In this week's post, I thought I'd look at something I've been struggling with in terms of both my personal tastes and my writing preferences with science fiction (hereafter sci-fi). There are two major branches of sci-fi: "Hard" and "Soft", or at least those are names for them. Hard sci-fi is characterised by a reliance on and accuracy to scientific facts, while Soft sci-fi explores other aspects of science such as psychology and is often not scientifically accurate. Each has its merits, each has its drawbacks, and I like them both. The two I've decided to use for this piece are A Fall of Moondust by Arthur C. Clarke and Dune by Frank Herbert.
I first read A Fall of Moondust on the recommendation of my father, and to be frank I didn't expect to enjoy it. My only real contact with Arthur Clarke at that point was 2001: A Space Odyssey, which I consider to be one of the most boring and nonsensical movies it's been my misfortune to watch. But as I read, I was pleasantly surprised. While the difficulties of performing the major rescue operation in the book are amazing on their own, it's the believably of a future where lunar tourism is commonplace and vehicles such as the tourist-cruiser Selene make regular trips across our satellite's dusty surface. It also predates the Apollo 11 million, and is still noted for its accurate depiction of lunar life despite some elements being impacted by time and advancing scientific knowledge. It pushed me a little further towards my current attitude towards sci-fi; be as accurate as possible to current practical and theoretical scientific theory. So not Avatar, basically.
Dune is a huge book, and while I might've gotten round to it sooner, the edition we had used a difficult typeface. It was a while before I a) had an edition I could read and b) had the energy and inclination to dive into the book. It's not the most scientifically-accurate book in the world. Alright, it borders on fantasy. But it's a sweeping epic which tells a tale as old as time; of warring families and politico-religious struggles. I also managed to find plenty of likable characters and complex situations in its vast cast. And given the context and actions of all the cast from main protagonists down, that's saying something. It ends on a pseudo-cliffhanger, but I've yet to read its sequels Dune Messiah and Children of Dune.
Well, that's it for this week. Next week, we'll be talking to a man who was recently launched into space...after failing to meet his work deadline at NASA. Good night!
Sunday, 25 February 2018
Sunday, 18 February 2018
Review - Movie - Ninja Scroll
This review is based on the DVD Collector's Edition, published in the United Kingdom by Manga Entertainment.
Anime in the 1990s are sometimes a mixed bag. Several of them show their age through their animation or dubbing, but some remain great to this day. One of them is 1993's Ninja Scroll, a period action drama that cemented both the career of its writer/director Yoshiaki Kawajiri and the rise of animation studio Madhouse.
The story is pretty standard fair for its time. During the Edo period, a group of ninja are sent to investigate the death of an entire village, only to be all but massacred by one of a shadowy group called the Eight Devils of Kimon. The main protagonists are Jubei Kibagami, a cross between a ronin and a ninja who is blackmailed into helping by the Edo spy Dakuan; and Kagero, a survivor of the Eight Devils who has some serious relationship issues due to being a walking weapon whose touch alone is poisonous. The main plot is somewhat convoluted, but this movie's appeal is in its high action and the freaky powers of the Eight Demons, who fall directly into the tropes associated with ninja during the 20th to 21st century.
In the animation department, the movie is a triumph. It does use the common tricks of that era of anime (repeating animations, mostly-static conversation scenes), but it also features layered backgrounds and choreography that is stunning even after over two decades. The amount of love for the project is clear, ranging from the detail of the various ninja abilities, to the dedicated fight scenes featuring Jubei. There's plenty to enjoy during both the moments of calm and the hectic action scenes which come at frequent intervals. There's also the trait of arousing female and oh-so-manly male character designs that remains ingrained in anime culture.
The music from Kaoru Wada is very good. Not at all in keeping with the period, but also amazingly enjoyable. It pushes along the action and punctuates scenes of emotion without being intrusive. That also means that, aside from a few places where the music forms most of the scene, it can become unmemorable. The English dub is good for the time, having just the right amount of camp without reaching Dragon Ball Z or Pokemon levels.
Please note that this anime isn't for kids. Alongside Ghost in the Shell and Akira, it was one of the pioneers of true adult feature-length anime. This means that there is violence a plenty, blood and gore, disturbing imagery, nudity, and some traditionally awkward animated sexual encounters. I was surprised that it only contains very mild swearing, at least in the English dub. Despite being older than me, Ninja Scroll remains a classic for all the right reasons, even though it shows its age in places.
8/10
Oh yes, and a final note. I came to this movie after watching Madhouse's follow-up television series of the same name. I'll probably be reviewing the series next week.
Anime in the 1990s are sometimes a mixed bag. Several of them show their age through their animation or dubbing, but some remain great to this day. One of them is 1993's Ninja Scroll, a period action drama that cemented both the career of its writer/director Yoshiaki Kawajiri and the rise of animation studio Madhouse.
The story is pretty standard fair for its time. During the Edo period, a group of ninja are sent to investigate the death of an entire village, only to be all but massacred by one of a shadowy group called the Eight Devils of Kimon. The main protagonists are Jubei Kibagami, a cross between a ronin and a ninja who is blackmailed into helping by the Edo spy Dakuan; and Kagero, a survivor of the Eight Devils who has some serious relationship issues due to being a walking weapon whose touch alone is poisonous. The main plot is somewhat convoluted, but this movie's appeal is in its high action and the freaky powers of the Eight Demons, who fall directly into the tropes associated with ninja during the 20th to 21st century.
In the animation department, the movie is a triumph. It does use the common tricks of that era of anime (repeating animations, mostly-static conversation scenes), but it also features layered backgrounds and choreography that is stunning even after over two decades. The amount of love for the project is clear, ranging from the detail of the various ninja abilities, to the dedicated fight scenes featuring Jubei. There's plenty to enjoy during both the moments of calm and the hectic action scenes which come at frequent intervals. There's also the trait of arousing female and oh-so-manly male character designs that remains ingrained in anime culture.
The music from Kaoru Wada is very good. Not at all in keeping with the period, but also amazingly enjoyable. It pushes along the action and punctuates scenes of emotion without being intrusive. That also means that, aside from a few places where the music forms most of the scene, it can become unmemorable. The English dub is good for the time, having just the right amount of camp without reaching Dragon Ball Z or Pokemon levels.
Please note that this anime isn't for kids. Alongside Ghost in the Shell and Akira, it was one of the pioneers of true adult feature-length anime. This means that there is violence a plenty, blood and gore, disturbing imagery, nudity, and some traditionally awkward animated sexual encounters. I was surprised that it only contains very mild swearing, at least in the English dub. Despite being older than me, Ninja Scroll remains a classic for all the right reasons, even though it shows its age in places.
8/10
Oh yes, and a final note. I came to this movie after watching Madhouse's follow-up television series of the same name. I'll probably be reviewing the series next week.
Monday, 12 February 2018
Return to Submitting
I know, the title looks like a cheesy sequel. And that's the irony; it is. It's been some little time since I've been doing submissions on a regular basis. This isn't due to nerves, but due to the holiday season. Lasting from December through to January, it's pretty much a dead time for anyone submitting to publishing houses and agents. And it's been difficult in several ways.
So what's difficult about this? Well, I'm brought face-to-face with how much my style's changed. You think "what the heck were you thinking when you wrote that" or "that's never going to get me published". You know, the usual stuff. The stuff anxiety attacks are made of. But the thing about me is that, under the pessimism and habit of getting into absolute tizzies at the drop of a hat, I'm generally quite optimistic and determined in my goals. I've chosen to do all I can to become a writer, have several avenues to follow, and won't give up just because my last few attempts weren't as good as they could be.
On top of that, the work I'm submitting is new. My adventure story, built on facts and history rather than the crutches of magic and science fiction. It's something that's got appeal, but it's also something that may be a hard sell as I'm a pretty-much unknown name and this isn't some established blockbuster or macho adventure; it's a woman's slightly whimsical first-person journey with occasional asides to deconstruct the genre and its absurd pitfalls. I've already sent one submission off, and plan more. I've also sent a submission for a non-fiction book, yet another first for which I'm not holding out massive hopes. But that's the point; you try your best and try multiple avenues. I've even got some plans for one of my works that's in publishable form but hasn't been taken up yet - something I wouldn't have dreamed of a year or so ago. If nothing comes back by February, I'll feel no qualms about polishing it up and sending it out.
So what's this? What am I doing? Well, I'm talking. It's an outlet I can't let slip. It stops me from becoming a completely closed system, which is the worst thing a writer can be. Close yourself off, whether from talking about your work or from the work of others, and you handicap yourself to the point of crippling your chances. You can't do stuff in total vacuum. So here I am, talking. And it's a huge relief, as well as an act of bravery as I'm exposing my own weaknesses. And if there're any mistakes I didn't pick up before this got published, there's a living example for you. :)
So what's difficult about this? Well, I'm brought face-to-face with how much my style's changed. You think "what the heck were you thinking when you wrote that" or "that's never going to get me published". You know, the usual stuff. The stuff anxiety attacks are made of. But the thing about me is that, under the pessimism and habit of getting into absolute tizzies at the drop of a hat, I'm generally quite optimistic and determined in my goals. I've chosen to do all I can to become a writer, have several avenues to follow, and won't give up just because my last few attempts weren't as good as they could be.
On top of that, the work I'm submitting is new. My adventure story, built on facts and history rather than the crutches of magic and science fiction. It's something that's got appeal, but it's also something that may be a hard sell as I'm a pretty-much unknown name and this isn't some established blockbuster or macho adventure; it's a woman's slightly whimsical first-person journey with occasional asides to deconstruct the genre and its absurd pitfalls. I've already sent one submission off, and plan more. I've also sent a submission for a non-fiction book, yet another first for which I'm not holding out massive hopes. But that's the point; you try your best and try multiple avenues. I've even got some plans for one of my works that's in publishable form but hasn't been taken up yet - something I wouldn't have dreamed of a year or so ago. If nothing comes back by February, I'll feel no qualms about polishing it up and sending it out.
So what's this? What am I doing? Well, I'm talking. It's an outlet I can't let slip. It stops me from becoming a completely closed system, which is the worst thing a writer can be. Close yourself off, whether from talking about your work or from the work of others, and you handicap yourself to the point of crippling your chances. You can't do stuff in total vacuum. So here I am, talking. And it's a huge relief, as well as an act of bravery as I'm exposing my own weaknesses. And if there're any mistakes I didn't pick up before this got published, there's a living example for you. :)
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