Sci Fi

OMG Your fandom is toxic!

CW: Strong Language.

This is my surprised face:

I know. Not that surprised. It is definitely a face though.

You might wonder what the hell I’m going on about. If you are – thank your lucky stars/elixir of life/+5 Boots of Luck you don’t and don’t go digging. Walk away from this post now.

If you do know what I’m going on about then…well I’m seeing a lot of people wondering why PoC stick around when SFF fandom is so…full of people who would like to gatekeep us into what they believe is our place.

So here’s my journey back to being an SFF nerd and why in some ways I don’t give a flying fuck what old racists, homophobes, sexists and newly minted transphobes have to say and why, in others, I want to find them and remind them, forcefully, of just how irrelevant people like me make them.

I read a lot of trashy fantasy when I was growing up and some slightly more thoughtful SF. I had a wall of the stuff and loved nothing more than reading (especially when i should have been revising. Fortunately I have a memory that won’t quit so it didn’t destroy my chances). I played a lot of D&D so had shelves of Weis and Hickman, Forgotten Realms, Drizzt Do’urden. I discovered Guy Gavriel Kay, Heinlein, EE Doc Smith, Asimov and others courtesy of my father’s book shelves.

Then I stopped reading – mainly because I had people around me who frowned upon my reading material and I totally internalised their moral panic.

I read pretty much nothing except non-fiction until I was in my early 20s and rediscovered fiction. By that time I had completed my PhD in theoretical physics and, honestly, SFF bored the hell out of me. I couldn’t get past the crap (ranging from mcguffin through to ‘you really don’t understand this at all, do you) science in most SF. I’ve grown. I don’t care about your science now – I’m interested in other things.

No. After 7 years of reading philosophy, mathematics, theology and economics I discovered I wanted nothing more than to read contemporary literary fiction. Fury by Salman Rushdie, The South American Trilogy by Louis De Berniere and my all time favourite book – the Master and Margerita.

Why? Not because they’re inherently better but because they did this thing: they explored ideas and talked about subjects I had no other outlet with which to explore what was burning in my heart. I remember reading the Restraint of Beasts by Magnus Mills and House of Leaves by Mark Z Danielewski and realising fiction could do something great and profound. It could change who I was.

I was also discovering who I was as a person (I’m a venerable 45 now so being in my 20s was literally 20 years ago). I realised after talking to a Black friend that I’d spent most of my first 20 years of life trying to be white. Which obviously hadn’t worked for me. I realised I didn’t have to be ashamed of being brown – except brown people spent quite a lot of time telling me I wasn’t brown enough.

I realised I’m what you might call Liminal. At the time I was under the impression that my multiple heritages included Indian, English, Irish, French, Italian, Polish and Jewish. The largest components being Jewish and Indian. It’s since, in the last year, turned out I have no Jewish ancestry, nor Italian, but instead have Ukrainian Roma and Egyptian to swap those out with. Yes, it’s a long story involving the Shoah and prejudice and hidden histories which only came to light as that generation died. But I digress.

I didn’t return to SFF for a couple of reasons. The writing largely bored me – at least the stuff I was coming across. Compared to Hilary Mantel or Haruki Murakami or Jose Saramago or Anthony Burgess they were but pale imitations of what fiction can achieve. But. And it’s a big but. There’s a second reason lurking underneath this difficulty in finding a connection with a subject matter that, if left alone, I get terribly excited about.

I never saw myself on the page. Fantasy seemed to be almost addicted to the prince fighting for their kingdom or a chosen one, someone with special blood doing what no one else could (why always with this bullshit?). Not only could I not understand why anyone would write romantic peans to the divine right of kings when that kind of thinking is demonstrably bad for our personal agency and for civic society but as someone with more heritages than tv channels growing up, I really couldn’t see myself in their shoes. I am NEVER going to be the chosen one. And socially? It seemed (because I had no one to educate me) that it was socially retrograde beyond just lamenting our loss of kings with absolute power. Now, looking back, I know there was more out there, but those exceptions only prove the rule for me. Fandom and fantasy writers alike were (and still are in many respects) backward looking socially. There are obviously great exceptions to this now but I’m not wasting my time listing my caveats – especially when I have entire posts about those great writers elsewhere on this site.

So what brought me back to reading SFF? Because I literally stumbled upon writers who conveyed something different. Adam Roberts, Jeff Vandermeer, Hilary Mantel (again. Check out Beyond Black or Fludd if you want to see a master at work), Peter Watts, Hannu Rajaniemi, Lavie Tidhe, Octavia Butler, Vikram Chandra, Ann Leckie and Kelly Link.

What was eye opening? They talked about experiences I had, they were concerned with struggles I knew. And the ideas! Oh the ideas.

I still didn’t engage with fandom. Honestly I didn’t really know it existed.

Then I started getting my own work published and, as part of that, started attending cons. Nineworlds was my first and I was wonderfully buddied there by long time friend David Thomas Moore. It was a wonderful experience as my first con. I’m fortunate in that I’m not particularly shy and spend most of my working life negotiating/networking, so I don’t generally feel nervous about being in places where I don’t know people. Add to that an upbringing where i moved something like 7 times before university meant I’ve lots of experience of being on the outside looking in.

However, for the most part I made some great friends there and then even more at my first FCon. People like the incomparable Rehema Njambi, Mike Brooks, Tade Thompson, Anna Stephens, Peter McLean, Adrian and Annie Tchaikovsky and Anna Smith Spark just to mention those I remember from my early days at these things. (Also Frog Croakley and Penny Reeves who were tequila buddies when we all should have known better). I found people like me and it was glorious.

Now I’ve come into fandom late. I’m a fairly intimidating looking middle aged straight man and one whose accustomed to wielding actual power in my every day life. So I’m not easily phased by micro-aggressions. I’m also not generally ready to put up with bullshit and I will and have intervened where I see it.

Honestly, most of the people I’ve come across – be they super stars of kindness and creativity like Alasdair Stuart or fiery and righteous people like Farah Mendelsohn – are people I want to be like, people I want to impress because they impress me. They’re people who I want to be around. And I *think* most of fandom is like that on a day to day basis.

However. It’s also got a decent share of utter arseholes. People who think they are empowered as gatekeepers (and might actually be) when they have no right to that power. It’s got people who think mixed race characters have no place in fiction, that women can’t write, that we should be celebrating ‘old school’ fiction where ‘men were men’. It’s got people who’ll brigade new authors they don’t like (I won’t go over my own ample -ve experiences of being an author; I’ve documented them elsewhere) because they’re women or BIPOC or whatever other ugly and spurious degree of separation they believe makes them invalid.

But worse than that, and backed up by proper research, is the fact that toxic fandom has publishing on its side. You may think that’s not true and I love you my dear summer child. The stats are clear – publishing is a white industry. The books published are, largely, by white people. And the deafening silence from the vast majority of publishers on these issues is damning.

I work for an investment bank and we’ve made more noise and taken more actual substantive actions to change our composition and structure. We, the bastions of capitalism. It may be self-serving but then if it’s self-serving for us…how much more so for an industry like publishing which on the face of it wants to be seen as progressive far more than finance.

If you have a toxic publishing industry then you will have a toxic fandom because both are predicated on structures which permit and bake into the very nature of the system these kinds of outcomes.

And you know what? I’m nervous about writing this boldly about publishing. I’m trying to sell my books and I love SFF. There is a fear in my gut that speaking clearly about the issues here, in calling them out, I damage my agent’s ability to sell my work, that I alienate readers and editors, salespeople and marketers. I want to write about slavery, about rebellion, about ordinary people doing remarkable things, about being liminal, about being Black, Indian, outside, about power and about the long tail of colonialism. I want to write about hope, about how we can make a difference. You and I. Together.

This kind of self-censorship is one I can sidestep because I have a job that pays the wages. I work as hard on my writing as anything else I do but I won’t starve if I never sell another book. I come from a position of being someone who doesn’t need this to live (despite desperately wanting to get my stories out there).

But the fear is there.

We can complain about toxic fans, about vile gatekeepers and horrendously absorbed old guard. Yet they occupy a space the system has made and the rest of us can get angry about it but while the system remains 97% white (and middle/upper class at that) then there’s very little that will change deep in the bones. As I said in my article on diversity in publishing, 3 British PoC authors in the UK’s most prestigious SF award is all the evidence you need of institutional racism.

I’m hoping the results of that work are being discussed behind closed doors because they’re not being discussed by the industry where someone like me can see them…

So am I surprised that powerful people in fandom and the industry are facilitators of toxicity? No. Is it my fandom? Not in a million years.

if you want, I’ll be over here geeking out about She Ra, The Memory Police, The Light Brigade, Cage of Souls and Fast Color. Come join me and let’s have some fun.

August 2, 2020 0

Reading She Ra

I start with my heart. She Ra on Netflix is the content I need right now. It is 5 seasons full of love, mercy, kindness, hope and it’s all out there – as incredibly brave as it can possibly be in the face of a culture which is cynical, grimdark, weak in its insistence on strength and venerating histories that never were.

The following contains MASSIVE SPOILERS, so if you haven’t seen it to the end (and I mean what are you doing?), stop right now and do that.

I am very nervous about writing this post for reasons which will become clear. However, after chatting about it with my friend Alasdair Stewart, I thought I’d take the plunge.

The reading I want to offer? That She Ra is one of the most radically Christian shows currently on TV. Now you’ve spat out your tea/coffee/gin let me explain. (There’ll be no referencing of bible verses here btw and as you’ll see later, this isn’t about trying to say the show is Evangelical or anything like that.)

The show emphasises that love conquers all but it’s so much deeper than that.

Take the bad guy – obsessed with himself to the extent he’s remade the universe in his image, so none can speak except with his voice. His rampant egoism is the very centre of what it means for people to be evil in Christianity. To make the individual the centre of all things oh, and by the way, his message? A classic death cult of which, in the end, he’s the only member. For me at least, the show tackles the central issue we all end up talking about at some point – the problem of evil and what it actually is. It offers up many examples and shows there’s only one which can’t be redeemed – and that’s Horde Prime’s self-obsession – their ego-centric certainty that they are the only really real creature in the universe and that they therefore have the right to treat others as less than real. In gamer’s parlance; evil is when you think you’re the only PC in the world and everyone else is an NPC put their for your benefit.

Or take the treatment of Catra and Scorpia by the Princesses. At every step mercy triumphs over judgement. Given the opportunity, it’s the very human side of She Ra, Adora, who advocates for them, who tries to reach them. And when they are reached, everyone knows their transition is fragile, that changing direction (repentance) is not a once only deal but something that gets worked out. The other princesses call it out, ask if it’s real and recognise how strange it is to forgive and, as part of forgiveness, to make room for those who’ve been forgiven to work their forgiveness out.

And as for Hordak’s awakening, his conversion…oh my word.

Take the explorations of difference and we see the central theme of ‘there is no male nor female, slave nor free.’ All are equal, all are accepted, all are welcome. It’s not always a welcome sentiment – in one episode Mermista questions how easy it seems for their enemies to get a break, to get accepted after they’ve ‘converted’. The idea of redemption is ridiculed and challenged but it is never let go and never surrendered as the destination the show wants to go.

It’s radically communitarian in a way which, frankly, had me crying with joy. The people love each other despite their preferences, their likes and dislikes. They struggle to grow but remain themselves throughout it all and in all their mistakes, sorry is never a bad word. Instead, sorry is the word which guides them to restitution and reconciliation. Every time.

There’s some fascinating stuff here about the kind of god She Ra represents with her disciples, the princesses of power, but it’s beyond the scope of this short blurting out of some random thoughts I had in my head. But it’s worth mentioning the themes – transfiguration, self sacrifice, the path walked which is only understood at the end but is walked anyway. It’s never made clear who her parents were either – a clear nod to the virgin birth.

When Adora destroys the sword and ‘loses’ She Ra there’s a resurrection which occurs and the new She Ra, the one who most resembles a god is subtly different to the one from the early seasons. The bombast is gone – replaced by a quiet humility, a thoughtful passion focused on others and this is true for both She Ra and Adora – which ever incarnation that character is represented by. And Adora/She Ra learns a crucial lesson in her apotheosis – that it is in relationship that we become ourselves. That the human alone is incomplete. (I don’t mean romantically here, I mean simply by being in meaningful relationships with people who love us).

The last thing I want to talk about is the show’s view on redemption – namely that all can be redeemed, recovered, if they’re given the opportunity. Catra and Adora come from the same place. They have the same world at their back, the same baggage and eventually they both find their way to love and forgiveness – of each other and themselves. Hope never dies. Nor is it seen as powerless, waiting for violence or power to save it. Hope is shown clearly as it’s own power, driving to achieve the very things it is hoping for. Faith, hope and love and in the end love remains because the need for the other two has gone. I’ve always maintained that for the Christian God to be who They claim to be they would centre dignity – because it’s a concern for the dignity of the Other which drives redemption, love, fellowship and mercy. This show cares for the dignity of its characters from the first scene to the last.

There’s also stuff here about how the show doesn’t shy away from the consequences of our actions, both on ourselves and on others – but again, it’s beyond this piece. The paths we set ourselves on which, in the end, can drag us down to places we would never have chosen but, bit by bit, accept for ourselves. Most clearly this is shown by Shadow Weaver’s arc. Shadow Weaver’s history (more so than Catra really) is one where she explored morally grey areas with good intentions but the choices she made left her wrecked and ruined, ostracised and excluded. The road to ruin started long before she ended up on the wrong side but once she was on it, it seemed like the only destination she could reach. Her redemption is replete with an exploration of the damage our choices do to us, how they shape us and can, in the end, break us so thoroughly that our redemption looks like nothing anyone else can recognise. Her arc could be seen as cliched (especially in the denouement) but I’d say that misses the touching beauty of how her character realises who she is, who she truly is, and acts within her own boundaries to do something for others as an attempt to make it right.

Many people will probably have a knee jerk to what I’ve written above – be it because they’re fundamentalist christians whose only real care is that love in the show isn’t as they define it (wrongly if they were to read their bible more carefully) or because people of difference colours are free to love one another, or because women are at the heart of the show with their own agency.

Others may well puke because for them the only Christianity they’ve ever known is the one I’ve just described above – a Trump/Johnson voting monstrosity of a corrupted faith which, as far as I can see the thing itself, actually pretty much exists for the poor, the weak, the downtrodden and wants only to lift them up.

Yet, for me, regardless of intent, this show’s focus on love, on kindness and mercy. On the idea that Love is POWERFUL in its own right and doesn’t need others to save it, that mercy triumphs over justice. These are the most amazing messages and they’re ones I want to hear right now. They’re ones I want my children to know are true. I want them to see how you can face evil, cynicism, misery and cruelty and yet love, and yet hope and yet be merciful. There are so many voices crying out an eye for an eye. I am not one of them and this show feels like it was made for me. BLM and peace out.

June 9, 2020 0

The Sinking of Skywalker

This post contains ALL THE SPOILERS

DO NOT READ UNLESS YOU’VE SEEN THE FILM

So. I’ve seen it. I preface the below with the following disclaimer: it is just a film. It is entertainment and there are far more serious issues in the world, and in my country, right now.

However…it is also a presentation of how our culture sees itself. There’s reams of academic literature exploring how presentation of popular culture shows a mirror on the concerns and occupations of the people participating. And, in case the reaction to The Last Jedi hadn’t made you aware, Star Wars has become a battle ground between a certain class of those who think the world should serve them, reflect their preconceptions and prejudices and exclude those not like them and those who think, basically, the opposite.

I’m in the latter camp – I’m looking for representation. I’m looking for challenge, for change and for more than nostalgia for a type of society that has NEVER existed except in the myths told by the powerful to justify their actions.

Ok. If you’ve made it this far I’m ready to actually start. I’m going to list a few things I like about the film and then I’m going to really let go.

First. I like Adam Driver and Daisy Ridley. They are both fantastic in all three films. The commit to the material and both of them manage to deliver nuanced and emotional content. I could especially watch Driver all day long.

I also think John Boyega is great.

I think Chewie’s response to Leia’s death is the only really genuine emotional point in the film. Nothing else comes close.

And as ever, Hamill comes to the screen with an ironic but authentic presence. I feel like we truly missed a great actor of his generation. It helps that he appears to be a genuinely cracking human being as well.

The problems, for me, start with the opening crawl. The film simply announces the Emperor is back. No explanation. No sense of why or how anyone could have not foreseen this. No sense of being able to trace his signal back. Instead we have a preamble focussing on Kylo Ren rather than the heroes (and that’s a foreshadowing if ever there was one) who basically montages his way to secret hideout and then discovers all the secrets. I mean…really? And those secrets completely change everything he previously thought…well those convictions were easy to dismiss.

Then we have a completely pointless ‘spy’ narrative. It appears only to serve to establish there’s no time to save the galaxy from this unspecified threat (which by the way the spy can’t know about yet, since Ren himself also doesn’t know the details at this point). But hey, who needs continuity???

And here we see hyperspace travel, which has been clearly held up as taking hours, days or weeks across the entire canon now being completely discarded. (let’s not even talk about tie fighters which can hyperspace despite NEVER having been able to do this before).

By this point and I’ve already got questions…who saved Palpatine and took him half way across the galaxy to a safe space where snowflakes couldn’t get at him? Who fed him, watered him and doused him with anti-cancer drugs after they found him in a nuclear fusion reactor…?

How did his face not get BURNT OFF by the heat of an exploding nuclear reaction??? How did he create Snoke? We never find out. How did he become EVERY VOICE YOU’VE EVER HEARD?

I mean. Well I got nothing here. Because just then a thousand star destroyers rise up out of the mud…just like that. Who’s crewing them? Who’s feeding that crew? Who’s doing all of this???

It turns out Hux is the spy…the basic ruler of the first order. The chap who masterminded StarKiller base. Selling HIMSELF out. Why? Because like a five year old who’s had his candy taken away ‘I want the other kid to lose’. How this guy ever charmed his way to ruling a galaxy spanning super advanced nation of neo-nazis is anyone’s guess at this point. But it’s ok, because he has an ornate wooden walking stick in his quarters for the very day he gets shot in the leg…thank goodness. He obviously was a great Cub Scout.

So the resistance still has an unspecified number of ships (as does Ren, even after their disastrous losses in TLJ). So they just fly about wherever and whenever. The resistance generals leave the resistance behind instead of leading them and head off from one frolick to another without any clue what they’re doing excepting chasing down one macguffin after another. And it doesn’t matter when they get destroyed because it turns out there’s always another one. Oh, and I love that the Sith Wayfinder can be crushed by a human hand but can survive an inferno which melts a Tie Fighter…which was just so handily parked exactly where a random and ranging melee brawl happens to finish…

Ren gets his gang of Incels together and with a chimpanzee they spend an unnecessarily long time reforging his helmet. Indeed the chimpanzee probably has a more meaningful role than Rose, Finn’s love interest from TLJ and the moral heart of that film. But of course, certain white men hated her so she got sidelined and her emotional connection to the film severed. These Knights of Ren aren’t Sith, they aren’t jedi gone bad and don’t have anything to recommend them except old fashioned medieval melee weapons…which you can tell isn’t going to end well for them. And hey, it doesn’t, but who cares because by the end of the film they’ve done precisely NOTHING. Even Rey has to fight people with lasers…these guys have sharps…which are nasty except when pitted against LASERS! A pathetic waste.

So Rey’s been trained. Except she hasn’t passed some test we’re not really sure about because it’s not made clear. She’s almost all powerful and can teleport items across the entire galaxy. And she has powers other jedi considered rare (or were previously completely unseen). Now, I don’t object to this except they’re not consistent and only appear to get her out of being stuck. Like force memories (from Fallen Order). No prior use but all of a sudden she’s all about them.

And apparently her parents were important. Now this is where I really lose my shit. One of the things I loved about the Last Jedi was its message we are all capable of changing the world. That there is no divine right of kings, no special people who are special because of their blood, or their wealth or their parents. Instead we’re brought right back to, oh yes, the concept of there’s a specially powerful aristocracy and the rest of us should just shut up and listen and do what they say. And the entire argument between Sith and Jedi becomes an argument between two sides of the same group -those who are divinely chosen. It’s profoundly anti-democratic and deeply depressing that this is the message we’re choosing to privilege. It also suggest the nastiness of caste systems and is an argument that’s been used to justify slavery, racism, sexism and on and on across human history. You’d think we’d be able to jettison it – especially when TLJ did exactly that.

By the way…who’s flying the star destroyers? (I know, I’ve already asked but really, have you got an answer?)

Then there’s the fleet that arrives out of nowhere. It looks spectacular but…we’re told explicitly the hyperspace lanes are blocked…we’re also told no one came before. This is an important point. Except one ship disappears off and brings the entirety of the galaxy’s civilian population to fight the fascists (which is great btw!). How did they unblock the spacelanes? How did they convince people who, previously, had stayed the hell away? There’s no more hope now than earlier…so what changed their mind? Why weren’t the heroes doing this bit? Scouts could have been sent to…you know…SCOUT. The heroes and leaders could have been…oh, I don’t know…leading?

I feel sorry for Oscar Isaac. Poe is charming and dashing but clearly emotionally stunted because he learned this great lesson in TLJ and the immediately forgets it all over again and gets most of his mates killed doing exactly what he learned not to do the movie before.

By the way…when you need to insert into the script lines like ‘but that’s impossible’ not once but like three times? You’ve jumped the freaking shark, come back and given it a hotdog for being a good boy and then jumped it again and you’re so embarrassed by this you even confess it to the audience.

C3PO – I mean you sacrificed everything for this plot only to be brought back from the ‘dead’ just like that. Chewie…we thought you too were sacrificed to show Rey’s power and the conflict in her…only for you too to be still alive.

And Harrison Ford…I mean…were you a force ghost? An ordinary ghost? A memory? A hallucination? I mean…what? Was Ren actually mentally ill and the film simply crassly uses that to change Ren’s thinking?

Ren…you wanted to kill the old…and then you didn’t. For no reason except you discovered Rey was a Palpatine…which makes no sense. Much like the rest of the film, but hey. I like your character. I like your neo nazist portrayal, I like how it meant you could have been a proper bad guy. I hate how they made you back into a child doing someone else’s bidding. Oh, you have a plan? No you don’t because the PLOT says otherwise. What you have is a suddenly sexual crush on Rey who sees you like the boy next door and if only you become that boy next door you can be the good guy. After killing millions there’ll be no consequences for you and you’ll get the girl. Good old white boys will be boys after all.

And Poor Finn. You loved Rose. Or at least she loved you. But there’s no room for her anymore and even if you also love Poe, we can’t let that happen between two main characters can we??? Oh no, keep the gay stuff for two minor unnamed characters who get to kiss at the end. Argh! So Finn has no story. No arc. No meaning. Except hey, what’s this? Other POC who were stormtroopers too..probably slaves? yes, let’s not use that word but let’s heavily imply it. Then let’s only have relationships between people of the same colour – because white men complained about mixing of races on twitter. And let’s make this a slave rebellion on horses! Woo! Oh…wait. No. let’s not do that.

And, you know, after telling the audience for 8 films and an entire canon that it takes huge effort and a moon-sized base to create a planet destroying laser…let’s just tack one onto every spaceship the bad guys own…no need to supply chains, no need for ANY resources because we have the emperor in our back pocket and he can shoot lightening into space and only hit his enemies! In fact, who needs spaceships at all…apparently he doesn’t (he even says this) which dies beg the question…why have them at all you numbnutz?

And oh dear me…she did have important parents? And she’s not angry at them? And Palpatine didn’t have control over them? The emperor who says, at every fricking opportunity, this is just as I planned? Pretty poor planning/management skills there old Palps. You might need to watch a couple of TED talks mate, get a grip on family planning and strategic thinking.

It also entirely undermines Rey’s emotional journey – she’s no longer struggling with moral choices – she’s simply obeying her blood…more divine right moral absolution. It wasn’t me and even if it was, God said I could do it and who are you to question me?

I actually like the swapping of lightsabers. I liked the confrontation between Rey and Palpatine. I liked Chewie. I liked a whole bunch of moments in this mess. And it looked beautiful (although TFA and TLJ had more standout compositions) and the soundscape was great.

The film offers no reasons for many of the characters’ choices. No reason for Ren to change his mind, no reason for Lando to actually help, no reason for why Luke comes along and says ‘hey, all the stuff I learned in the last movie, when Yoda finished my training…it was all ponk. I was just wrong. Ignore me!’ No reason for Finn and Rose to not be together, no reason for why Poe was a spice smuggler or why he left, no reason offered for why Luke was looking for the Sith homeworld, no reason for why the rest of the galaxy decided now was the time to pitch up and help (when the enemy fleet is a hundred times bigger than the last time), no reason for Dominic Monaghan, no reason for why R2-D2 is almost entirely absent from the film.

BB8 is irrelevant and his hairdryer friend operates purely as a plot delivery mechanism.

I’d love to say this is lazy writing and some of it surely is. But I think it’s worse than that. I think it’s design by twitter and reddit. I think it’s design by reference to what the alt-right want in their films. Less non-whites, less mixed relationships, more white guys being the saviour, more white guys full stop. More mavericks, less cooperation and less community making the difference. I mean, it’s hard not to read into the people turning up to destroy the fleet as being anything other than a militia…so we have a defence of the 2nd amendment right there (another preoccupation of the alt-right checked off).

I apologise this is garbled. so a summary to finish.

This film destroys all the good work of TLJ in taking Star Wars in new directions
Even if you hate TLJ, it also completely ignores the universe set up over the last 40 years
It has no character development worth a damn since there are no sacrifices by any major characters. Even Ren is redeemed and gets off without having to face the consequences of his actions.
Who’s flying the frickin star destroyers???
It makes the universe others have spent so long making feel real feel like a toybox with a kid simply saying ‘and then this happens and then this happens’. A crushing of the narrative rules.
Characters are safe from harm because of plot armour. They’re also safe from thinking because of plot requirements.
Worst of all, the above combines to make a chronically dull film which, although it’s clear it doesn’t like fascism, accommodates it in Kylo Ren and has no answers to the questions posed by evil. To be honest, it’s not even clear why Rey dies after her confrontation with Palpatine except it’s narratively expedient.

In the end it’s just a film. But my kids watch it and see the kind of world they think might be possible politically through stuff like this. To me its messages are retrograde and need to be rejected and to make it worse? It’s boring and meaningless with no consequences. It might be nostalgic crack for a certain demographic but the rest of us are left looking at it and shaking our heads as we move off to find content which actually interests and represents us

December 22, 2019 0

Why can’t we get there from here?

I was fortunate enough to speak at the LSFRC’s Productive Future’s conference yesterday at UCL’s School of Art. I managed to see a couple of other sessions too and they were universally well presented and provoked plenty of discussion afterwards in each case. I particularly liked Dan Hassler-Forest’s paper on the economics of the mega-franchise.

Below are my, edited, notes on the paper/speech I gave. Long story short – I have been concerned for a while now that much science fiction is lagging on the issues that really face us today – one of which is our relationship to energy. In the notes below I posit a couple of reasons why I think we struggle to develop that relationship as writers and I add one additional argument based in our relationship to neo-liberal capitalism which arose out of a question I was asked at the end of the talk.

Introduction

Thank you for having me. I’m coming at this as an economist, scientist and author. These three elements of my background will inform the construction of my argument and I’ll present my own thoughts based through these lenses. Before we get going though, a little bit about what we’re going to cover.

what we’re going to cover
- Definitions – energy
- Physical considerations – that is, the what, the who and the where of our relationship to energy
- Theory – what would a physicist say about energy? How does that divert from socially constructed meanings ascribed to energy
- Science Fiction and how what we write reveals about us
- The future – what kinds of subjects would I love to see us thinking about more carefully
- Conclusion – what can we hope for through literature
- Time for questions
But first a little about me – physicist, economist, banker, author blah, blah, blah.

Overview of Energy – a question of definitions

Energy is a word used in all sorts of contexts – from hard science where energy is a fundamental building block of everything to new age philosophy through to synonyms for our gas and electricity supplies.
In science fiction we have energy weapons (just about any space opera), light sabres, psychic energy (c.f babylon 5, Star Trek, Transcendence etc. etc.). The list goes on. For me, the concept of energy is multi-variate in nature with definitions as poorly defined as they are widely spread.
For the purposes of this presentation I’m interested in three uses of the word
- Energy as a physical resource – such as solar, oil and fission
- Energy as in physics – a raw measure of joules, electron volts etc.
- Energy as in useful sources of power for cars, ships, people and spacecraft – agnostic about the physical resources. i.e. how we use and consider energy as a motive force.

Physical Considerations – where, how, who – The Politics and Economics

The energy we use is not invisible or intangible. It takes up space, needs to be moved and managed and, in most cases, comes from a primary resource such as wood, water and oil.
The implications of this are perhaps well understood by companies and politicians but not by the average lay person – modern supply chains are complex, multi-national and hidden by design even from the individuals working within them. Getting oil from the gulf of Mexico to a car in China is a chain that crosses dozens of countries, navigates months of time and passes through companies employed hundreds of thousands of people. See here for instance for a fantastic infographic on the subject. Rutherford’s maxim that complicated ideas should be explainable to a barmaid does not stand.
This is partly a capitalist imperative – to reduce the agency of consumers who are forced into dependency because they cannot source their own supplies and cannot tinker. All innovation must be created by an economically motived agent, not a community agent because this is how you maximise profit for your shareholders.
Most ordinary people do not think about how their electricity is generated. They couldn’t tell you what green electricity really is – if you asked them how does green electricity get to your house they’d not be able to tell you it was a stupid question.
Furthermore the scale of the energy market – whose financial instruments, derivatives, futures and contracts with multiple benchmarks, currencies and timescales is too overwhelming for even experts to really understand. You only have to look at Goldman’s predictions of oil going to $200 a barrel in May 2008 about thirty days before it collapsed to less than $37 in Feb 2009 demonstrates the point well.[1]
So where does that leave us? There are a couple of strong narratives both in factual reporting and in fiction.
The first of these is that we don’t need to think about energy. We live, in advanced late stage capitalist economies, post scarcity. Energy is infinite (or at least abundant in the fact that it is ALWAYS there when we turn on the lights). The infrastructure we’ve built guarantees it fades into the background as a certainty we don’t need to consider – unlike for most of history where we’ve had to concern ourselves each day with whether we’ll have enough calories to make it through.
The second is well demonstrated in M L Ross’ book summarising the Curse of Resource Wealth first posited by Auty et al.[2]. Resource rich countries do not benefit from their resources. Or at least, the majority of the people in those countries. Consider Nigeria[3] where political violence between the state, local politicians, the companies and locals appear to be the only booming business despite the vast reserves of oil.
As always the truth is more complicated. Britain, Norway and the US, to name just three, have or have had deep resource benefits and did end up as ‘failed states’. In my mind it’s really more a sense of post colonial classification as post colonial powers look on at the eviscerated cultures they’ve then abandoned and scratch their heads to an answer. Any answer will do that doesn’t implicate their decade or centuries long pillaging as being largely responsible for environments in which these kinds of outcomes find fertile soil[4]. Better yet a narrative that blames those left behind for their own woes.
Contemporary thrillers understand that energy is politically volatile – there are many movies and novels about oil for instance (the very best of them being Oil! which was remade as the Oscar winning There Will Be Blood) but they often draw a straight line between governments and corporations as bad and people on the ground as good. They do not explore how those governments are often simply reflecting the actual exigencies of what their populations are demanding in terms of services and standards of living.
This comes back to the first idea – that we don’t need to think about energy and its intersection with the wider population.
Popular explorations of geopolitics and how societies survive have also entirely overlooked these links – Tim Marshal’s Prisoners of Geography and Jared Diamond’s Collapse or his Gun, Germs and Steel have strong central theses about why politics turn into guns being fired and they are not driven by the need for energy. Jared’s theories about scarcity and even his ideas about the impact of the horse skirt the edges of this but don’t take the heart of it seriously – that a need for energy security – be it fuel to cook, fuel to heat our homes and mine our bitcoin drives much of the conflict we’ve witnessed over the last 50 years.
The problem is, energy security is effectively at the heart of US projections of power. It also informs Russia’s tilt to supplying energy to China after Western sanctions hit, activity in the Yemen. I met a number of oil industry executives in 2003-2005 and they were exceptionally clear we went to war in Iraq because of energy security concerns over and above anything else. I remember one conversation on this matter with a CEO stood on their construction floor where they were building new drill bits which were ordered before the resolution was passed at the UN authorising the invasion.
Energy has huge social, economic and political meaning.

Theoretical Considerations – Domain, Range and Extensibility

Having explored the physical I want to step back a bit and think more abstractly before bringing these two threads back together and addressing speculative fiction’s coverage of energy more directly.
Energy is, in its purest sense – not dependent on people. The largest delivery mechanism of energy to the planet earth is the Sun, the second is our molten iron core. Neither of these need our input or can even be influenced by us.
How does that come into culture and is it helpful where it does?
Most discussions about energy are filtered into common language designed to make them graspable. It’s that mechanism that more often than not leaves us unable to really grasp the neutrality of the science of energy. By which I mean we’re at its mercy not that it doesn’t matter.
For instance, Electron mass is ½ MeV. And the mass of that very famous particle because of which most people have heard of CERN, the Higgs Particle is 125 GeV. Does this mean anything to anyone except physicists? If you tried to write a sci fi thriller about this where would you even begin?
How many calories have you eaten today? Most of us can’t parse that statement realistically without help from apps and information on the back of food containers. Why not? Because it’s hard, not because we’re dumb (although that’s often the underlying message of press coverage).
So forget asking what we mean by the horse power of your car? Or how much energy is there in the universe.
When thinking about how we can parse this into Sci Fiction, and perhaps into normal everyday language we should borrow an idea from mathematics about Domain, Range and Extensibility.
Energy is everywhere. This is its Domain
However, energy cannot be extracted from all things. Even if all work requires energy – this is its Range
Another way of saying this is as follows: not all types of energy are equally available to us (i.e. high energy photon which had 10Kcals of energy, enough to heat a cup of tea but no real way of harnessing it. Or when we burn petrol we don’t recoognise that the heat and noise oof the conversion are forms of lost energy which we’ve failed to capture).
We know energy is tough to harness and that laws of entropy mean there are ever diminishing returns for us. Carnot’s engine is learnt by undergrads but is not well known elsewhere. Yet it impacts what we can reasonably expect humanity to achieve. What energy can we expect to be able to harness? How can we do it and how do we cope with the possibility we will always be on the losing side of the equation?
These are questions not well addressed by a Science Fiction grounded in post scarcity economics. We tend to see worlds which have everything they need regardless of their energy system or we have apocalypse where there’s nothing (although they still somehow have enough to eat with some notable exceptions such as McCarthy’s superb The Road)
There is a religious impulse in this thinking – a strong desire to see one of the basics of a society which works as one where we have abundant energy so we can then focus on the surface elements rather than the infrastructure. You can see in many sci-fi texts (cf. Alita: Battle Angel) that the poor live among the infrastructure and the rich do not see it. In real life we are the rich in the West and we do not see the infrastructure of our energy consumption and so do not question either our position nor its impact on others except by waving our hands in their direction as if it’s their fault.
Further still, we are too often left with magical thinking in our forecasts about human energy consumption. Consider climate change, bitcoin and AI. I’m avoiding references here because I, too, am a writer and it’s just not done to highlight other people’s creative choices.
Mini-conclusion – energy is vitally important. Most people can articulate that but they can’t articulate why. They also have no grasp of what we mean by energy – be it theoretically or physically considered. People have no better idea what a barrel of oil can power, where it comes from or how many are produced a day than they do about HE photons or the impact of a gamma ray burst and its implications for a goldilocks zone within most galaxies.

Science Fiction – common flaws, notable successes

So now I want to discuss how all this scene setting influences the landscape of what we discuss in science fiction. We can all name the most common tropes:

Faster than light and other forms of space travel – Star Trek, Star Wars and any number of other texts such as Interstellar and Children of Time.
- The flaws to this are beyond the lack of science supporting it.
- The flaws are about the energy requirements and about how they could drive wars and conflict, cooperation and entirely new branches of science. c.f the energy requirements of the current writer’s favourite, the Alcubierre drive.
Cryptocurrencies – a new breed of thrillers and discussions from people like
- Neal Stephenson, myself, Kim Stanley Robinson, Doctorow and Friedman
- Bitcoin mining is energetically expensive and remains a poorly scaling store of value with no real economic application at this point despite its obvious libertarian political rationale – see the FT Alphaville blog for reams of articles on this point. Izabella Kaminska in particular.
Fusion – free energy. The Abyss! Space Opera.
- It’s ok to completely ignore this stuff and just write soap. Personally, I’m not advocating we only see hard SF.
- But sci fi can do so much more. It can present to us the challenge of energy and scarcity. Think about the Windup Girl by Paolo Bacigalupi which is the stand out example of addressing these issues.
The AI – from 2001 to Diamond Age to Ancillary Justice
Construction and maintenance of Cityscapes – Lavie Tidhar in Central Station, Rendevous with Rama and SevenEves and Red Mars.
Production of Metamaterials – relatively poor examples of how new materials can change everything. Again, we end up looking at people like Stephenson but too often they’re macguffins rather than realistic looks at how new tech changes everything. By Light Alone by Adam Roberts is interesting.
The support of transhumanism – any Kurzweilian approach to humanity. Zero K by Delilo is a really strong mainstream example which crosses boundaries.

The thing is they rarely talk through the key technological and economic problems of these technologies because, most of the time the technology is magic – not necessarily even internally consistent.

After all, AGI is terribly expensive to run.
Who provides the power to maintain a brain in a computer?
Why mine for materials in space when the energy required to get there would out weight the benefits from what could be brought back to earth by orders of magnitude?
As we’re all aware, in the real world, pursuit of energy security drives politics. Science Fiction is all too often the preserve of a homogeneous (and by this we mean white) cultural artefact and so entirely misses the political and racial streams of energy security.

The Future – plausible, implausible, impossible

My thesis then is this: energy is hyperreal. It is too large and too broadly defined an idea to be grasped well, even by subject matter experts. Hence we see speculative fictions struggling with how we get from where we are today to other futures – we struggle with developing the idea of Asimov’s Future History when it comes to energy. Part of this is by the cultural/political design of neoliberal capitalism, part of it is simply the scale of the political energy economy is too large for people to grasp.

Our abiding energy myth in western democracy is about abundance. It’s so ubiquitous we don’t even have memes about it being added to Maslow’s Hierarchy of Needs.

We have no new myths about energy scarcity yet. No stories we tell of how we arrived as a post scarcity environment for some and not for others, how we fought wars to create this world and how those wars are going to be fought and fought again as long as there isn’t truly abundant energy for all.

Here’s a trio of ideas I’d love to see in the literature – stories presenting possible futures to us where these kinds of technology are present but are also central to the worlds we’re creating.

There’s already a burgeoning field of Energy Economics[5]^{, [6], [7]} with its own journals and conferences. This is an exciting real world development and its subjects of study are ready made for political science fiction. I really hope that given we’re developing a language and pattern of thought which actually addresses these issues today we will start to see stories picking up on this and bringing these ideas into the mainstream
Zero carbon footprints – the challenge of lifestyles which could accommodate this and the importance of deflationary economics – the conflict in the heart of capitalism against deflation. My own employer is working toward being carbon neutral – if large companies can do this then there is language and conflict to explore.
Deflationary economic systems – Nouriel Roubini interview on FT Alphachat

What can we do through literature?

As we see new language discussing how we get from here to there I truly hope speculative fiction develops stories about the journey and not just the aftermath.

Explore the challenges of developing new technologies which are fantastically energy hungry

What are the challenges for authors though? Economics of course – stories have to sell. But also audience tastes. Info dumping, political appetite and making a point all turn readers off.

But speculative fiction can change the dimensions of the Overton window to allow us to see discussions about the hidden infrastructure as normal, about peeling it back being what we do.

Additional references

https://www.frontier-economics.com/uk/en/sectors/energy/

https://www.nber.org/programs/eee/eee.html

http://www.biee.org/

https://www.google.com/search?safe=active&rlz=1C1GCEA_enGB753GB753&biw=1264&bih=1322&q=energy+economics+articles&sa=X&ved=2ahUKEwic3qzF2LnkAhWDVBUIHYX1COc4ChDVAigAegQIChAB

https://www.nature.com/subjects/energy-economics

https://www.journals.elsevier.com/energy-economics

[1] https://www.nytimes.com/2008/05/21/business/21oil.html

[2] https://press.princeton.edu/titles/9686.html

[3] https://www.giga-hamburg.de/en/system/files/publications/wp120_maehler.pdf

[4] Political Research Quarterly, volume: 67 issue: 4, page(s): 769-782

[5] https://en.wikipedia.org/wiki/Energy_economics

[6] https://www.iaee.org/

[7] https://www.oxfordenergy.org/publication-category/energy-economics/?v=7516fd43adaa

September 14, 2019 0

Let the past die

I’m here to talk about The Last Jedi. Again. Like twelve months after everyone else stopped. Why? Because of this podcast from the Financial Times’ Alphachat series (which I totally recommend by the way). In Andrea Nagle draws an insight which hadn’t occurred to me: that conservatism in the States is under attack but not from the left. It is under attack from the Alt-Right.

She outlines how the Alt-Right’s (we can call them neofascists if you like) mantra has developed over the last decade and how one of its defining features is a break from traditional conservatism. This break occurs because a new generation of right leaning people look at conservatism and see it capitulating each and every time it’s been challenged over the last thirty years. They see the only way to shore up and overturn the losses is to discard that form of conservatism and create something new.

Not only that, but this becomes a call to ideological radicalism rather than an incremental movement towards old ideas. No longer hold to compromise positions but simply develop new principles (communicated as old principles because the strength of the MYTHs of conservatism remain as seductive as ever). These principles become hills to die on and, if the chance occurs, to skewer others on as well. Gone are fiscal probity – in comes racism, anti-immigration. Discussions about PURITY (and for that see Mary Douglas’s excellent Purity and Danger for a clear explanation of why this is such a powerful myth).

A great place for these kinds of myths to reform and take new shape is among populations that have created ideas about being under siege. In technical terms they’ve become sectarian. Evangelical Christianity is a superb example of this in the US (and increasingly in the UK). See this superb long piece on the relationship between the two in the US. I don’t agree with it all, but the central insight that Evangelicals have entirely lost touch with the core tenets of Jesus and swapped them out for a fin de siecle long defeat narrative is spot on.

The above is all quite academic. I want to tie this into a central theme – why we shouldn’t laugh at Kylo Ren. Nor should we dismiss him. And by that I mean we shouldn’t laugh at Brexiters, nor Trumpists, nor dismiss them.

The second point should be obvious by now. Kylo Ren runs the First Order. Trump is President, Brexiters are possibly going to get the very worst of their wet dreams come true. Dismissing them is like dismissing the massive great hole in the side of the Titanic. SO for the rest of this, read Trump or Alt-Right, or Fascist or even Boris Johnson into every mention of Kylo Ren.

Kylo Ren is a terrifying opponent because he was born to power. He was given every chance to have empathy for others, to do good in the world. At each step he’s mixed with those who HAVE done good in the world yet somehow has decided the world works differently to every model he’s been shown.

As well as having had every privilege, he’s also very wealthy. He’s had mentoring along the lines of conservatism. Snoke, Hux and others have helped him see a coherent view of the world in opposition to those who he never clicked with. His own internal struggles somehow make more sense to him when he sees it from Snoke’s point of view. Yet they still lose Starkiller base. They still can’t defeat the common people and their republic – even after totally dismantling all the protections, systems and ways of expressing themselves. The eradication of the new republic still doesn’t let them win!

So he thinks and realises the old ways, the conservatives, can never win. They need to go. When Kylo Ren says ‘destroy the past’ he doesn’t mean destroy the republic, although he certainly thinks they need to go. He’s actually talking about the First Order. Not only does he kill Snoke but when Hux disagrees with him (quite sensibly), he publicly assaults and humiliates him.

Kylo Ren is not a child throwing temper tantrum. He is not ineffectual or mad or stupid. He is only absurd because he’s destroying conventions we’ve accepted as right and normal. It is surreal but it’s not stupid.

Those around Kylo Ren don’t last long. But Ren doesn’t need them to. He’s building something new and part of the vision of that is chaotic and constructive destruction. He’s bought into the idea of blood shed makes everyone stronger and if it’s those around him in service of his vision that’s probably about as strong a message as he can send – we are ALL to be sacrificed to build a new world.

Further still – he knows he’s the only one to really understand what’s he’s trying to do, so he must endure, he must be in control lest the less pure, the less insightful water down his vision. When Trump Christians say they prefer Trump to Pence (an Arch- evangelical) they back it up with ‘because Pence is too nice to do what needs to be done’.

After a while his people are suspicious over everyone but him.

His failures don’t matter except to his enemies. His successes matter to everyone.

Kylo Ren is a perfect embodiment of the enemies liberal and social democracies face right now. He is an uncaring populist, a demagogue and a man with a vision most of us can’t begin to comprehend because of the horror true implementation implies.

The Last Jedi also contains some strong arguments for how to defeat people like this both in popular opinion but also practically.

Lesson 1 – Luke’s fight with Ren. Luke doesn’t fight Ren. He simply distracts him while everyone else organises. He stands up to Ren but does not engage him on his own terms. He let Ren wash himself out while his own people look on in horror at his foolishness.

Lesson 2 – the survival of the rebels creates a MYTH of overcoming an enemy who wants to destroy the world the rest of us have built.

Lesson 3 – sacrifice – Admiral Holdo’s sacrifice to stop the enemy fleet is something NONE of Ren’s team would ever consider doing. They would sacrifice others for themselves and their ends but never themselves for others. If we want the world we have now to continue and to improve Holdo is a massive lesson for us about how we build it.

Lesson 4 – The detour to Canto. It’s absolutely vital to the story because it shows how others prosper on our suffering. It shows life under fascism it shows that the rich don’t care if you suffer and they SHOULD NOT be idolised. Celebrities are an opiate we should put in a bin and burn far from home.

Lesson 5 – Mavericks get you killed. Don’t rely on those who think they know best when they have no plan or that plan relies on defying everything we’ve learned. Everything Poe Dameron does gets people killed. Everything he does fails and from it he takes that he’s succeeded. Until he learns he HAS to work with others everything he touches turns to shit. It’s vital we learn this lesson because we, as a culture, have swallowed the idea of ‘big men’ being the arbiters of history and being our heroes who make everything right again. It’s the biggest piece of bullshit going and if we fall for it, like Poe, we’re really just weakened shadows of Kylo Ren.

I maintain The Last Jedi remains the best Star Wars film. If only because it’s got everything in it I want about the politics of now and is, ultimately, a message of hope about how nobodies like Finn, Rose and Rey can make a difference.

August 22, 2019 0

Captain Marvel has a problem

The problem is not with the film – which is an excellent entry into the series. The problem is with the standards it’s being held to.

Apparently she’s ‘not emotional enough’, ‘not vulnerable enough’, there’s not enough interiority, there’s not enough for us to know who she is as a person. These criticisms have come from both sides of the aisle and a surprising number of them have come from people who you’d think would take a moment to listen to how they sound when read out loud.

I’ve read that it’s no Black Panther, as if every film has to be that one (and let’s set aside the issues with that comparison for a moment – we’ll come back to it).

At the same time she’s ‘too powerful’, telling girls they can take on ‘200lb men’ and therefore has no dramatic tension.

My response to these criticisms can effectively be summed up as ‘sexist much?’

I did think about taking each of the, by turns, more or less subtle sexist tropes reviewers and commentators have rolled out to justify why this can’t possibly deserve a bunch of plaudits but hey, I’m going to have a rant instead.

Carol Danvers doesn’t need to impress you. She doesn’t need to prove herself. She’s a character with a military background who’s fought her way to being taken seriously by being disciplined, risk taking, self controlled, brilliant and defiant. She hasn’t done it by taking on your advice about being personable, vulnerable or seeking to please decision makers. One of the most insidious forms of control men use on women (and whites on non-whites) is to demand that not only do they do it better than their peers but that they have to be nice and never get angry while they do it. Don’t get angry when you’re treated bad, don’t object to dismissal, don’t vent when the mediocre are promoted ahead of you or when the very design of the system prefers others. The risk of being emotional (or at least showing how the system being stacked against you makes you feel) is always weaponised against you.

‘Ah,’ they say. ‘We were right to distrust you, you’re clearly not in control, you’re clearly a risk.’ And when you’re pleasing, they say ‘well they’re eager to please, they probably can’t stand up when they need to.’ The structure is to provide no route to winning trust because it was never going to be given in the first place.

Carol Danvers achieved being a fighter pilot despite that environment which the film makers deliver without being ‘on point’, without sticking in your face.

And what about Tony Stark? Or Thor? Overpowered much? Check. Brooding idiots much? Check. Refusing to be vulnerable? Check. Called out on it….oh, is that tumbleweed?

The double standards about Captain Marvel are everywhere (except for the wonderful Mark Kermode and Simon Mayo who review it as if it’s any other film). It’s dispiriting to see women demanding Carol Danvers display an emotional core they don’t ask of Bruce Banner or Steve Rogers. It’s less surprising but just as annoying to see men objecting to her power, to the fact she’s not epitomising some socially constructed feminine ideal (and if otherwise utterly brilliant Wonder Woman has a fault, apart from it’s unnecessary third act, it’s this – Gal Gadot’s body is as much the star of the film for the camera as is the character).

This film is political – it says women don’t need mens’ permission to be themselves, they don’t need society’s permission and they don’t need other womens’ permission either. They can be good, bad, strong or weak all by themselves.

Is Captain Marvel any good? For me? Yes, I think it’s up there with Thor Ragnarok. It’s not about men struggling to find their purpose, it’s not about bromancial conflict, it’s not about who’s got the bigger ~~dick~~ powers. She’s not a genius, she’s not a billionaire, she’s not a member of a royal family and nor is she destined for greatness. Like Captain America, she’s someone who fought hard for what was important to her, struggled with being accepted BECAUSE of what she wanted in life and overcame on her own terms. It is the best origin story since Captain America – the first avenger and in large part because it follows many of the same beats. However, it doesn’t need a love interest like Steve did and she isn’t actualised in finding a lover to give her meaning.

It’s also about imperialism and in that sense it’s a direct counter to Black Panther. One of my problems with Black Panther is that it’s basically the same old ‘a son ruling by divine right has a crisis but overcomes his enemy to establish that he is the right person to RULE EVERYONE ELSE AS A TYRANT.

Spiderman: Into the Spiderverse and now Captain Marvel have both demonstrated a new story – the everyperson overcoming because they are who they are and that’s like us (mostly). You may be the type of person who wants ‘the special’ to rule over us or prove they’re the right person to be in charge but me? I like democracy thanks and I like being able to think for myself and change the world around me. Hey, you probably dislike The Last Jedi for the same reasons – because a nobody changes the world and the maverick (man) bungles it every step along the way. If you are, please let me have your vote because you don’t really want it do you.

In terms of what the film says to my daughter Captain Marvel is better than Black Panther. In terms of what it says to my son, it’s better than Black Panther.

As a film? I think it’s really hard to compare them – they’re not the same thing. One is a large sprawling dynastic epic the other a small, almost parochial story about the right to be who we want to be. It’s like asking which of The Magnificent Seven and Ghostbusters is the better war movie.

Go see this movie – it has amazing role models (and I don’t just mean for women). Go see it because it’s full of joy. Go see it because, frankly, I want to see more movies like this and I want to rub it in the faces of the giant man babies finding ever more spurious and tiny handed reasons to object to anyone other than them being portrayed as godlike.

March 9, 2019 0

Post Cyberpunk Larp

Got your attention? I hope so.

I challenged a friend of mine a few months ago on whether they’d be interested in and whether they could think of a way of turning the world in which A Family War exists into a LARP.

The problem with any sci fi LARP is really getting into the details of scifi – you know, those computers, AI, futuristic weaponry, hacking and the like.

My mate Andy has come up with a neat solution for the physical aspects and I think I’ve worked out how to do the electronic side so that players could experience both.

There are pinterest boards, ideas for plot and I’m going to start thinking about approaching the site and asking a small, select bunch of people if they’d be part of the team that could put this together…

However, the other important thing to note is that it’ll be kind of a post-cyberpunk theme. Beyond the cybernetics and implants that made cyberpunk such a thing. Gibson has been writing it for ages (ie, he moved on from cyberpunk a long time ago) and I realised in talking to Andy that The Oligarchy is also post cyberpunk.

Funny how these things emerge…

More news as it’s ready but for now this is very much at ideas stage. One thing though…if you were interested it would be great to know.

The game’ll be limited numbers and limited run – and it’ll be openly pvp (although pve will be the main focus), cos what’s drama without conflict?

October 16, 2017 0

Reflections from a noob on the conservation of information

This weekend I went to Fantasy Con here in the UK and it was brilliant. This is the second convention I’ve been to, after Nineworlds a little earlier in the year. It was a little smaller than I was expecting but filled with people from across the industry – writers, readers, editors, publishers and even an agent or two. I was supposed to be at a LARP (but a broken tarsal put paid to that) but requests that I do a couple of panels sold me on going because, hey, I quite like talking about stuff when asked and in this case they were topics I felt I could at least contribute to without looking silly.

I also went to a bunch of panels and worked hard on BarCon (which as you can imagine included alcohol). There was a sinister room of which Allen Stroud kindly took a few of us on a tour – only to regret it almost instantly.

In terms of personal goals I wanted to meet people in the industry, get to know them, explore current trends and figure out where I go next. Talking to someone about pitches (I think it was Jon Oliver from Solaris/Abaddon) reminded me that I hate being sold to and although as an author I need to find a way to communicate what I’m passionate about writing, I was committed to actually having a good time, laughing and making some new friends (if that last isn’t too bold).

I was delightfully entertained by Nate Crowley every time we crossed paths and I hope we get to crew together at Empire next year because I think we’d make a frightening double act.

I have lots of people to thank, not least David Moore and Jon Oliver for always being around to chat to, Adrian Tchaikovsky (and Annie), Phil Sloman, Simon Bestwick, Allen Stroud, Jeanette Ng, Anna Smith Spark, Theresa Derwin and David Tallerman for all being sparkling company and having interesting stuff to say.

The highlight though was that after my comment last week that I wasn’t quite sure what to do next and entirely different option as presented as the most obvious answer. Roped into a discussion about cosmology (in the theoretical physics sense) I got a bit fanboy about information theory and how there’s a great first contact story in it and someone said – ‘don’t just talk about it, write it because I want to read that story.’

I was pleased to hear it but then it was pointed out that they were a commissioning editor. So guess what…I’m now writing out and planning that very novella. Which involves me reading information theory thermodynamics papers from Arxiv.org…oh, and the stages of grief as it’s that kind of story.

At the same time I got an open invite to pitch to another publisher whose work I love. I’m now also frantically editing that piece because it’s in need of it but there you go. I’m not sure it’s for them but everyone who’s read the alpha version thinks it’s the most compelling piece I’ve written so you never know…

October 2, 2017 0

Drafts, FantasyCon and taking over the world

Short post today. Really to ask for some thoughts.

Tonight I’ve finished an edit on the first book in the fantasy series I’ve got with Ticketyboo Press. This was mainly to tighten the opening based on some beta reader feedback and to bring the overall use of terminology and (some elements) of world plot into line with book two and where I’m going with the story. There’s now a full edit on their side to do – about which I’m pretty excited.

Which means I’ve reached a cross roads.

I’m not ready to start book 3 of that series yet. I need a little break from it to recharge. So I have the following options in front of me which I’ll be mulling over at FantasyCon in between going to panels, being on a couple of panels (which I’m totally excited about) and maybe having a few jars with friends.

Write book 3 of The Oligarchy and finish that series
Edit Immortal Daughter, a fast paced thriller set now which is basically Taken crossed with Logan
Start book 3 of this series!

As we head towards book 1, Dreams of Darkness, coming out, I’ll also be sending out a free copy of a new anthology of stories to people as a thank you for all the support – that’s basically ready to go, it’s just about timing…!

I’ve actually got to sit down with my mentor in the next couple of weeks and work out a plan for drawing up the next story – they want me to focus within a specific genre and then write to its very edges. I’ve got two story ideas I want to rip to pieces with them and hopefully come out of that with something intentionally commercial without losing what I love about writing – the chance to explore my own ideas.

So…feel free to tell me what I should concentrate on next. And if you’re at FantasyCon, come by and say hello.

September 27, 2017 0

Stewart Hotston

Hope, Anger and Writing

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