Quotulatiousness

August 2, 2013

Omni rises from the ashes

Filed under: Media — Tags: , — Nicholas @ 08:47

At BoingBoing, Glenn Fleishman talks about the relaunch of Omni magazine:

A few weeks ago, I posed the question here, “Who Owns Omni?“, about the beloved, defunct magazine of the future created and run by Kathy Keeton with significant involvement by her husband Bob Guccione, the founder of Penthouse. The best answer I was able to come up with after talking to past Omni editors and writers, contacting potential current copyright owners, and researching Guccione’s personal bankruptcy and General Media’s more complicated bond default was: nobody.

Almost all of the authors, photographers, and artists whose work appeared in the magazine had signed contracts that granted only short-term rights. The staff writing and other work for hire — owned by the magazine itself — was relatively minimal, and the owner of those rights is to my best efforts currently still unknown.

Next week, however, Omni will be reborn. Not the original, but Omni Reboot: a new online publication that takes its inspiration and direction from the magazine that so many of us grew up on and loved.

While I wasn’t a huge fan of Omni (I preferred Analog), I’m happy to see the old property being revived.

Forbes talks to Warren Ellis

Filed under: Books, Media, Space — Tags: , , , — Nicholas @ 00:01

Warren Ellis has a new novella out (that I haven’t read yet) and talks to Alex Knapp about the new work and other topics:

In Dead Pig Collector, the process of disposing of a body is fairly well detailed. How much research did you do for that?

Four or five hours. Believe it or not, a lot of people seem to spend time talking on the internet about getting rid of bodies. And now they’re all on PRISM-generated watchlists. And so am I.

One of the things that’s fascinating about your work is that it explores subcultures that seem like fantasy, but very much exist in real life. I know, for example, a lot of the cultures you explored in Crooked Little Vein are horribly true. What interests you about them?

I think one of the bigger lessons the internet has taught us is that “niche” or “subculture” are a lot bigger than anyone ever thought. And, frankly, if it’s on the internet, the biggest and widest communication and information system in the world, then it’s not really a subculture any more. If it’s accessible by hundreds of millions of people, then it’s as mainstream as it gets. More people visit body modification websites than watch some tv shows, and yet we think of television as the most mainstream, monocultural thing in the world. How can you not be interested in them? They are the shape of the world to come.

[…]

Also infused in a lot of your work is what appears to me anyway to be a deep and abiding love of space travel. What is it about space that fascinates you so much?

Space is the place. We currently keep all our breeding pairs in the same place, which is kind of a stupid way to run a species. Also, it’s full of stuff we haven’t seen yet, which should be impetus enough to go and look.

What do you think about the current state of space travel, especially now with China and now private companies getting into the mix?

I find it all sadly boring. I mean, yes, the Chinese programme looks awfully promising, but it’s just re-running the prime NASA years in fast-forward — doing things we already did, all over again, in a compressed timeframe, with what is probably fairly similar technology. I’m interested to see what they do once they attain the Moon. And, again, the private stuff — Virgin is just finding a new way to replicate Alan Shepard’s sub-orbital lob. That said, Elon Musk’s projects are getting more interesting by the day. I’m starting to wonder if he doesn’t have a full-on James Bond villain long-game scheme. Wouldn’t that be great? Right up until, you know, the orbital death ray platforms.

July 20, 2013

The Angry Nerd comes down on Comic Con weapon checks

Filed under: Humour, Media — Tags: , , — Nicholas @ 09:27

July 18, 2013

Firefly Online game announcement

Filed under: Gaming, Media — Tags: , , , , — Nicholas @ 09:59

Firefly Online (FFO) is a multi-user, social online role-playing game that will initially be available for smartphones and tablets, including those based on iOS and Android operating systems.

Check out updates and pre-register at www.keepflying.com

From the official site:

Firefly Online is a social role playing game (RPG) based on Firefly, Joss Whedon’s cult-hit television series. Firefly Online (FFO) is currently in development for iOS and Android, and may expand to include additional platforms.

In Firefly Online, players assume the role of a ship captain as they hire a crew and seek out adventures, all the while trading with and competing against the millions of other players to try to survive in the Verse: find a crew, find a job, keep flying.

FFO provides a variety of gameplay activities and systems so that players can fully experience life in the Verse.

  • Assume the role of a ship captain — create a crew and customize a ship
  • Aim to misbehave in space and planet-side adventures
  • Cross-platform player experience across devices (pick-up and play from anywhere)
  • Unique social features connecting Firefly fans
  • Create a shiny ship and explore the Verse

July 13, 2013

Charles Stross on the inspiration for Saturn’s Children

Filed under: Books, Media — Tags: , — Nicholas @ 11:03

It’s rather fascinating — especially if you’re also a fan of Robert Heinlein:

Now, I have a love/hate relationship with Robert A. Heinlein’s work. I am not American; much of his world-view is alien to me. I did not grow up with his 1950’s juvenile novels, and I don’t like them much. Some of his work is deeply, irredeemably flawed and should probably be taken out back and shot. (Does anyone have a kind word to say for Sixth Column or Farnham’s Freehold? I’ll try: 6thC was written to an outline supplied by famously racist editor John W. Campbell, at a point when Heinlein needed the money, and he is alleged to have watered down the racism as far as he could; as for FF, here was a privileged white male from California, a notoriously exclusionary state, trying to understand American racism in the pre-Martin Luther King era. And getting it wrong for facepalm values of wrong, so wrong he wasn’t even on the right map … but at least he wasn’t ignoring it.) Ahem. Nevertheless, it’s impossible to ignore Heinlein unless you’re going to ignore all American SF, and as that’s my main market and my main publishers are American, that’s not an option.

So I decided to pick a Heinlein novel and do a homage to it. One of my two favourites would do: that narrowed it to Glory Road (not really an option because: space opera contract) or Friday (problematic, later work showing flashes of earlier brilliance but impossible to read now without much head-clutching or making excuses for the author’s lack of a language with which to tackle issues of racism and child abuse, which is what underpins that book). This made things both easier and harder, because Friday is a late period work — distinctly different from his early and mid-phase novels (although it was something of a return to his mid-period form).

Then everything came together in my head in a blinding flash of enlightenment, thuswise:

I was going to write a late period Heinlein tribute novel, because everybody (I’m looking at you, Scalzi; also John Varley, Spider Robinson, Mike Ford, Steven Gould …) else who does Heinlein tributes does early Heinlein. And if you want to stand out, the best way to do it is to look which way the herd is stampeding in, then go somewhere else.

Heinlein in his dirty-old-man phase seemed to have a nipple obsession. Worse: an obsession with nipples which, as piloerectile tissue, made an implausible noise — “spung!” Thus, the word “spung!” becomes the centerpiece of any successful late-period Heinlein pastiche.

We in the reality-based community are aware that real human nipples do not do “spung”. But under what circumstances might a nipple go “spung”? Well, if it was some sort of pressure-relief valve on a robot, that sound wouldn’t be totally implausible.

Nipples … on a robot. Why would a robot need nipples? The answer seemed obvious: it was a sex robot. A sex robot in the shape of a Heinleinian omni-competent and beautiful yet sexually submissive heroine. (There is nothing politically correct about Heinlein: he was a product of a different age.)

June 24, 2013

Don’t judge a book – especially a science fiction book – by its cover

Filed under: Books, Humour, Media — Tags: , , — Nicholas @ 07:54

H/T to Lois McMaster Bujold, who sent this link to her mailing list.

June 8, 2013

Charles Stross talks about writing The Jennifer Morgue

Filed under: Books, Britain, Business, Media — Tags: , , , — Nicholas @ 09:07

If you haven’t yet read any of the “Laundry” books by Charles Stross, you really are missing out on a treat. The Jennifer Morgue was the second in the series and Charles has a blog post up about how the book came to be written:

All stories have several seeds. In the case of “The Jennifer Morgue”, the first seed was the surprising success of “The Atrocity Archives”. The novel my agent initially thought was unsaleable sold to Golden Gryphon, a small but respectable Lovecraftian publisher in the United States. It went gold, going into reprint and becoming their second-best selling title at the time. Then, to everyone’s surprise, the additional novella I wrote for the book (“The Concrete Jungle”) made the shortlist for the Hugo award in 2005. This was a stunning surprise. GG had only sold around 3000 copies of the book; the other novellas on the shortlist had all appeared in magazines or anthologies with four to ten times the number of copies sold! After some hurried email consultation, Gary and Marty at GG agreed to let me put the whole novella on the web, to make it more readily available to the Hugo voters. I don’t know if that’s what did the trick, or if there were additional home-mover effects from the Worldcon in 2005 being held in Glasgow (thus bringing more British voters in than normal) but at the end of August that year I became the dazed and surprised owner of a very shiny trophy.

(And the performance anxiety that had been haunting me for years—”I’m not a real writer, I’m just winging this”—went away for a while.)

But anyway. This success coincided with a French publisher making an offer for translation rights to “The Atrocity Archives”, which in turn got my agent’s attention. She proposed a sequel, and James Bond was so obvious that I don’t think I even considered any alternatives. It would have to be the Movie Bond franchise, for most people these days don’t grow up on the original Ian Fleming novels (the way I did); the humour would come from the incongruity of Bob Howard in James Bond’s shoes. We decided to auction the new book, along with paperback rights to “The Atrocity Archives”, and ended up cutting a deal whereby Golden Gryphon would publish “The Jennifer Morgue” in hardcover while Ace rolled “The Atrocity Archives” in trade paperback, and eventually in mass market. Which then left me pondering what to write … because every Bond movie (or novel) needs a Bond-sized plot device, doesn’t it?

By this time we were into late October 2005. One evening, we were eating a Chinese take-away in front of the TV, watching a documentary on the Discovery Channel about one of the most bizarre CIA projects to happen during the Cold War — Project Azorian (better, but mistakenly, known to the public as “Operation Jennifer”). Seriously, if you don’t know about it, go follow that link right now; it’s about how the CIA enlisted Howard Hughes to help them build a 63,000 ton fake deep-see mining ship, the Glomar Challenger, as cover for a deep-sea grapple that would descend 4,900 metres and raise the hull of a shipwrecked Soviet nuclear missile submarine, the K-129. (Project Azorian was so James Bond that the engineering crew working on the ship were cracking jokes about the bald guy stroking the white cat in his seat on the bridge. How post-modern can you go?)

June 1, 2013

You can never have too much Firefly

Filed under: Humour, Liberty, Media — Tags: , , , — Nicholas @ 00:01

May 17, 2013

Zoe Fairbairns’ Benefits

Filed under: Books, Britain, Media — Tags: , , , , — Nicholas @ 07:55

Neil Davenport talks about the recent re-publication of Zoe Fairbairns’ dystopian feminist novel, Benefits:

Written in the febrile political atmosphere of late-1970s Britain, Benefits is about a future state’s sinister attempts to control women’s fertility, and to encourage responsible parenting, through the introduction of a universal ‘wages for housework’ benefit.

Although rarely out of print since it first appeared in 1979, Benefits has recently been re-issued, with a new introduction by Fairbairns, for the e-reader age. It is now being marketed as a political attack on ‘anti-welfarist Tories’, yet as Fairbairns points out, anyone who views Benefits as simplistically ‘anti-Thatcherite’ is missing its key point: that welfare benefits can become a weapon of social engineering and control. On top of critiquing aspects of welfarism, Benefits lays into radical feminism’s self-defeating slogan, ‘The personal is political’, while passionately championing women’s liberation and equal rights — feminism’s one-time aims.

Like many dystopian novels, Benefits is rooted in the fears, the panics and the politics of the period it was written in. So although it is set in the dying days of the twentieth century, it rather charmingly echoes the late 1970s: all tower-block grime; politico slogans on walls; squats; communes; poorly designed radical pamphlets. It also speaks to the more alarmist rhetoric of that period of the mid- to late 1970s. From ecologists predicting Europe-wide famine to the New Right’s panic over single mothers to respectable racists complaining about ‘coloured immigration’, the political feeling in Benefits is unmistakably mid-Seventies.

[. . .]

Equally prescient in Benefits is the way its fictional state believes that ‘poor parenting’ can have a corrosive impact on the individual and society; this has become an unquestioned orthodoxy today.

Many dystopian novels hint at a future in which pornography has become staple entertainment. Benefits does that, too, and this also speaks to the reality of twenty-first-century life, especially to today’s increasing separation of sex from genuine intimacy (it talks about ‘all that sex and no babies’).

In Fairbairns’ nightmare vision, women who want to receive benefits must undergo ‘a programme of education for motherhood’. This sounds suspiciously like parenting classes, which are increasingly common today, especially for poorer families, or what David Cameron calls ‘chaotic families’. Also, in imagining a future in which parenting is redefined as a ‘national service’, Benefits hints at today’s creeping nationalisation of individual families. The novel even features a supra-sovereign state called Europea, where British politicians willingly offload their own parliamentary responsibilities. Sound familiar?

May 12, 2013

SF novels for economists

Filed under: Books, Economics, Media — Tags: — Nicholas @ 09:38

Noah Smith cobbles together a list of science fiction novels that might be of interest to economists:

Diane Coyle has a blog post called “Classics for economists,” and someone on Twitter requested that I do a companion piece called “Science fiction for economists”, so here it is.

Really, most science fiction is about economics. What makes most future visions interesting is not just the technical particulars of the cool new Stuff, but the social ramifications. Here are some of the sci-fi books that I thought dealt with important economic issues in the most insightful and interesting ways. I also chose only books that I think are well-written, with well-conceived characters, engaging plots, and skillful writing.

1. A Deepness in the Sky, by Vernor Vinge

2. Makers, by Cory Doctorow

3. The Dispossessed, by Ursula K. LeGuin

4. Down and Out in the Magic Kingdom, by Cory Doctorow

5. Rainbows End, by Vernor Vinge

6. Accelerando, by Charles Stross

7. Lucifer’s Hammer, by Larry Niven and Jerry Pournelle

8. The Windup Girl, by Paolo Bacigalupi

9. The Moon is a Harsh Mistress, by Robert Heinlein

10. Schismatrix, by Bruce Sterling

11. Permutation City, by Greg Egan

12. Reamde, by Neal Stephenson

13. The Game of Thrones series, by George R.R. Martin

In addition to the ones I’ve marked in boldface (that is, I’ve read them and agree they belong on this list), I suspect Stephenson’s Reamde would be worth reading, although I didn’t like Anathem and Smith lauds that as being Stephenson’s “#1 awesomest book”. The best comment on this post is the first one by Anonymous: “When Hari Seldon predicted his exclusion from this list a single tear rolled down his cheek.”

May 1, 2013

Charles Stross on how he conceived his Merchant Princes series

Filed under: Books, Media — Tags: — Nicholas @ 11:15

It’s all about the clichés, apparently:

I have a confession to make: I hate clichés. This is a problem, because a cliché is a good idea that has been re-used so often that it outstays its welcome.

Also, being a Brit of a certain outlook, I do not view monarchism or aristocracy with any degree of nostalgic fondness. The divine right of kings is a post-hoc justification for hereditary dictatorship (current poster-child: Kim Jong-Un) and the feudal age was one of total militarization of society, of petty lords with the right to hang any serf whose face they didn’t like, and of wars ravaging the land every generation.

Finally: I’m lazy and cynical, I get bored easily, and I have a warped sense of humour. Which is how I came up with this series. I grabbed hold of a bunch of clichés and rammed them together until I achieved fusion. And that’s how The Bloodline Feud starts.

Cliché #1: science fiction about people who can travel between different time-lines. The 500 kilo gorilla in this sub-genre is undoubtedly Roger Zelazny’s Amber series (if you count it as SF: I’d say the main protagonists’ outlook qualifies it as such), but honourable runners-up are numerous: Harry Turtledove, John Barnes, add to the list at your leisure. The ability to walk between worlds seems like a wonderful talent that can bring all sorts of benefits: but what if it wasn’t? What if you ran into all the same problems with earning a living, maintaining your personal safety and security, and staying out of trouble that you had in your home time-line? In fact, what if it made everything worse? It seemed to me that this was fertile territory to explore, so I stripped my world-walkers’ ability back to basics and put some onerous limitations on it. It’s not a get out of jail free card. And for added amusement, I decided to give them another handicap: a cultural one.

March 11, 2013

Science fiction’s blindspot on the looming corporate menace of the future

Filed under: Books, Business, Media — Tags: , , , — Nicholas @ 10:36

Kevin Williamson wonders why the dystopic corporate giant of so many science fiction books and movies doesn’t seem to be getting any closer to reality:

That the future will be dominated by amoral international (or interstellar) corporations is a constant theme of science fiction and, not unrelatedly, of progressive political thought. The rogues’ gallery includes Cyberdyne Systems (Terminator), Weyland-Yutani (Alien), Omni Consumer Products (Robocop), and Charlton Heston’s friends at Soylent Inc. The gold standard of the genre is the Tyrel Corporation, from Ridley Scott’s 1982 film Blade Runner, an adaptation of Philip K. Dick’s 1968 novel, Do Androids Dream of Electric Sheep?. The film, which is indisputably a visual masterpiece, is much heavier on the theme of corporate dominance than the novel is, which is strange: The corporation of 1982 was a smaller and weaker thing than the corporation of 1968.

At its best, science fiction imagines a future that illuminates the present, but on the subject of the social role of the corporation, science fiction has long been backward-looking, out of touch with the reality it would analyze. The cultural imagination at large shares this error, though it is difficult to say how much this defect in science fiction is a result of the cultural error and how much it is the cause. But it would be difficult to overstate how deeply the specter of the villainous corporation shapes American political thought. The influence is more visible the farther to the left one moves along the political spectrum. Occupy Wall Street was probably at least as much influenced by science-fiction visions of corporate dystopias as it was by any kind of organized political thought. There were unmistakably Maoist elements to Occupy, but the sinister connotations of the very word “corporation” are by no means heard by only those ears attached to the addled heads of committed leftists.

Do Androids Dream of Electric Sheep? was set in 1992, Blade Runner in 2019, yet here we are, well into the 21st century, and there is still no colossal Tyrel Corporation bestriding the globe, and nothing like the corporate sovereignties of Jennifer Government. As myth, the corporate dystopia remains undiminished in its power. But the function of myths is to illuminate reality, and the reality is that there is no Tyrel Corporation today, and none on the horizon. If you want to know what the corporation of tomorrow looks like, don’t think Cyberdyne — think Groupon.

You would not know it from reading fiction, speaking with Occupy types, or listening to the speeches at the Democratic National Convention, but the corporation as we know it is in decline: The average size of a corporation as measured by personnel has been diminishing since 1975. In 1955 the largest U.S. company, General Motors, employed 576,000 people out of a U.S. population of 166 million; today Exxon Mobil, the largest U.S. company, employs only 82,000 people. Microsoft employs fewer than 100,000 people worldwide; Google employs about 54,000, and Facebook fewer than 6,000.

January 9, 2013

Will Defiance channel its inner Firefly?

Filed under: Gaming, Media — Tags: , , — Nicholas @ 12:17

Massively looks at the new trailer for MMO-and-TV-show Defiance and senses some Firefly DNA:

As you’re probably aware, the company’s Defiance MMO shooter is entering beta later this month. As you’re also probably aware, the game is being developed in concert with the TV show of the same name, both of which will debut in April.

Yesterday, Syfy released a slick new teaser for the show, and while it doesn’t feature any game footage or really mention the MMO at all other than in the closing tag line, we squeed a bit at the Firefly-esque music and the general awesomeness on display.

January 8, 2013

Charles Stross on vampires

Filed under: Books, Media — Tags: , , — Nicholas @ 09:41

Now that he’s committed the act of writing a novel that has vampires (The Rhesus Chart, the next “Laundry” story, to be published in July next year), Charles Stross examines the current role of vampires in fiction:

So what are vampires good for?

Leaving aside a whole bunch of different mythological tap-roots, some of which are quite interesting in their own right, the modern western interpretation of the vampire is largely the fault of Bram Stoker (although he, in turn, was working in a literary tradition with notable antecedents such as Varney the Vampire).

The interesting thing about vampires in fiction is what they’re used to represent. Vampires are the talkative reflection of our fears; unlike horde-shambling zombies they’re singular entities, intelligent and outwardly handsome, the exterior shell concealing festering horrors within. And the nature of the horrors in question changes with time. Back in Stoker’s hey-day, the fear of contagion, of the degeneration and insanity that went with syphilis, was clear: so was the clash of uptight Victorian public morality and private lascivious debauchery that went with it. (It’s no accident that Vampirism-as-AIDS was the big metaphor of the 1980s: blood, sex, and death are deeply intertwingled in our collective id.)

More recently, we have a whole bunch of other vampire metaphors. There’s the untrammeled greed angle, the psychopathic serial killer angle, the sexual predator. Vampires are rapists, non-consensual sadists and torturers, serial killers. They are, above all, parasites and sociopaths — you can’t be a vampire, a successful apex predator upon people, and feel much empathy for your prey.

So what do we make of that sub-species of vampire that fucks its food?

One of the weirder twists in the development of a sub-genre happened some time in the early 1990s, with the advent of the paranormal romance. In retrospect it’s fairly obvious what they’re for; they allow the reader to vicariously explore emotional aspects of BDSM without the troublesome need to find a partner with a roll of duct tape and a flogger who also understands the need for safe words. (This may also be a side-effect of changing gender/power relationships in society at large causing confusion, uncertainty, or dissatisfaction with traditional power roles: don’t tell the Pope. Ahem. There’s a really complex knot of issues here, including the implications of the demographic transition for human interpersonal and familial relationships, that is probably food for several PhD theses.)

November 24, 2012

Tim Worstall: Cosmic fun-spoiler

Filed under: Economics, Space, Technology — Tags: , , , — Nicholas @ 11:42

Writing in The Register, Tim Worstall brings his evil economist gaze to the SF fan’s irrational belief that asteroid mining is the way of the future:

Isn’t it exciting that Planetary Resources is going to jet off and mine the asteroids? This is every teenage sci-fi geek’s dream, that everything we imbibed from Verne through Heinlein to Pournelle is going to come true!

But there’s always someone, isn’t there, someone like me, ready to spoil the party. The bit that I cannot get my head around is the economics of it: specifically, the economics of the mining itself.

In terms of the basic processing of what they want to do I can’t see a problem at all, just as all those authors those years ago could see how it could be done.

Asteroids come in several flavours, and the two we’re interested in here are the ice ones and the nickel iron ones. The icy rocks, with a few solar panels and that very bright 24/7 sunshine up there, can provide water. That’s the first thing we need in abundance if we’re going to get any number of people up off the planet for any appreciable amount of time. And we’d really rather not be sending the stuff up out of the Earth’s gravity well for them.

It’s also true that those nickel iron asteroids are likely to be rich in platinum-group metals (PGMs). They too can be refined with a bit of electricity, and they’re sufficiently valuable (say, for platinum, $60m a tonne, just as a number to use among friends) that we might be able to finance everything we’re trying to do by doing so.

All terribly exciting, all very space cadet, enough to bring tears to the eyes of anyone who ever learnt how to use a slide rule and, as the man said, once you’re in orbit you’re not halfway to the Moon, you’re halfway to anywhere.

Except I’m not sure that the numbers quite stack up here. I’m sure that the engineering is possible, I’m certain that it’s all worth doing and most certainly believe that we want to get up there and start playing around with other parts of the cosmos over and above Gaia. But, but…

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