expanded visual field overtakes the story in terms of importance.

For me, story is everything with a film or television show, and the Science Fiction genre is a fantastic place for any number of possible stories. There have been a number of fantastic films out there that I can put forward as an example for good storytelling: Minority Report, The Prestige, Serenity, The Fountain, Pan’s Labyrinth, and of course, Moon and District 9. These movies utilized special effects throughout, but did so in a way that didn’t jeopardize the story to the extent that other films might have. A couple of television shows, such as Battlestar Galactica and Firefly have followed much the same philosophy with their approaches to CGI: the visuals are placed in the film/show to support the events in the story.

My favorite example is 2005’s release of Star Wars: Revenge of the Sith and Serenity. Both films with significant fanbases, but with very different approaches to the stories. Serenity was a much smaller film, with a killer story to finish up the Firefly TV series, while Revenge of the Sith was a far more bloated and cumbersome film that cost a significant amount of money to produce. Given the financial troubles and uncertainty of the next couple of years, I would bet that that type of filmmaking will continue, but there will be a rise in films such as Moon, Serenity and District 9. Each of these films received a large amount of critical favor, and while none approached the same amount of money that these larger films pulled in, they didn’t cost as much as the much larger films.

One thing about these huge CGI films that I noticed is that the ones this summer were already part of a larger storyline or franchise – there were a lot of numbers after the titles, and I have to wonder if that is part of this empty storytelling trend that Science Fiction seems to have picked up over the past couple decades. I don’t mind sequels – There’s a number of stories out there that I love seeing more of. But, when does a good franchise become a cash cow, with more of the same to it? Transformers was reportedly like that, even up to the director’s level, where more of the same, but just more intense was better. Harry Potter has largely been like this from day one, and Star Trek wasn’t all that impressive after you started thinking about it. This, to me, is a sad thing for the genre, one that I’ve always seen as being far more creative than most of the other genres out there, if only for the exotic subject matter.

There are a couple of things that bother me about this sort of thing, mainly that people are more than happy to take any sort of mind-numbing entertainment and expect nothing more. While this is a bit of a leap, it seems like this is a problem that extends far beyond the entertainment realm, from education to politics. Moon and District 9 worked brilliantly together this summer because they were two films that had intelligent plots, good characterization and an unconventional way of presenting the stories. Despite that, I read a number of reviews that noted that the plots didn’t make sense, that there weren’t enough explosions and the like. These sorts of reviews usually bother me, as they did with reviews about Lev Grossman’s The Magicians, where people just didn’t, or couldn’t understand what the stories were about, and because they didn’t like them, refused to think any more about the subject.

What I am hoping will come out of this is that smaller, cheaper, genre films will become more popular, with producers who are willing to take a little more of a gamble. The films this summer proved that filmmakers could get around expensive effects, by using models, preexisting locations and actors who might not necessarily be as well known. If there are any lessons to be learned from this summer, it is that when a good story is in place, the film can succeed toe to toe with any of the big blockbusters. For me, I’m happy that there’s something out there that’s a little different, a bit challenging and above all, something that makes me think about what I’m watching.