Extra Credits
Published on 5 Dec 2017What draws us to Frankenstein, and to sci fi as a whole? As the novel wraps up and our time with its characters draws to an end, Mary Shelley lays out the final theme which shaped the identity of science fiction as a genre: radical alienation and the search for a place to belong.
December 7, 2017
Frankenstein: Radical Alienation – Extra Sci Fi – #6
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November 29, 2017
Frankenstein: Paradise Lost – Extra Sci Fi – #5
Extra Credits
Published on 28 Nov 2017Paradise Lost told the story of Satan, a creation who rejected his creator just like Frankenstein’s monster did. But even Satan had a loving creator, beauty, and friends. The monster had nothing, and his life in Mary Shelley’s eyes was not a horror story, but a tragedy.
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November 25, 2017
Paul Kidby’s Discworld Imaginarium
Jessica Brisbane linked to this Guardian overview of a new book by Paul Kidby, collecting his art to accompany Terry Pratchett’s Discworld series:
Terry Pratchett’s ‘artist of choice’ Paul Kidby introduces some of the images he produced during their decades-long collaboration
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November 23, 2017
Frankenstein: Plutarch’s Lives – Extra Sci Fi – #4
Extra Credits
Published on 21 Nov 2017Mary Shelley drew heavily from the style of biography first pioneered by Plutarch, creating characters like Victor Frankenstein and the monster whose lives parallel each other, but whose differing circumstances lead them to embody very different values.
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November 16, 2017
Frankenstein: The Sorrows of Young Werther – Extra Sci Fi – #3
Extra Credits
Published on 14 Nov 2017Frankenstein’s monster discovered three books that shaped his understanding of the world, including the Sorrows of Young Werther. Werther’s unrequited love for a woman eventually leads him to commit suicide. Frankenstein’s monster wants to experience love as well, but Mary Shelley has her own critique of this idea of love.
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November 9, 2017
Frankenstein: The New Romantics – Extra Sci Fi – #2
Extra Credits
Published on 7 Nov 2017Industrialization and the Age of Reason benefitted society in many ways, but also created an atmosphere of dehumanizing mass production. The Romantic literary movement rose up to assert the value of emotion in a modern world, and praised science as a marvel whose discoveries bounded on magic made real.
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Lois McMaster Bujold interview
It’s apparently a reprint, but since I missed it the first time, it’s a new one to me:
Ellen Cheeseman-Meyer: You published a Star Trek fanzine in the 1960s, while the series was still on the air. It’s the fiftieth anniversary of Star Trek, so I can’t resist asking you about it. What was it like to be a fan writer in the 1960s?
Lois McMaster Bujold: It was a lonelier enterprise back then than it is now. I go into it a little in this recent interview.
Other than that, I expect it was like being a newbie writer at any time, all those pictures and feelings churning around in one’s head and latching on to whatever models one could find to try to figure out how to get them down on a page. Besides the professional fiction I was reading, my models included Devra Langsam’s very early ST fanzine Spockanalia, and Columbus, Ohio fan John Ayotte’s general zine Kallikanzaros. It was John who guided Lillian and me through the mechanics of producing a zine, everything from how to type stencils (ah, the smell of Corflu in the morning! and afternoon, and late into the night), where to go to get electrostencils produced, how to run off and collate the pages — John lent us the use of his mimeograph machine in his parents’ basement. (And I just now had to look up the name of that technology on the internet — I had forgotten and all I could think of was “ditto”, a predecessor which had a different smell entirely.)
Fan writing, at the time, was assumed to be writing more about SF and fandom, what people would use blogs to do today, than writing fanfiction. So an all-fiction zine seemed a novelty to some of our fellow fans in Columbus.
[…]
ECM: Miles Vorkosigan is an amazingly resilient kid (and then an amazingly resilient adult), but it sometimes seems like moving to Escobar or Beta Colony, or staying with the Dendarii, would make his life much easier. His attachment to his home planet is a little mysterious. What are Miles’s favorite things about Barrayar?
LMB: I actually put off this question for last, as it was strangely hard to answer. (I may be overthinking it.) Partly it’s that it requires me to reboot a character I haven’t written in some years, and hold his whole 43-years-book-time character development in my head at once. Why does anyone love their childhood home, or their family, if they do? (Not a universal given among F&SF readers, I observe; it’s a very anti-domestic genre. Don Sakers’s Analog review of Gentleman Jole and the Red Queen touched on this.)
Miles’s favorite place on Barrayar is easy to tag: the lakeside retreat at Vorkosigan Surleau, and the wild Dendarii mountain range backing up behind it. Actually including its obstreperous people. As ever, Miles is a conflicted hybrid, half city boy and half country, half Betan and half Barrayaran, half future and half past, stretched between in a moving present. Family, friends, landscapes; all made him and all hold him. And from his very beginning, with all those painful medical treatments as a barely comprehending child, he’s been taught that he can’t run away when things get hard. But which also taught him that painful things can get better. It’s a lesson he’s taken to heart, and not only because it validates his own questioned and criticized existence.
(Miles being Miles, he may also take this a step too far, and confuse pain with hope, which would make him not at all the first human to stray down such a path.)
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November 8, 2017
QotD: The second coming of SF’s depressing and neurotic “New Wave”
Back in the mid to late 70’s the “New Wave” was in full force. Downbeat endings, “black and gray morality” (which can be good if handled well, at least as a change-up from more clear cut items) or worse “black and black.” Those were the tone of Science Fiction.
Then, fairly close to each other, two movies came out which took an entirely different approach: Lucas’ Star Wars and Spielberg’s Close Encounters of the Third Kind. The rogue was given back his heart of gold. The callow youth could be the hero of the piece, not ground down by the world weary cynics. Heroes who are actually heroes fighting bad guys who weren’t so “sympathetic” that you couldn’t tell hero from villain.
It was a refreshing change. And the result was that, for a time, it became OK to have good guys who were good guys. Bad guys who were actually bad and not just “oppressed” or “victims of their backgrounds”. You didn’t have to wonder who to root for.
Today we’re kind of in a similar position. One of the best selling series, for young people is The Hunger Games. Black and Very-Dark-Gray morality, little really to choose from in the sides, and (no spoilers) that’s shown pretty clearly in the ending. And in printed SF? So much “humanity is a plague” stuff. Bleah.
David L. Burkhead, “Star Wars and the Human Wave”, The Writer in Black, 2015-10-21.
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November 3, 2017
QotD: Perhaps we were lucky that Firefly got cancelled when it did…
This cult classic made the list not for being overtly “conservative”, but mainly for being “not liberal”. The universe of Firefly is some other solar system with “dozens of planets and hundreds of moons”. Some of these are closer than others to the “core” planets, which are under control of the “Alliance”, a plus-sized, technologically-advanced and repressive system of government. The outer planets and moons have less technology, and even less law, i.e Alliance control, but subsequently greater freedom. Firefly producer Joss Whedon, a stereotypical Hollywood lefty, somehow (inadvertently?) imbued Firefly with a heavily libertarian sensibility, which may not be exactly conservative, but it definitely isn’t liberal. Progressive fans of the show may be tempted to fantasize about the Alliance being an oppressive right-wing government, but that would make the “Browncoat” rebels rat bastard commie revolutionaries, and that makes no sense. The Browncoats are not interested in destroying civilization and putting a new one in its place, rather, they just want to be left alone. Their motto can best be described as “Don’t Tread On Me”, not “Workers of the World, Unite”.
Almost every science fiction fan, to a man, bemoans the fact that Firefly was yanked after only 11 episodes, and their dreams are filled what could-have-beens. I, however, take the contrarian view that the cancellation of Firefly was A Good Thing, a blessing in disguise that helped preserve it when it was still a quality show. For it would not have continued a quality show. I believe that Joss Whedon’s perverse Hollywood lefty views would have eventually seeped into Firefly the way a dead rat behind the baseboard will stink up the entire kitchen. A similar thing happened with Battlestar Galactica, as Jonah Goldberg argues in this Commentary article from 2009.
“Whither Conservative TV Shows? [OregonMuse]”, Ace of Spades H.Q., 2016-03-19.
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November 1, 2017
Frankenstein: The Modern Prometheus – Extra Sci Fi – #1
Extra Credits
Published on 31 Oct 2017Mary Shelley’s Frankenstein launched the entire genre of science fiction. What made it unique? What did Shelley create, and how did her view of the possibilities of science shape the way we imagine our world even today?
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October 2, 2017
QotD: Maxims 61-70 of Maximally Effective Mercenaries
61. Don’t bring big grenades into small rooms.
62. Anything labelled “This end toward enemy” is dangerous at both ends.
63. The brass knows how to do it by knowing who can do it.
64. An ounce of sniper is worth a pound of suppressing fire.
65. After the toss, be the one with the pin, not the one with the grenade.
66. Necessity is the mother of deception.
67. If you can’t carry cash, carry a weapon.
68. Negotiating from a position of strength does not mean you shouldn’t also negotiate from a position near the exits.
69. Sometimes rank is a function of firepower.
70. Failure isn’t an option. It’s mandatory. The option is whether or not to let failure be the last thing you do.“Link Weimar” (aka Howard Tayler), Seventy Maxims of Maximally Effective Mercenaries: 301st Anniversary Annotated Edition, 2017.
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October 1, 2017
QotD: Maxims 51-60 of Maximally Effective Mercenaries
51. Let them see you sharpen the sword before you fall on it.
52. The army you’ve got is never the army you want.
53. The intel you’ve got is never the intel you want.
54. It’s only too many troops if you can’t pay them.
55. It’s only too many weapons if they’re pointing in the wrong direction.
56. Infantry exists to paint targets for people with real guns.
57. Artillery exists to launch large chunks of budget at an enemy it cannot actually see.
58. The pen is mightiest when it writes orders for swords.
59. Two wrongs is probably not going to be enough.
60. Any weapon’s rate of fire is inversely proportional to the number of available targets.“Link Weimar” (aka Howard Tayler), Seventy Maxims of Maximally Effective Mercenaries: 301st Anniversary Annotated Edition, 2017.
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September 30, 2017
QotD: Maxims 41-50 of Maximally Effective Mercenaries
41. “Do you have a backup?” means “I can’t fix this.”
42. “They’ll never expect this’ means “I want to try something stupid.”
43. If it’s stupid and it works, it’s still stupid and you’re lucky.
44. If it will blow a hole in the ground, it will double as an entrenching tool.
45. The size of the combat bonus is inversely proportional to the likelihood of surviving to collect it.
46. Don’t try to save money by conserving ammunition.
47. Don’t expect the enemy to cooperate in the creation of your dream engagement.
48. If it ain’t broke, it hasn’t been issued to the infantry.
49. Every client is one missed payment away from becoming a target.
50. Let them see you sharpen the sword before you fall on it.Howard Tayler, quoted by Rodney M. Bliss in “New Maxims Revealed For The First Time”, Rodney M. Bliss, 2015-12-18.
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September 29, 2017
QotD: Maxims 31-40 of Maximally Effective Mercenaries
31. Only cheaters prosper.
32. Anything is amphibious if you can get it back out of the water.
33. If you’re leaving tracks, you’re being followed.
34. If you’re leaving scorch-marks, you need a bigger gun.
35. That which does not kill you has made a tactical error.
36. When the going gets tough, the tough call for close air support.
37. There is no ‘overkill.’ There is only ‘open fire’ and ‘I need to reload.’
38. Just because it’s easy for you doesn’t mean it can’t be hard on your clients.
39. There is a difference between spare parts and extra [parts].
40. Not all good news is enemy action.Howard Tayler, quoted by Rodney M. Bliss in “New Maxims Revealed For The First Time”, Rodney M. Bliss, 2015-12-18.
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September 28, 2017
QotD: Maxims 21-30 of Maximally Effective Mercenaries
21. Give a man a fish, feed him for a day. Take his fish away and tell him he’s lucky just to be alive, and he’ll figure out how to catch another one for you to take tomorrow.
22. If you can see the whites of their eyes, somebody’s done something wrong.
23. The company mess and friendly fire should be easier to tell apart.
24. Any sufficiently advanced technology is indistinguishable from a big gun.
25. If the damage you do is covered by a manufacturers warranty, you didn’t do enough damage.
26. “Fire and forget” is fine, provided you never actually forget.
27. Don’t be afraid to be the first to resort to violence.
28. If the price of collateral damage is high enough, you might be able to get paid for bringing ammunition home with you.
29. The enemy of my enemy is my enemy’s enemy. No more. No less.
30. A little trust goes a long way. The less you use, the further you’ll go.Howard Tayler, quoted by Rodney M. Bliss in “New Maxims Revealed For The First Time”, Rodney M. Bliss, 2015-12-18.
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