It is quite fun. It is also quite gross at parts, but I think that this thing is a great deal of fun. It also shows how good ideas are kind of timely. A year ago, I was challenged to write a novel about Zombies. I realized that at the time there was a large void in the Zombie genre for protagonists that weren't morons. That was why I wrote Grenademan Vs. The Zombies. Before Zombieland, the main movies that did this were Army of Darkness (a classic but nearly 20 years old) and Shawn of the Dead (which was more of a parody.)
It is true that, like Shawn of the Dead, Zombieland has a bit of a comedic element, but despite that, Zombieland retains more of the true roots of the genre in my opinion. At no point do we really consider the scenario that they're in a joke. It certainly has humorous elements, particularly when they decide to spend some time at Bill Murray's mansion.
The heroes are human and flawed. And despite that, they don't behave like morons, which I greatly appreciate. They give an explanation about where the zombies came from, but it is shoved far into the background of the story where, quite frankly, it belongs. This isn't a story about the zombies, but instead the way it changes the people involved. It is a story of coming to terms with loneliness and the value that building societies can bring.
I greatly enjoyed this movie and highly recommend it. Not for small children though.
Sunday, October 11, 2009
Monday, October 5, 2009
Dying Lights by Mark Argyle
I originally posted this review in 2003 on rpg.net I also fixed the spelling.
The basics: Dying Lights is a game that gives you everything that you'd want in a complex space board game like Twilight Imperium, but with half the complex rules and several highly innovative features that help game play rather than enhance it.
The Story: I am a bit odd when it comes to board games, card games and the like. The story in these games is just as important to me as it is in the RPG, which is to say-everything. And the story of Dying Lights does not let me down. The rule book devotes 1/6th of its space to telling the intriguing tale, and helps set the proper mood of the game.
Basically, a bunch of jedi-like psi monks go about mucking with things that they only think they understand in order to create a utopia. As one might expect, this goes horrifically wrong and they end up corrupting the Galaxy's collective unconscious as well as psychically activating all the inhabitants of the galaxy. The practical upshot of which is; the galaxy goes nuts and several cracks in the universe appear, bleeding out all the spiritual energy in the universe.
The inhabitants rapidly come to the conclusion that in order to survive, they have to kill everyone else because the remaining psi power leaves enough for only 1/10 of the people living.
Game play: The thing I like most about the game is the proverbial shot gun tied to the heads of the players. While it has LOADS of flexibility (which I like) it also forces the players to act.
There are three campaign rounds in each turn. At the end of each turn, you loose psi (1 the first, 2 the second, 3 the third etc). Each player starts with five, and while there are ways to get psi in the game (not as easy as it sounds), you can see right away that it forces you to take action.
The game takes place on terrain cards laid out in a somewhat similar fashion to Twilight Imperium, with another set of cards that represent 'Fleet trees' or as the game calls them "Battle Groups". You then move these around on the battle ground and combat ensues.
I won't include all the details of the combat, but it is relatively simple and straight forward, yet also manages to include elements such as tech upgrades, fighters and heavy weapons. An aspect of the game I really like are the 'experience' cards that allow the Admirals of each fleet to gain traits like 'heroic' or 'ruthless' that affect play. The game plays for 2-6 players and the basic set (which I got) seems to support all, although supposedly you can 'customize decks' by manipulating cards, though this is by no means a collectible card game. Everything you need is in the box.
In short, I liked it. It is a game that has a lot of potential and at the same time plays relatively quickly.
The basics: Dying Lights is a game that gives you everything that you'd want in a complex space board game like Twilight Imperium, but with half the complex rules and several highly innovative features that help game play rather than enhance it.
The Story: I am a bit odd when it comes to board games, card games and the like. The story in these games is just as important to me as it is in the RPG, which is to say-everything. And the story of Dying Lights does not let me down. The rule book devotes 1/6th of its space to telling the intriguing tale, and helps set the proper mood of the game.
Basically, a bunch of jedi-like psi monks go about mucking with things that they only think they understand in order to create a utopia. As one might expect, this goes horrifically wrong and they end up corrupting the Galaxy's collective unconscious as well as psychically activating all the inhabitants of the galaxy. The practical upshot of which is; the galaxy goes nuts and several cracks in the universe appear, bleeding out all the spiritual energy in the universe.
The inhabitants rapidly come to the conclusion that in order to survive, they have to kill everyone else because the remaining psi power leaves enough for only 1/10 of the people living.
Game play: The thing I like most about the game is the proverbial shot gun tied to the heads of the players. While it has LOADS of flexibility (which I like) it also forces the players to act.
There are three campaign rounds in each turn. At the end of each turn, you loose psi (1 the first, 2 the second, 3 the third etc). Each player starts with five, and while there are ways to get psi in the game (not as easy as it sounds), you can see right away that it forces you to take action.
The game takes place on terrain cards laid out in a somewhat similar fashion to Twilight Imperium, with another set of cards that represent 'Fleet trees' or as the game calls them "Battle Groups". You then move these around on the battle ground and combat ensues.
I won't include all the details of the combat, but it is relatively simple and straight forward, yet also manages to include elements such as tech upgrades, fighters and heavy weapons. An aspect of the game I really like are the 'experience' cards that allow the Admirals of each fleet to gain traits like 'heroic' or 'ruthless' that affect play. The game plays for 2-6 players and the basic set (which I got) seems to support all, although supposedly you can 'customize decks' by manipulating cards, though this is by no means a collectible card game. Everything you need is in the box.
In short, I liked it. It is a game that has a lot of potential and at the same time plays relatively quickly.
Thursday, September 17, 2009
Ruled Britania by Harry Turtledove
A while ago I tried reading a series of books Mr. Turtledove wrote about aliens invading during WWII. It was, quite simply, boring beyond imagination, at least for me. So when a friend handed me a book called "Ruled Britania" by the same author I took it with a bit of trepidation, but I was wrong.
The book is excellent and flows quite well. The first 40-50 pages are somewhat slow, but once the action starts, it keeps up right until the end. The basic plot of the story is a 'what if' (for which Harry Turtledove has become known as the absolute master) in which the Spanish Armada wasn't defeated in 1588, and instead successfully invaded England. A rich english aristocrat, Elizabeth's former spy master, sets about commissioning Shakespeare to write a place called 'Boudicea' to inspire the people of England to revolution. Of course, at the same time, the governor of England commissions him to write a play about King Phillip the II, to commemorate Spain's dying King. Shakespeare has to do both at the same time in an otherwise extremely difficult situation.
The thing I found most fascinating was the fact that many of the minor characters (but not all) were quite real as well. Mr. Turtledove did a very good job of making them seem quite real. For example, the Spanish are somewhat brutal, but they are hardly mustache twirling Snidely Whiplashes. Added to this fact is Turtledove's use of Lope De Vega, a Spanish playwrite (and in this case soldier as well) for the Spanish perspective and you get a rich and deep plot.
I highly recommend it if you like historical fiction.
The book is excellent and flows quite well. The first 40-50 pages are somewhat slow, but once the action starts, it keeps up right until the end. The basic plot of the story is a 'what if' (for which Harry Turtledove has become known as the absolute master) in which the Spanish Armada wasn't defeated in 1588, and instead successfully invaded England. A rich english aristocrat, Elizabeth's former spy master, sets about commissioning Shakespeare to write a place called 'Boudicea' to inspire the people of England to revolution. Of course, at the same time, the governor of England commissions him to write a play about King Phillip the II, to commemorate Spain's dying King. Shakespeare has to do both at the same time in an otherwise extremely difficult situation.
The thing I found most fascinating was the fact that many of the minor characters (but not all) were quite real as well. Mr. Turtledove did a very good job of making them seem quite real. For example, the Spanish are somewhat brutal, but they are hardly mustache twirling Snidely Whiplashes. Added to this fact is Turtledove's use of Lope De Vega, a Spanish playwrite (and in this case soldier as well) for the Spanish perspective and you get a rich and deep plot.
I highly recommend it if you like historical fiction.
Wednesday, September 2, 2009
The Unincorporated Man by Dani Kollin & Eytan Kollin
I like the book though I don't necessarily agree with its politics. The basic premise of the book is a self made billionaire sees that the system is on the verge of collapse, has terminal lung cancer, so he makes a self contained cryogenic unit and buries it in a mountain where it lies for several centuries. What remains is a perfect libertarian paradise where the government magically works perfectly, there is no tax and the government can provide no service that is not also competed against in the free market. There is no war, little crime and plenty of food. Medicine has removed all sickness and people essentially live forever.
There is only one fly in the ointment. Anyone who is born automatically has themselves incorporated, with their parents getting 20% and the government getting 5%. Beyond that, almost everyone has to trade between 6-14% to receive an education from a university, which also owns a part of you until you pay it off or buy your stock back. Reaching a majority, and thus controlling your own destiny, is the goal of essentially everyone in this civilization.
Thus when our billionaire wakes up, the corp that finds him wants to lay claim to him and incorporate him. Through a bit of trickery, he manages to get free and thus a massive legal battle ensues wherein he is trying to keep his soul and not become incorporated.
The book does indeed feel Heinleinian, and I like Heinlein, though the background government sure isn't Starship Troopers that's for sure. The best part of the book is the struggle for individuality and the right to be free, despite blatant attempts by the authors to turn the non billionaires who like the idea into cartoon characters.
David Weber does the same thing in the Honor Harrington books, but does so with so much class that you don't mind. That, and the main bad guys AREN'T cartoon characters. Overall its a good read, but given how good this idea is and how ham fisted they were with their politics, I'm betting I won't be as entertained by their next book.
There is only one fly in the ointment. Anyone who is born automatically has themselves incorporated, with their parents getting 20% and the government getting 5%. Beyond that, almost everyone has to trade between 6-14% to receive an education from a university, which also owns a part of you until you pay it off or buy your stock back. Reaching a majority, and thus controlling your own destiny, is the goal of essentially everyone in this civilization.
Thus when our billionaire wakes up, the corp that finds him wants to lay claim to him and incorporate him. Through a bit of trickery, he manages to get free and thus a massive legal battle ensues wherein he is trying to keep his soul and not become incorporated.
The book does indeed feel Heinleinian, and I like Heinlein, though the background government sure isn't Starship Troopers that's for sure. The best part of the book is the struggle for individuality and the right to be free, despite blatant attempts by the authors to turn the non billionaires who like the idea into cartoon characters.
David Weber does the same thing in the Honor Harrington books, but does so with so much class that you don't mind. That, and the main bad guys AREN'T cartoon characters. Overall its a good read, but given how good this idea is and how ham fisted they were with their politics, I'm betting I won't be as entertained by their next book.
Friday, August 7, 2009
The Aphorisms of Kherishdar by M.C.A. Hogarth
Let me first of all say that I was given a free copy to review, and that M.C.A. Hogarth is a friend of a friend. Having said that I was reviewing this from a clear perspective, and if I didn't like it, I would simply not write a review on it. I did like it, and a lot of things about it as well.
What's the difference? Well, let me clarify. First, from a pure componented perspective, I liked numerous elements separate of the work as a whole. I like the fact that this story followed the patron model. The author wrote a series of stories, which about 50 paid for because they wanted to see more. Thus, without their interest and input, more would not have been made. I think that in the modern world of the internet, this is the ideal method rather than giving substantial amounts of money to middle men who take a cut and give nothing in return. There are those channels which are good, but there are many who are not. And I favor direct patronage as the highest model.
The second was the fact that this was social science fiction, but it wasn't just that, it was well done. Science fiction is always a method of looking back at ourselves through a prism that is simply not possible in the real world. I learned a lot by watching the Naked Mole rat in the zoo. What the hell? You ask.
Let me clarify. A common criticism in science fiction is that aliens are not sufficiently alien. They should be tentacled horrors rather than humanoid. And yet...did you know that Naked Mole rats have a hive structure? Yes, that's right. They aren't a herb, but have a queen just like certain kinds of insects. Thusly, I have come to find humanoid aliens potentially more plausible than something that would have to evolve an entirely different way of using technology than ourselves. I don't consider the latter impossible, just not as likely as a humanoid. And the aliens Hogarth presents in his story are in many ways like us. There is a distinctly asian feel to their culture, but they are not simply ancient Japan or ancient China with the serial numbers filed off.
No, I argue that the reason the culture feels this way is because it is obviously ancient. Let me give you an example of what I mean. If someone from the 15th century were somehow magically transported to the present day, they would be generally very rude by our standards. They would not do this intentionally, but dozens of elements of etiquette that we take for granted in our society are simply instilled in us by birth. As time progresses society has ways of working things out.
The thing I like so much about the Aphorisms is that it portrays what is obviously on the surface a very static society while at the same time answering any questions I had about how they manage to avoid ossification and thus ultimate destruction. It has a vibrancy beneath the surface that thus legitimizes its longevity.
In other words, Hogarth has created a society I can actually believe in, doing so in the actual format that an alien would write it no less. This feels not a book written by a 21rst century writer set in an alien world, it is written by a distant alien and translated into English.
But the best element of the book is the actual skill of the writing itself. Hogarth knows how to write and does so quite impressively. I highly recommend the book to hard core sci fi readers or those who are interested in philosophical musings in fictional form.
What's the difference? Well, let me clarify. First, from a pure componented perspective, I liked numerous elements separate of the work as a whole. I like the fact that this story followed the patron model. The author wrote a series of stories, which about 50 paid for because they wanted to see more. Thus, without their interest and input, more would not have been made. I think that in the modern world of the internet, this is the ideal method rather than giving substantial amounts of money to middle men who take a cut and give nothing in return. There are those channels which are good, but there are many who are not. And I favor direct patronage as the highest model.
The second was the fact that this was social science fiction, but it wasn't just that, it was well done. Science fiction is always a method of looking back at ourselves through a prism that is simply not possible in the real world. I learned a lot by watching the Naked Mole rat in the zoo. What the hell? You ask.
Let me clarify. A common criticism in science fiction is that aliens are not sufficiently alien. They should be tentacled horrors rather than humanoid. And yet...did you know that Naked Mole rats have a hive structure? Yes, that's right. They aren't a herb, but have a queen just like certain kinds of insects. Thusly, I have come to find humanoid aliens potentially more plausible than something that would have to evolve an entirely different way of using technology than ourselves. I don't consider the latter impossible, just not as likely as a humanoid. And the aliens Hogarth presents in his story are in many ways like us. There is a distinctly asian feel to their culture, but they are not simply ancient Japan or ancient China with the serial numbers filed off.
No, I argue that the reason the culture feels this way is because it is obviously ancient. Let me give you an example of what I mean. If someone from the 15th century were somehow magically transported to the present day, they would be generally very rude by our standards. They would not do this intentionally, but dozens of elements of etiquette that we take for granted in our society are simply instilled in us by birth. As time progresses society has ways of working things out.
The thing I like so much about the Aphorisms is that it portrays what is obviously on the surface a very static society while at the same time answering any questions I had about how they manage to avoid ossification and thus ultimate destruction. It has a vibrancy beneath the surface that thus legitimizes its longevity.
In other words, Hogarth has created a society I can actually believe in, doing so in the actual format that an alien would write it no less. This feels not a book written by a 21rst century writer set in an alien world, it is written by a distant alien and translated into English.
But the best element of the book is the actual skill of the writing itself. Hogarth knows how to write and does so quite impressively. I highly recommend the book to hard core sci fi readers or those who are interested in philosophical musings in fictional form.
Tuesday, July 28, 2009
Torchwood - Children of Earth
This is an interesting combination of miniseries and third season. And I like it. I've becoming convinced after watching limited series like Cowboy Bebop that sometimes a limited series is just the way to tell a story. Its long enough, and complicated enough, that you just can't make a movie out of it, but it doesn't justify 7 26 episode seasons. Some series do work well enough to do that. I think Firefly was killed in its prime, just like Farscape, in large part not due to profitability but to executive stupidity. In fact, in the case of the latter, I pretty much KNOW it involved interoffice politics rather than anything the fans wanted.
But until fans directly fund such projects, they will always be subject to the whims of Hollywood executives so they better get used to it.
But I digress.
-Limited Spoilers-
The basic premise of this show is, aliens are coming and they want a chunk of Earth's children. 10% exactly. The more shocking thing (revealed in episode 4) is that the aliens want the children because humans 'make good chemicals.' I've seen aliens mess with humanity for an awful lot of reasons, but at the absolute least you have to hand it to Russel T. Davis (creator of Torchwood) in coming up with an extremely creative way of making aliens want to interact with humans. We're the losing half of an intergalactic opium war.
The visuals were stunning. Whoever worked with the children managed to make them act very unchildlike and in large numbers. We're not talking about one or two Halley Joel Osmets here, but whole crowds of kids acting in an extremely creepy fashion.
The acting in general was supurb, as was the writing. The only major complaint I had was the absolute lack of freaking out on the part of the children in Episodes 1-3 (out of 5). Look, I understand how you want to highlight how much of a natural disruption it is to show the children playing one minute and then having them standing their droning alien messages the next, but I think a far more powerful visual would have been to show some children playing, but be sure to show little Timmy cowering in the closet because he's afraid that the aliens are going to get him.
A lot of reviews I've read have said Episode 4 is boring. No. Episode 4 is not boring unless you're stupid. Episode 4 is the most important episode out of the 5. Episode 4 is where we see WHAT WOULD REALLY HAPPEN if this took place. We see politicians acting like politicians. We see the absolute disgusting nature of humanity and it is portrayed in a perfectly believable fashion. Unlike the contrived visual with the children, this one is spot on. It doesn't have to highlight the bad guys to make them look bad, because they're just regular leaders making what they believe to be the only choice they have, while at the same time willfully ignoring the alternatives.
And it also shows what only science fiction can show, which is that, in other areas, our leaders often make decisions like this every single day, and yet no one lifts a finger to stop it. Abstract policy to most people just that, abstract policy, with no real feeling for the consequences until it happens to them.
Anyone who loves science fiction or anyone who wants to point out that abstract policies have real world consequences should see Torchwood Children of Earth.
But until fans directly fund such projects, they will always be subject to the whims of Hollywood executives so they better get used to it.
But I digress.
-Limited Spoilers-
The basic premise of this show is, aliens are coming and they want a chunk of Earth's children. 10% exactly. The more shocking thing (revealed in episode 4) is that the aliens want the children because humans 'make good chemicals.' I've seen aliens mess with humanity for an awful lot of reasons, but at the absolute least you have to hand it to Russel T. Davis (creator of Torchwood) in coming up with an extremely creative way of making aliens want to interact with humans. We're the losing half of an intergalactic opium war.
The visuals were stunning. Whoever worked with the children managed to make them act very unchildlike and in large numbers. We're not talking about one or two Halley Joel Osmets here, but whole crowds of kids acting in an extremely creepy fashion.
The acting in general was supurb, as was the writing. The only major complaint I had was the absolute lack of freaking out on the part of the children in Episodes 1-3 (out of 5). Look, I understand how you want to highlight how much of a natural disruption it is to show the children playing one minute and then having them standing their droning alien messages the next, but I think a far more powerful visual would have been to show some children playing, but be sure to show little Timmy cowering in the closet because he's afraid that the aliens are going to get him.
A lot of reviews I've read have said Episode 4 is boring. No. Episode 4 is not boring unless you're stupid. Episode 4 is the most important episode out of the 5. Episode 4 is where we see WHAT WOULD REALLY HAPPEN if this took place. We see politicians acting like politicians. We see the absolute disgusting nature of humanity and it is portrayed in a perfectly believable fashion. Unlike the contrived visual with the children, this one is spot on. It doesn't have to highlight the bad guys to make them look bad, because they're just regular leaders making what they believe to be the only choice they have, while at the same time willfully ignoring the alternatives.
And it also shows what only science fiction can show, which is that, in other areas, our leaders often make decisions like this every single day, and yet no one lifts a finger to stop it. Abstract policy to most people just that, abstract policy, with no real feeling for the consequences until it happens to them.
Anyone who loves science fiction or anyone who wants to point out that abstract policies have real world consequences should see Torchwood Children of Earth.
Monday, July 20, 2009
Nation - by Terry Pratchet
I have noticed a repeated trend in the British psyche lately trying to recognize the fact that there were an empire for several hundred years. On the one hand, they want to take pride in the fact that they were once a mighty nation, on the other hand, they've grown up and realized that stomping people for economic exploitation is probably not the most morally superior attitude in the world.
Nation is a departure from Pratchet's work in many ways. It is set in the real world, despite hints and shadows at potential supernatural activity that might only be in the minds of the local participants. It answers important questions about culture, nationality, history and the individual. His characters are interesting; the female Daphne and the male Mau. He starts the narrative off with Mau because Mau is the most foreign to most of those who will be reading the book. Mau is a pacific islander (despite a handwavium attempt by the author to pretend that the island and the entire ocean have been made up out of thin air at the end of the book) while Daphne is the unlikely heir to the british empire after a plague killed dozens of other relatives, who ends up shipwrecked on the Island with Mau.
What is fascinating is how the two interact and how the question of the ultimate fate of the island is resolved in the long term. For young adult fiction (or fiction in general) it is quite good and I would highly recommend reading it. Most impressive of all, is that on top of the questions it asks and answers, Pratchet manages to keep his trademark humor throughout.
Nation is a departure from Pratchet's work in many ways. It is set in the real world, despite hints and shadows at potential supernatural activity that might only be in the minds of the local participants. It answers important questions about culture, nationality, history and the individual. His characters are interesting; the female Daphne and the male Mau. He starts the narrative off with Mau because Mau is the most foreign to most of those who will be reading the book. Mau is a pacific islander (despite a handwavium attempt by the author to pretend that the island and the entire ocean have been made up out of thin air at the end of the book) while Daphne is the unlikely heir to the british empire after a plague killed dozens of other relatives, who ends up shipwrecked on the Island with Mau.
What is fascinating is how the two interact and how the question of the ultimate fate of the island is resolved in the long term. For young adult fiction (or fiction in general) it is quite good and I would highly recommend reading it. Most impressive of all, is that on top of the questions it asks and answers, Pratchet manages to keep his trademark humor throughout.
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