Pixel Scroll 3/5/18 Don’t Scroll That Shoggoth, Hand Me The Pixel

(1) FIGHT TO THE FINISH. Unbound Worlds, the Penguin Random House website for sff fans, is running Cage Match 2018: Creature Feature, a March Madness-style original fiction bracket tournament.

For the first time, Cage Match will feature an all non-human bracket of 32 characters — monsters, murderbots, mythological beings, and more from SF/F books — in battles to the death written by acclaimed authors.Contributors include Liana Brooks, C.A. Higgins, Seanan McGuire, Tina Connolly, and many others. Below are links to a couple of Round One matches.

  • Seanan McGuire’s (Tricks For Free) battle between Pennywise, a shapeshifting monster turned sinister clown from Stephen King’s It and Shelob, a venomous spider from J.R.R. Tolkien’s The Lord of the Rings. Read it here.
  • Michael Poore’s (Reincarnation Blues) account of Deep Thought, the supernatural computer from Douglas Adams’s The Hitchhiker’s Guide to the Galaxy vs. Lovelace/Sidra, a sentient computer from Becky Chambers The Long Way To a Small Angry Planet. Read it here.

Some of the other creatures from classic and contemporary science fiction and fantasy are:

  • Cthulhu, a massive, octopoid god-being from the works of H.P. Lovecraft.
  • Drogon, the largest and most aggressive of Daenerys Targaryen’s dragons from A Song of Fire and Ice by George R.R. Martin.  
  • Iorek Byrnison, an armor-clad polar bear warrior from Phillip Pullman’s The Golden Compass.
  • Murderbot, a self-aware robot that hates humans from Martha Wells’s The Murderbot Diaries.
  • Pennywise, a shapeshifting monster turned sinister clown from Stephen King’s It.
  • War, a supernatural horseman of the apocalypse from Good Omens by Terry Pratchett and Neil Gaiman.

Also new for Cage Match 2018 is a special creature-themed Spotify playlist.

(2) BRADBURY IS BACK. As Bill Oberst Jr. describes his exciting new project, Ray Bradbury Live (forever):

Dinosaurs.

Dark Carnivals.

Rockets To Mars.

Ray Bradbury Live (forever) has them all. It’s a smart show; alternatively funny, sppoky and biting; a mix of Epcot ride, Planetarium show and dream.

The Show: Like Mark Twain Tonight, or The Bell of Amherst. But with dinosaurs.

Ray Bradbury Live (forever) is licensed for performance by the Ray Bradbury Estate, with script approval by the family.

Bill is doing the first staged reading in NYC at Theatre Row on April 12th at 7 p.m. It’s not the full production, just a reading, but it will give an idea of the piece. Jeff Farley is doing the prosthetic make-up for the actual show when it opens. The plan is to debut Off-Broadway in 2019 and then tour it nationally (and maybe overseas, too.) This first reading is the first baby step.

As a reminiscence, here is a promotional graphic from Bill’s 2015 Bradbury-themed performance in LA:

(3) WITHOUT RESERVATION. Adweek explains “Why the Overlook Hotel From The Shining Got an Ad on the Oscars”.

The one hotel in the world where you really don’t want to stay got a high-profile commercial on the Oscars telecast tonight—38 years after it first terrified people on the big screen.

The Overlook Hotel, which was the setting for Stanley Kubrick’s 1980 horror movie The Shining (based on Stephen King’s 1977 novel of the same name), was the ostensible advertiser behind the 30-second spot—which invited you to enjoy a “quiet, remote family getaway” at the “newly renovated” property, where “there’s a surprise around every corner.”

… A few seconds at the very end of the ad reveal the true advertiser—the Academy Museum of Motion Pictures, a new museumdedicated to the art and science of movies that will be opened in Los Angeles in 2019 by the Academy of Motion Picture Arts & Sciences (which runs the Oscars).

 

(4) INTERSECTIONALITY. Damien Walter has an intriguing idea for explaining a theoretical concept: “The trouble with intersectional political alliances as illustrated by Star Wars”.

Intersectionality is a powerful idea conveyed in an overcomplicated word. But Star Wars is a great way to understand it better.

…From what we see, Rebel X-Wing pilots are predominantly male, blue collar guys with security / technical backgrounds. In contrast the alliance diplomatic corps lead by Mon Mothma and Leia seem to be mostly women with liberal arts / humanities educations. These two groups probably see the rebellion very differently, and have to continually negotiate to find a good working relationship.

The Mon Calamari cruisers can take on multiple Imperial star destroyers at once, but were only converted for military function after the Mon Calamari were targetted and nearly wiped out by Imperial forces. No doubt Admiral Ackbar feels his people are the real leaders of the rebellion, and as allies the humans, who basically caused all these problems with their history of colonialism, should damn well shut up and take orders.

Who knows what the Bothans want from the whole thing, but many of them died to recover those plans, so they probably expect a cut of any political settlement when the Republic is re-established.

In real life we have a word for the problems of factionalism faced by Liberal political alliances.

INTERSECTIONALITY

(5) SEE STOKERCON. Ellen Datlow shared her photos of StokerCon 2018 on Flickr. Posing for the camera here are Craig Engler and the electrifying Scott Edelman.

(6) THE SHAPE OF DOLLARS. Are you up on the charges of plagiarism made against the makers of the movie The Shape of Water? If not, Time.com posted a summary today, immediately after the film won the Academy Award: “Everything to Know About the Shape of Water Plagiarism Controversy”.

Jim Meadows sent the link together with his commentary:

The whole thing got my attention, because I can remember watching “Let Me Hear You Whisper”, the Paul Zindel play that Zindel’s family says was unauthorized source material for The Shape of Water. The Time article mentions a 1990 TV movie (actually an episode in an artsy drama series on the A&E cable channel, according to IMDB). My memory is of an earlier production, in 1969, on the NET Playhouse series that ran on public television throughout the mid and late ’60s. My memories were reinforced a few years later when I found the play published in a 1970s Roger Elwood anthology, Six Science Fiction Plays.

I have not seen The Shape of Water, but the common points seem to include: a female janitor striking up a relationship with an intelligent aquatic creature housed in a research facility, with ensuing conflict between hard-headed scientists and the more romantic janitor. In Let Me Hear You Whisper, the creature was a talking dolphin, which I remember being a thing in SF back then. But unlike The Shape of Water, there was no physical relationship, just compassion on the janitor’s part for the dolphin’s plight. From the Time article, I gather there are other points of both similarity and difference.

The interesting question that makes this story more than One More Thing in the news is that of what counts as plagiarism. In science fiction, and, I suspect, other genres, there are countless stories that are essentially about the same thing. When is plagiarism, in the legal sense, involved? How many stories about, for instance, traveling to the moon for the first time, are actually very similar? Or telepathy? Or nuclear holocaust? If the plot-line goes in a different direction, or if certain basic elements are changed — a biped “river god” instead of a dolphin, for instance —- does that cancel out the charge of plagiarism? Among all these stories, how many cases exist that would meet legal grounds for a plagiarism charge? What is the precedent in these cases? Perhaps most importantly in a real-world sense, who could win a lawsuit?

Perhaps a lot of people could, but those lawsuits are never filed because most cases do not involve celebrated, money-making movies, but obscure stories in low-circulation magazines.

(7) GUFF REASONS. Going Under Fan Fund (GUFF) candidate Marcin Klak appeals for support by telling readers “What can I pack in my ‘fandom suitcase’?”

…So far I have visited more than 100 conventions in Poland. Their size ranged from less than 50 members to over 40 000 members. Among them were manga and anime cons, SF&F cons, some of them were multigenre and some were focused solely on gaming or on a particular franchise. I would like to pack all of those experiences with me. This way I can share pictures, memories and talk about the general Polish approach to conrunning and congoing….

(8) TODAY IN HISTORY

  • March 5, 1954The Creature from the Black Lagoon premiered.

(9) TODAY’S BIRTHDAY BOY

  • Born March 5, 1942 – Mike Resnick

Steven H Silver paid tribute at Black Gate with “Birthday Reviews: Mike Resnick’s ‘The Evening Line’”:

…In this particular story, Plug Malone has hit it big at the races and when word gets out about his good fortune, he finds himself facing a huge number of fortune-hunting women looking for a husband. The story, both stylistically and in its depiction of men and women, is very much a throwback to the period in which [Damon] Runyon was writing his Broadway stories.

The story sets Malone’s desire not to get married against the various citizens of Broadway stating that as soon as he has money, women will want to marry him, turning the first line of Pride and Prejudice askew….

(10) COMICS SECTION.

  • Chip Hitchcock says it’s obvious Rose is Rose follows our new regular feature about cats.

Mike Kennedy sent in a trio —

  • Bits for sale at Foxtrot.
  • Edward can’t help violating that kindergarten dictum about what you don’t run with: In The Bleachers.
  • And Monty is on the beam.

(11) TAKE WEIRD TO THE NEXT LEVEL. The Dark Magazine has launched a Kickstarter appeal to fund ”Two More Years of Unsettling Fiction”.

The Dark Magazine has been around for five years and in that short period of time we have published award-winning stories by new and established authors; showcased great artwork from all corners of the world; and done it all on the backs of a small team of simply wonderful people. But now it is past time to take it to the next level, and help finance the magazine for two more years to allow us to increase the subscription base, increase the pay rate, and increase the amount of fiction we bring to you. Because we don’t just like dark fantasy, horror, or weird fiction . . . we love it. And it means so much to us to introduce you to unsettling and thoughtful stories every month that we want to keep on doing it, with your help.

Who we are:

Co-Editor and Publisher Sean Wallace is the founder, publisher, and managing editor of Prime Books….

Co-Editor Mexican by birth, Canadian by inclination, Silvia Moreno-Garcia’s debut novel, Signal to Noise, about music, magic and Mexico City, was listed as one of the best novels of the year …She was nominated for a World Fantasy Award for her work on the anthology She Walks in Shadows and is the guest-editor for Nightmare Magazine’s POC Destroy Horror. She edits The Jewish Mexican Literary Review together with award-winning author Lavie Tidhar.

Kate Baker is the podcast director and non-fiction editor for Clarkesworld Magazine. She has been very privileged to narrate over 250 short stories/poems by some of the biggest names in science fiction and fantasy. …She is currently working as the Operations Manager for the Science Fiction and Fantasy Writers of America.

(12) SHORTISH. Charles Payseur’s Quick Sips Reviews covers Glittership February 2018.

Glittership is back after a short delay with new 2018 content! Woo! First up is an original story, a reprint, and a poem, all of which are gloriously queer. The fiction is set in the “real” world with a heavy emphasis on death and with people generally occupying space bordering both the living and the dead. Especially for queer people who are in a state of constant danger, it’s a precarious space, but it can also be a powerful one that allows them to face the larger world and its mysteries more directly. These are rather wrenching pieces, and the the poetry doesn’t let up, looking at shapeshifting and portrayal and it’s just wonderful work all around that I should get to reviewing!

(13) EXACTLY. I confess to having a problem with all awards that use the eligibility year instead of the award year in their titles, not just the Nebulas.

(14) ANSWER WITH A QUESTION. Rich Lynch tuned into tonight’s Jeopardy! where one category was “Facts About Fiction.” This was the $2000 clue. The defending champ got it right.

(15) BEST OF SFRA. The Science Fiction Research Association announced its annual awards.

  • Thomas D. Clareson Award for distinguished service: Veronica Hollinger
  • Mary Kay Bray Award for best essay, interview, or extended review to appear in the SFRA Review: Hugh C. O’Connell for his review of Jack Fennell’s Irish Science Fiction
  • Pilgrim Award for lifetime contribution to SF and Fantasy scholarship: Carl Freedman
  • Pioneer Award for best critical essay-length work of the year: Thomas Strychacz for “The Political Economy of Potato Farming in Andy Weir’s The Martian” in Science Fiction Studies
  • Student Paper Award for outstanding scholarly essay read at the annual SFRA conference: Josh Pearson, for “New Weird Frankenworlds: Speaking and Laboring Worlds in Cisco’s Internet of Everything.”
  • Honorable mention for student paper goes to Kylie Kornsnack for “Towards a Time Travel Aesthetic: Writing-between-worlds in Okorafor, Butler, and Baledosingh.”

Also, in January, SFRA named Dr. Emily Cox the winner of the Support a New Scholar Award.

[Via Locus Online and SF Site News.]

(16) MOTH MAN. Neil Gaiman has participated in a few Moth storytelling events. Moth participants relate true events from their lives before a theater audience. Here is a list of his stories that are currently available via The Moth’s website.

(17) I’M BAAACK. Disney dropped the teaser trailer for Mary Poppins Returns.

[Thanks to JJ, Chip Hitchcock, John King Tarpinian, Jim Meadows, Rich Lynch, Cat Eldridge, Andrew Porter, Martin Morse Wooster, Dann Todd, Mike Kennedy, and Carl Slaughter for some of these stories. Title credit goes to File 770 contributing editor of the day Andrew.]

2018 Academy Award Winners

The 2018 Oscar winners were announced March 4. Click the link for the complete list. Winners of genre interest are listed below.

Best Picture

  • The Shape of Water

Animated Feature Film

  • Coco

Cinematography

  • Roger A. Deakins, Blade Runner 2049

Directing

  • Guillermo del Toro, The Shape of Water

Music (Original Score)

  • Alexandre Desplay, The Shape of Water

Music (Original Song)

  • “Remember Me,” Music and Lyric by Kristen Anderson-Lopez and Robert Lopez, from Coco

Production Design

  • Production Design: Paul Denham Austerberry, Set Decoration: Shane Vieau and Jeff Melvin, The Shape of Water

Short Film (Animated)

  • Dear Basketball

Visual Effects

  • John Nelson, Gerd Nefzer, Paul Lambert, and Richard R. Hoover, Blade Runner 2049

Writing (Original Screenplay)

  • Get Out, written by Jordan Peele

Pixel Scroll 3/2/18 Green Eggs And Lembas

(1) ADDING AN OSCAR. Animation World Network asks, “Do Digital Characters Deserve Academy Awards?”

Producing photorealistic digital humans, animals and other types of creatures has been a one of the holy grails for computer scientists and digital artists since the nascent days of the CGI technology revolution. More recently, in the last 10-15 years, many filmmakers have made significant strides toward achieving the goal — some more convincingly than others — of bringing believable photoreal human and lifelike digital characters to the screen.

From the first full-length photorealistic animated film, Hironobu Sakaguchi’s Final Fantasy: The Spirits Within (2001) to Peter Jackson’s ground-breaking Lord of the Rings trilogy (2001-2003), Robert Zemeckis’ innovative but not hugely popular Polar Express (2004) and Beowulf (2007), David Fincher’s mesmerizing The Curious Case of Benjamin Button (2008), various wildly popular Marvel movies starting with Iron Man (2008), and of course, seminal films like James Cameron’s Avatar (2009) and Rupert Wyatt’s Rise of the Planet of the Apes (2011), filmmakers have continually raised the bar, and stakes, with a series of increasingly complex digital characters that don’t just wow audiences with their stunning visuals, but capture people’s hearts with their believably emotional performances. The growing list of such digital performances is a testament to the unending audience appetite for visually engaging storytelling produced by a new generation of talented filmmakers more and more adept at embracing and making use of sophisticated production technology.

… According to Edlund, when you consider digital characters such as Caesar, you must also consider the team responsible for animating the performance. “Well, [the Academy is] studying this whole issue,” he says. “I know Andy Serkis thinks that he was the first one to use motion-capture and all that, and he’s a talented guy. But the thing is, Andy Serkis’s performances are also tweaked by animators, and so rather than giving Andy Serkis the entire award…if he were to be nominated and voted in, you’d have to split the award with the animators. So, it’s a very difficult thing. There’s always a serendipity about performance. There are things not on the page of the script that happen within the performance of the actor. When you animate, everything is intellectual, everything is being created. So, this is the valley that animators have to cross.”

(2) ALL FAME IS FLEETING. It’s time again for Young People Read Old SFF. James Davis Nicoll has turned them loose on Hall of Fame short story “It’s A Good Life” by Jerome Bixby.

Jerome Bixby was one of those reliable, unremarkable mid-listers the field used to support in decades past. In general, his work was a decent way to pass a half hour but not often memorable. “It’s a Good Life” is the exception, selected for the Hall of Fame, adapted to TV and the silver screen and referenced in a number of other works. Of course, the story’s heyday was in the distance past, in a now half-forgotten era of slide-rules and black & white television. How will it read to my Young Readers?

(3) #WHOAGAINSTGUNS. Doctor Who fandom is becoming a nexus of support in efforts against gun violence. A podcast, with some Who celebrities as participants, will be used as a fundraiser reports Comics Beat — “Doctor Who writers, artists, fans launch podcast to benefit gun violence prevention”

This groundswell of action also includes fan communities. One such organization is .Gallifrey Stands, a coalition who announced their Who Against Guns campaign on Monday. According to organizers, the campaign is “an initiative to encourage Doctor Who fans to take action against gun violence.”

To that end, the group has organized a massive charity podcasting effort: 40 Doctor Who fans, which include professional Doctor Who writers and artists, will record an exclusive commentary to the 1969 Classic Who story “The War Games.” The 11-episode podcast will only be released to listeners who make a donation of $10 or more to an organization committed to ending gun violence. Supporters then forward their receipt to the group, and the commentary will be made available for download on March 12th.

Who Against Guns suggests that fans direct donations towards several groups working to prevent gun violence: the aforementioned March For Our Lives, the Brady Campaign to Prevent Gun Violence and Moms Demand Action. In recognition of Doctor Who’s international fan base, organizers have said they will honor donations made to charities that work to prevent gun violence outside of the US, and have provided a few suggestions on their website.

One of Who’s biggest names is involved — “Steven Moffat joins Who Against Guns”.

Doctor Who showrunner and writer Steven Moffat is joining the effort to raise money for gun violence prevention charities–but only if fans donate a total of $7000 by March 12. If they do, Moffat will provide a special commentary on episode 10 of “The War Games.”

…He joins a growing roster of professional Doctor Who scribes that have signed on to Who Against Guns, lending their thoughts to a commentary which includes Paul Cornell (“Human Nature”, “Family of Blood”) Jamie Mathieson (“Oxygen”, “Flatline”), Andrew Smith (“Full Circle”), and Peter Harness (“The Zygon Invasion”, “Kill The Moon”).

Comic professionals have also lent their efforts to the campaign. Titan Comic artists  Rachael Stott (Doctor Who: The Thirteenth Doctor), and Simon Fraser (Doctor Who: The Eleventh Doctor) are among those commentating, as are a number of Doctor Who podcasters.

(4) ARCHIVE RESCUED. Comichron’s John Jackson Miller reports “History saved: Comics Buyer’s Guide bound and file copies, distributor publication library preserved”. Miller and Maggie Thompson have saved the Krause era (1983-2013) of Comics Buyer’s Guide from destruction.

Krause Publications, which for years published both Comics Buyer’s Guide and Comics Retailer,  is closing its Iola, Wis., office in March, moving the remaining personnel to a larger city. But as my fellow former employee Maggie Thompson learned last week, the file copies of most of the magazines were to be discarded, as well as a significant portion of the library materials.

For Comics Buyer’s Guide — read my history of the magazine here — this took in a huge number of issues. More than 5,000 copies, between two and ten each of every issue from #482 in 1983 to #1699 in 2013. This amounted to 105 cases weighing more than two tons — all destined for destruction.

The company donated the materials to Maggie and me to place, but the caveat was that we only had 72 hours to find homes for them all — and while Maggie sent the CBG bound copies to Columbia University, the file copies were still a very large problem.

(5) WATCH THE WATCH. The Verge says Pratchett’s famous series is coming to television: “BBC Studios is adapting Terry Pratchett’s iconic Discworld books for a six-part TV series”.

Discworld is a massive series written by Pratchett — who died in 2015 — which spans 41 books, dozens of characters, and a variety of smaller, thematic sub-series within the larger work. This show will reportedly be a six-episode series, with a current working title The Watch. That implies that it’ll be based off one of the most popular subsets of the overall series, featuring the Ankh-Morpork City Watch, which grows from a ramshackle group of a couple officers trying to get by to a full-fledged city police force over the course of the series.

(6) TODAY’S BIRTHDAY BREWER

  • Born March 2, 1904  — Theodor Seuss Geisel

Narragansett Beer has reason to celebrate.

Today we celebrate the birthday of Dr. Seuss with a little bit of history you might not have known… So pull up a chair and prepare for the story of how Dr. Seuss made his way into our wonderfully weird world of beer.

Who Knew? Dr. Seuss Could Brew?

Whether it’s the childhood memories of his books or you’re watching the new films today, Dr. Seuss’s tales are “too good to miss.” Theodor Seuss Geisel was born on March 2, 1904 in Springfield, MA. Remember those famous illustrations he made for Narragansett Beer back in the day? The most famous being the tray shown above. Antique collectors date these works around the 1940?s. He did other illustrations that appeared in print ads and coasters like this one.

One of the most interesting facts was that both his father, Theodor Robert Geisel, and grandfather Geisel were brewers. In fact, his German immigrant grandfather owned the Kalmbach and Geisel Brewery, or “Come Back and Guzzle” as the locals called it, in Springfield. In 1894 it was renamed the Highland Brewery and five years later it became part of the Springfield Breweries.

(7) LE GUIN OVERVIEW. John Crowley, in “The Whole Household of Man”, reviews the Library of America edition of Ursula K. Le Guin’s The Hainish Novels and Stories for Harper’s Magazine.

In the science fiction of Ursula K. Le Guin, who died last month at the age of eighty-eight, planets circle suns other than ours, yet have landscapes and skies and seas not so unlike ours and natives who are mostly not very different from us. A single, tremendous idea made her imagined realms effectively strange, even while binding them all together as realms of the human. This is what she conceived: Some hundreds of thousands of terrestrial years ago, an advanced society on an Earth-like planet called Hain discovered the principle of near-light-speed travel, and with this advance they began to explore their galaxy. They sought planets where, whatever the differences from their home, beings like themselves could live and thrive, and there they planted colonies. Over the course of cosmic time, nine planets (among them our Earth, called Terra) were populated by Hainish people. Some of the populations are different in body and all different to some degree in culture; they come to have histories reaching back to time out of mind, and ways of doing and understanding things that are also ancient—but they are our own relations, brought and adapted to their worlds by our common ancestor. For every way we differ there is a way in which we are alike.

Le Guin’s parents were both famed ethnographers—her father, Alfred Kroeber, documented the life of Ishi, called “the last wild Indian in California”; her mother, Theodora, wrote Ishi in Two Worlds, a popular telling of his story. Le Guin became in her fiction not one ethnographer or historian but many. She deploys a force of investigators throughout the Hainish-populated parts of the galaxy to rediscover colonies founded millennia before, who observe and collect and draw conclusions that sometimes turn out to be inconsistent with one another—just as human ethnography and ethnographers do.

(8) NATIONAL BIRD. NPR’s All Things Considered says “If You Want To Find The Millennium Falcon, Just Head To The National Cathedral”.

For the last six months, a red-tailed hawk has made its home in the ramparts of the Washington National Cathedral. And now, it officially has a name: Millennium Falcon.

(9) MONSTROUS GOOD STORY. Edmonton Hugo’s Book Club argues that Emil Ferris’ recent graphic novel My Favourite Thing Is Monsters should be strongly considered for nomination for this year’s Best Graphic Story Hugo. They compare the art to that of luminaries like Robert Crumb and Maurice Sendak, and suggest that this artwork elevates is above other contenders for comic book awards this year: “Best Graphic Story 2017 – My Favourite Thing Is Monsters”.

My Favorite Thing Is Monsters is the first graphic novel from Chicago-born illustrator and toy designer Emil Ferris. It may be the most significant and worthwhile graphic presentation to be published in the past decade.

Told in the form of a diary written by a 10-year-old girl in late-‘60s Chicago, My Favorite Thing Is Monsters is a love-letter to classic horror movies, to science fiction fandom, and to Forrest J. Ackerman’s Famous Monsters Of Filmland.

Ferris weaves a variety of narratives through the work, as the young protagonist Karen Reyes investigates the murder of her mysterious neighbor Anka Silverberg. Reyes’ isolation and alienation are expressed through her transformation (possibly only in her imagination) into a werewolf-style monster.

(10) SAFETY FIRST. Superseding flat-packs? “AutoSaw: Robot carpenter makes custom furniture”.

Robotics have long been used to manufacture mass-produced, flat-pack furniture but MIT’s work could pave the way for robots to create custom furniture for specific purposes and spaces.

The robots will cut the wood correctly, adding the holes needed to assemble it, and carry the component parts around the room.

Compared to existing machines used by carpenters, AutoSaw is considerably cheaper and more mobile. As well as Roomba, the project uses two robots from German firm Kuka – though the particular model utilised by MIT’s team has since been discontinued.

(11) MORE THAN A LITTLE. There was so much penguin poo it was visible from space, says the BBC. Oh, and so were the birds: “Penguin super-colony spotted from space”.

Scientists have stumbled across a huge group of previously unknown Adélie penguins on the most northerly point of the Antarctic Peninsula.

Numbering more than 1.5 million birds, they were first noticed when great patches of their poo, or guano, showed up in pictures taken from space.

The animals are crammed on to a rocky archipelago called the Danger Islands.

(12) JUNK AVOIDANCE. Inspired by Gravity: “The teenage scientist tracking a sea of space junk”. [Video.]

When Amber Yang watched the film Gravity – which features a cataclysmic collision which destroys the International Space Station – it gave her an idea.

She knew that hundreds and thousands of miles above Earth, pieces of wreckage were whizzing around our planet – some of them big enough to cause billions of dollars worth of damage to precious satellites and spacecraft.

So Yang, bored by her schoolwork, decided to try and find a way of tracking it, and ensuring cosmic debris doesn’t become a danger to the next generation of humans venturing into space.

(13) BEST OF BRITISH SF. Here is the table of contents for “Best of British Science Fiction 2017” edited by Donna Scott. Twenty-two stories, from established names and rising stars.

Introduction – Donna Scott
Blinders – Tyler Keevil
In the Night of the Comet (2017) – Adam Roberts
The Walls of Tithonium Chasma – Tim Major
3.8 Missions – Katie Gray
Over You – Jaine Fenn
The Ghosts of Europa Will Keep You Trapped in a Prison You Make for Yourself – Matt Dovey
Uniquo – Aliya Whiteley
Looking for Laika – Laura Mauro
A Good Citizen – Anne Charnock
Mercury Teardrops – Jeff Noon
The Nightingales in Plàtres – Natalia Theodoridou
The Road to the Sea – Lavie Tidhar
When I Close My Eyes – Chris Barnham
Targets – Eric Brown
London Calling – Philip A. Suggars
The Last Word – Ken MacLeod
After the Atrocity – Ian Creasey
Voicemail – Karen McCreedy
Green Boughs Will Cover Thee – Sarah Byrne
Airless – N.J. Ramsden
Product Recall – Robert Bagnall
The Endling Market – E. J. Swift
About the Authors

(14) SPACE MUSIC. Broken Bells’s “The Ghost Inside” is a music video that has spaceships and other sf imagery in it.

[Thanks to John King Tarpinian, Chip Hitchcock, JJ, Tim Walters, Mark Hepworth, James Davis Nicoll, Martin Morse Wooster, Cat Eldridge, Andrew Porter, and Carl Slaughter for some of these stories. Title credit belongs to File 770 contributing editor of the day Daniel Dern.]

2018 Academy Award Nominees

The 2018 Oscar nominees were announced January 23. Click the link for the complete list.

The awards will be presented during the televised ceremony on March 4.

Nominees of genre interest are listed below.

Best Picture

  • Get Out
  • The Shape of Water

Actor in a Leading Role

  • Daniel Kaluuya, Get Out

Actress in a Leading Role

  • Sally Hawkins, The Shape of Water

Actor in a Supporting Role

  • Richard Jenkins, The Shape of Water

Actress in a Supporting Role

  • Octavia Spencer, The Shape of Water

Animated Feature Film

  • The Boss Baby
  • The Breadwinner
  • Coco
  • Ferdinand
  • Loving Vincent

Cinematography

  • Roger A. Deakins, Blade Runner 2049
  • Don Laustsen, The Shape of Water

Costume Design

  • Jacqueline Durran, Beauty and the Beast
  • Luis Sequeira, The Shape of Water

Directing

  • Jordan Peele, Get Out
  • Guillermo del Toro, The Shape of Water

Film Editing

  • Sidney Wolinsky, The Shape of Water

Foreign Language Film

  • On Body and Soul – Hungary

Music (Original Score)

  • Alexandre Desplay, The Shape of Water
  • John Williams, Star Wars: The Last Jedi

Music (Original Song)

  • “Remember Me,” Music and Lyric by Kristen Anderson-Lopez and Robert Lopez, from Coco

Production Design

  • Production Design: Sarah Greenwood, Set Decoration: Katie Spencer, Beauty and the Beast
  • Production Design: Dennis Gassner, Set Decoration: Alessandra Querzola, Blade Runner 2049
  • Production Design: Paul Denham Austerberry, Set Decoration: Shane Vieau and Jeff Melvin, The Shape of Water

Short Film (Animated)

  • Dear Basketball
  • Garden Party
  • Lou
  • Negative Space
  • Revolting Rhymes

Sound Editing

  • Mark Mangini and Theo Green, Blade Runner 2049
  • Nathan Robitaille and Nelson Ferreira, The Shape of Water
  • Matthew Wood and Ren Klyce, Star Wars: The Last Jedi

Sound Mixing

  • Ron Bartlett, Doug Hemphill, and Mac Ruth, Blade Runner 2049
  • Christian Cooke, Brad Zoern, and Glen Gauthier, The Shape of Water
  • David Parker, Michael Semanick, Ren Klyce, and Stuart Wilson, Star Wars: The Last Jedi

Visual Effects

  • John Nelson, Gerd Nefzer, Paul Lambert, and Richard R. Hoover, Blade Runner 2049
  • Christopher Townsend, Guy Williams, Joanathan Fawkner, and Dan Sudick, Guardians of the Galaxy, Vol. 2
  • Stephen Rosenbaum, Jeff White, Scott Benza, and Mike Meinardus, Kong: Skull Island
  • Ben Morris, Mike Mulholland, Neal Scanlan, and Chris Corbould, Star Wars: The Last Jedi
  • Joe Letteri, Daniel Barrett, Dan Lemmon, and Joel Whist, War for the Planet of the Apes

Writing (Adapted Screenplay)

  • Logan, screenplay by Scott Frank & James Mangold and Michael Green, story by James Mangold

Writing (Original Screenplay)

  • Get Out, written by Jordan Peele
  • The Shape of Water, screenplay by Guillermo del Toro & Vanessa Taylor, story by Guillermo del Toro

Oscar Gaffe Brings Back Memories of SF Award Blunders

Bonnie & Clyde’s 50th anniversary moment at the Oscars was overshadowed when Best Picture presenters Warren Beatty and Faye Dunaway announced La La Land instead of Moonlight, the correct winner.

Beatty told the audience that they had read the wrong envelope, saying that he saw that Emma Stone won for La La Land, who was actually the winner for best actress. Dunaway had read the winner before Beatty could stop her.

“I opened the envelope and it said ‘Emma Stone, La La Land.’ That’s why I took such a long look at Faye, and at you. I wasn’t trying to be funny,” Beatty assured everyone, after admitting to the mistake and explaining that they had the wrong envelope

Fans immediately took to Facebook telling their friends it reminded them of the big mistake made during the Hugo ceremonies at Magicon in 1992.

As I wrote in my Worldcon report:

…The committee showed slides of the nominees’ names on the auditorium screen intended to be synchronized with Spider Robinson’s reading. But Spider appeared completely unrehearsed in this. After cycling through the Best Fanartist images twice while Robinson stood by obviously confused, Marty Gear as the “voice from above” had to explain the concept. It was an omen….

The ceremonies derailed when Spider ripped open an envelope and read that Lan’s Lantern won the Best Fanzine Hugo. While Robinson was placing the trophy in George Laskowski’s hands, on the screen behind him flashed a slide that the winner was Mimosa, edited by Dick and Nicki Lynch. Beside me, Janice Gelb cringed just like at Raiders of the Lost Ark when I warned her the face-melting scene was coming. Laskowski briefly said, “Thank you,” and got offstage because he’d seen Mimosa on the award plaque, too.

As [convention chair] Joe Siclari and others excused themselves from the audience and headed backstage to investigate, several more Hugos were given. Locus won Best Semiprozine. Michael Whelan accepted the Best Professional Artist Hugo, confessing “With so many artists in the field doing so much excellent work I feel like a thief taking this award. Nevertheless I accept it.” Gardner Dozois received another Best Professional Editor Hugo.

Now, a shaken Spider Robinson revealed that Mimosa was the correct Hugo-winning fanzine and was joined by Laskowski to turn over the trophy to Dick and Nicki Lynch. The mistake was reminiscent of the year Asimov accidentally announced Gene Wolfe’s “Island of Dr. Death” had won the Nebula, disbelieving that No Award (the correct result) had finished first and naming instead the second item listed. The only remotely comparable mistake at any other Hugo ceremonies happened in 1985 when the slide operator (of course) flashed that John Varley’s short story won before the emcee even announced the nominees. Laskowski has won two Hugos in the past — and showed extreme grace in surrendering Magicon’s Hugo to the Lynches.

Not that the comedy of errors was over. Completely in shock, Dick Lynch reached the stage alone and gazed at the shadowy auditorium doors hoping to see his wife, Nicki, who had made a quick trip out of the room after the fanzine Hugo had been given. “I wish my wife could be here. What do I do?” Dick seemed even more lost without his spouse than did Samantha Jeude [when she received the Big Heart Award], which permanently endeared him to women who commented about it later.

Another couple of Hugos were given. A representative of James Cameron’s company accepted the Best Dramatic Presentation Hugo on behalf of Terminator 2. Michael Whelan claimed another Hugo in the Best Original Artwork category for the cover of Joan Vinge’s The Summer Queen.

When Spider Robinson paused to find his place our claque of fanzine fans sitting in the VIP seats noticed Nicki Lynch was back. “Bring back Nicki Lynch!” shouted Moshe Feder, and Janice Gelb. Some stood up to yell. My God, even Andy Porter stood up and shouted through cupped hands, “Bring up Nicki Lynch!” It was like a Bud Greenspan documentary, like the end of It’s a Wonderful Life. Spider agreed, “That’s an excellent idea,” and both editors of Mimosa finally had their proper moment together at the Hugo Awards.

When the Best Nonfiction Book Hugo went to The World of Charles Addams Spider tried to recover his humorous stride. “The award will be accepted by ‘Hand’….”  Yelled the audience, “That’s ‘Thing’!”

…People surged out of the awards looking for Laskowski, the Lynches and Spider, to console, congratulate or cross-examine. Robinson spent the evening wearing the erroneous card, listing Lan’s Lantern, around his neck on a string to prove it wasn’t his fault. Reportedly, calligraphers had specially prepared cards with every nominee’s name and title. They were told to do all of them, since the actual winners were a secret — and somehow the wrong card got included in the award-winner envelopes delivered to Spider.

The 1992 drama reminded everyone of what happened to Gene Wolfe at the 1971 Nebulas because it was a well-known story, having been retold by Harlan Ellison in Again, Dangerous Visions. A few years ago I pulled together people’s accounts of that night

However, nothing can rival Isaac Asimov’s ghastly mistake at the 1971 Nebula Awards ceremony. Nor has any other gaffe worked out better for the injured party in the long run.

On Saturday, April 3, 1971 the leading science fiction professionals were seated around banquet tables in New York’s Les Champs Restaurant watching Asimov hand out the Nebulas.

Asimov had been pressed into service at the last minute. While that was not a problem for anyone who loved an audience as much as the Good Doctor, it meant that he had little time to study the handwritten list of results. In those days the emcee was not only given the names of the winners, but the names of the runners-up, which he also announced.

When Asimov came to the Short Story category his eyes slipped over “No Award” and he read the first real name on the list — which was Gene Wolfe, author of “The Island of Doctor Death and Other Stories.”

As Wolfe stood up a SFWA officer promptly whispered a correction to Asimov. Asimov went pale and announced he’d made an error. There was “No Award” in the Short Story category. Wolfe sat back down.

Eyewitness Harlan Ellison (writing in Again Dangerous Visions) says everyone felt awful –

Around him everyone felt the rollercoaster nausea of stomachs dropping out of backsides. Had it been me, I would have fainted or screamed or punched Norbert Slepyan of Scribner’s, who was sitting next to me. Gene Wolfe just smiled faintly and tried to make us all feel at ease by a shrug and a gentle nod of his head.

Fortunately, the mistake was eventually redeemed. As the author explained:

A month or so after the banquet I was talking to Joe Hensley, and he joked that I should write “The Death of Doctor Island,” saying that everyone felt so sorry for me that it was sure to win. I thought about that when I got home and decided to try, turning things inside out to achieve a different story.

He did, and his novella “The Death of Doctor Island” won a Nebula in 1974.

While we now know how Asimov made his mistake, we probably don’t have the full and complete explanation for the Oscar mixup because Beatty’s on-camera explanation is being disputed.

Backstage, Stone claimed she had the card that announced her as best actress win “the entire time.”

“I don’t mean to start stuff,” she said. “But whatever story that was … I had that card. I’m not sure what happened.”

2017 Academy Awards Nominees

Arrival, the movie adaptation of Ted Chiang’s “Stories of Your Life,” and Hidden Figures, the dramatization of African-American women who worked on the early space program, are among the nominees for Best Motion Picture in the 2017 Academy Awards nominees list.

Arrival’s director, and Hidden Figures supporting actress Octavia Spencer also received nominations. Other films of interest to Hugo voters nominated in technical and animation categories are shown below. For a complete list of categories, click the link to CNN.

Best motion picture of the year

  • Arrival
  • Fences
  • Hacksaw Ridge
  • Hell or High Water
  • Hidden Figures
  • La La Land
  • Lion
  • Manchester by the Sea
  • Moonlight

Performance by an actress in a supporting role

  • Viola Davis in Fences
  • Naomie Harris in Moonlight
  • Nicole Kidman in Lion
  • Octavia Spencer in Hidden Figures
  • Michelle Williams in Manchester by the Sea

Best animated feature film of the year

  • Kubo and the Two Strings
  • Moana
  • My Life as a Zucchini
  • The Red Turtle
  • Zootopia

Achievement in cinematography

  • Arrival
  • La La Land
  • Lion
  • Moonlight
  • Silence

Achievement in costume design

  • Allied
  • Fantastic Beasts and Where to Find Them
  • Florence Foster Jenkins
  • Jackie
  • La La Land

Achievement in directing

  • Arrival – Denis Villeneuve
  • Hacksaw Ridge – Mel Gibson
  • La La Land – Damien Chazelle
  • Manchester by the Sea – Kenneth Lonergan
  • Moonlight – Barry Jenkins

Achievement in film editing

  • Arrival
  • Hacksaw Ridge
  • Hell or High Water
  • La La Land
  • Moonlight

Achievement in makeup and hairstyling

  • A Man Called Ove
  • Star Trek Beyond
  • Suicide Squad

Achievement in music written for motion pictures (Original score)

  • Jackie
  • La La Land
  • Lion
  • Moonlight
  • Passengers

Achievement in music written for motion pictures (Original song)

  • Audition (The Fools Who Dream) from La La Land
  • Can’t Stop The Feeling from Trolls
  • City Of Stars from La La Land
  • The Empty Chair from Jim: The James Foley Story
  • How Far I’ll Go from Moana

Achievement in production design

  • Arrival
  • Fantastic Beasts and Where to Find Them
  • Hail, Caesar!
  • La La Land
  • Passengers

Best animated short film

  • Blind Vaysha
  • Borrowed Time
  • Pear Cider and Cigarettes
  • Pearl
  • Piper

Achievement in sound editing

  • Arrival
  • Deepwater Horizon
  • Hacksaw Ridge
  • La La Land
  • Sully

Achievement in sound mixing

  • Arrival
  • Hacksaw Ridge
  • La La Land
  • Rogue One: A Star Wars Story
  • 13 Hours: The Secret Soldiers of Benghazi

Achievement in visual effects

  • Deepwater Horizon
  • Doctor Strange
  • The Jungle Book
  • Kubo and the Two Strings
  • Rogue One: A Star Wars Story

Adapted screenplay

  • Arrival
  • Fences
  • Hidden Figures
  • Lion
  • Moonlight

No Oscar for Arrival Score

arrival-1

The Academy of Motion Picture Arts and Sciences announced 145 original scores are eligible for this year’s Oscars – but the score from the hit science fiction movie Arrival is not one of them.

Variety reports the Academy’s music branch disqualified Arrival’s original score, fearing “that voters would be influenced by the use of borrowed material in determining the value of Johann Johannsson’s original contributions to Denis Villeneuve’s alien invasion psychodrama.”

Per Rule 15 II E of the Academy’s rules and eligibility guidelines, a score “shall not be eligible if it has been diluted by the use of pre-existing music, or it has been diminished in impact by the predominant use of songs or any music not composed specifically for the film by the submitting composer.”

The most prevalent pre-existing music in the film is an emotional piece by composer Max Richter called “On the Nature of Daylight,” which also featured prominently in Martin Scorsese’s “Shutter Island.” It was determined that there would be no way for the audience to distinguish those cues, which bookend the film, from Johannsson’s score cues.

The Film Music Society says there are 55 minutes of original Johannsson music in the Arrival score, in comparison with the time devoted to the Richter composition —

Richter’s piece bookends Denis Villeneuve’s film, underscoring the Amy Adams sequences at the beginning (for nearly three minutes) and the end (for five and a half minutes). According to Johannsson, editor Joe Walker used the Richter as temporary music, and cut the opening sequence to it.

“It was always the intention to replace it,” Johannsson explained, as nearly always happens with temp music in a film. “I did several attempts, but I didn’t want to emulate that [Richter’s] sound. I wanted the opening music to have a correlation with the rest of the score. So I composed a piece for a cappella voices, which ultimately didn’t make the cut.” …The same piece was used prominently in Martin Scorsese’s Shutter Island (2010) and appears in at least three other films.

“It’s been around,” Richter quips. “It’s one of those pieces with a strong atmosphere. It does seem to have a gravitational field that pulls things into it.”

Eric Persing, president of Spectrasonics, whose sound libraries are widely used in film and TV, says it’s an unjust decision. He protested on Facebook (quoted here with permission) —

I’m sorry, but this is absolutely infuriating….it’s the Birdman problem all over again. It’s obviously now time to clear out the Academy Music judging branch and start over with a younger generation that understands the value of hybrid scoring…you guys have lost your minds and are completely out of touch. The rules are ridiculous.

Johannsson writes over 55 minutes of some of the most moving and fresh film music of the whole year and the committee rules “that the credited …composer did not write significant and prominently featured music in the film.” That’s just not true! His score is clearly and prominently featured throughout the film.

He got disqualified because of a single piece of additional music, and simply because it’s a classical piece? Obviously if it had been a featured song, this would not be an issue at all and Johannsson’s score would NOT have been disqualified. It’s purely because the non-score music used is orchestral that all these alarm bells start going off in the Academy Music branch. (oh no…..strings!)

Look guys, modern filmmakers don’t work in the traditional way and might include some additional pieces of music the composer didn’t write…just like they include licensed songs for key scenes in a movie. Judge the score for what it it is. That’s the current reality of filmmaking, is absolutely absurd to punish the composer over this reality….it’s time to adjust the rules to recognize how films are made now.

The Oscar eligibility issue has not interfered with the director-composer partnership — Johannsson is currently writing music for Villeneuve’s next film, Blade Runner 2049.

Pixel Scroll 3/1/16 If You Like To Pixel, I Tell You I’m Your Scroll

(1) NO BUCKS, NO BUCK ROGERS. “Can you make a living writing short fiction?” is the question. Joe Vasicek’s in-depth answer, filled with back-of-the-envelope calculations, is as carefully assembled as any classic hard sf tale.

First of all, it’s worth pointing out that short stories are not like longer books. In my experience (and I am not a master of the short form by any stretch), short stories do not sell as well in ebook form as longer books. That’s been corroborated anecdotally by virtually every indie writer I’ve spoken with.

At the same time, they aren’t like longer form books in the traditional sense either. I have three deal breakers when it comes to traditional publishing: no non-compete clauses, no ambiguous rights reversion, and no payments based on net. Short story markets typically only buy first publication rights with a 6-12 month exclusivity period, and pay by the word. That means that there’s no reason (unless you want to self-publish immediately) not to sell your short stories to a traditional market first.

(2) PAT SAYS IT’S PERFECT. Patrick St-Denis, who reviews at Pat’s Fantasy Hotlist,  just awarded a novel a rare (for him) 10/10 score.

People have often criticized me for being too demanding when I review a novel. They often complain about the fact that very few books ever get a score higher than my infamous 7.5/10. But the fact is that year in and year out, there are always a number of works ending up with an 8/10 or more.

When I announced on the Hotlist’s Facebook page last week that Jacqueline Carey’s Kushiel’s Avatar would get a 10/10, some people were shocked. I received a couple of messages asking me if it was the first book to get a perfect score from me. I knew there were a few, but I actually had to go through my reviews to find out exactly how many of them had wowed me to perfection. Interestingly enough, in the eleven years I’ve been reviewing books, Carey’s Kushiel’s Avatar will be the 11th novel to garner a perfect score. The 13th, if you throw the Mötley Crüe biography and GRRM’s The World of Ice and Fire into the mix.

(3) GOLDEN SOUNDS. Trisha Lynn on “Road to the Hugo Awards: Fight the Future for Best Fancast” at Geeking Out About….

What Works

There are many podcasts out there which are dedicated to reviewing books and movies from a critics’ perspective. However, I believe this is one of the first podcasts I’ve heard of which reviews the actual worlds in which the books or movies take place. Of all the episodes I’ve heard, there are very few instances in which I feel that either Dan or Paul or their guests know or care too much about the current science fiction/fantasy literary blogosphere’s opinions of the works, its creators, its production team, or the actors portraying the characters. They are just there to discuss the work and only the work. When they do bring in references to other works or the greater outside world, they do it either near the beginning or near the end so that the discussion of most of the episode is focused on just the world inside the movie or book. It’s both fan discussion and literary criticism in its purest form, where the only clues you have are the work itself, the world you currently inhabit, your personal experiences, and that’s it.

(4) A BRIDGE JOKE TOO FAR? The Guardian asks “Could Cthulhu trump the other Super Tuesday contenders?”

“Many humans are under the impression that the Cthulhu for America movement is a joke candidacy, like Vermin Supreme – a way for people disgusted by a political system that has long since perished to voice a vote for a greater evil to end the status quo and the world,” says [campaign manager] Eminence Waite, sighing in a way that makes you think she’s been asked this question many times before. “They have never been so wrong, yet so right. Cthulhu is no joke.”

(5) HOW MUCH IS YOUR HARRY WORTH? Old editions of Harry Potter books may be worth up to $55,000.

First up, hardcover first editions of the original Harry Potter and the Philosopher’s Stone could fetch anywhere from $40,000 to $55,000. Only 500 were published, and 300 went to libraries, so if you have one, go ahead and treat yourself to a nice dinner. You can afford it.

This edition has a print line that reads “10 9 8 7 6 5 4 3 2 1” and credits of “Joanne Rowling” rather than JK.

(6) BUD WEBSTER MEMORIAL. There will be a Memorial for Bud Webster on March 12, from noon til 5 p.m., at the Courtyard by Marriott Williamsburg, 470 Mclaws Cir, Williamsburg, VA 23185.

Hotel Rooms: $89.00 – Please ask for the Bud Webster Memorial Rate – Also mention Mary Horton or Butch Allen if there is some confusion while trying to book the room. We are not catering anything. Sodas and snacks are available at registration

(7) DON’T GET STUCK IN THE MIDDLE. Kameron Hurley (according to her blog, an “intellectual badass”), reveals how to “Finish your Sh*t: Secrets of an Evolving Writing Process”.

People often ask how I’m able to do all that work on top of having a day job, and the answer is, most days, I just don’t know. But one thing I have learned in the last three months is that I have a lot easier time completing a draft that has me stuck in the mucky middle if I just skip ahead and write the ending.

I tend to spend a lot of time on the openings of my novels and stories, and it shows. My latest short story for Patreon, “The Plague Givers,” is a good example of this. There’s a very polished beginning, as far as the prose goes, and then it veers off into simplier language for much of the middle, and returns a bit toward the end to the more polished language. I will most likely go back and polish out the other half of the story before finding a home for it elsewhere, but watching how I completed that story reminded me of how I’ve hacked my process the last few months to try and get work out the door just a little faster.

I’m a discovery writer, which means I like to be surprised by events that happen in a book just as a reader would be.

(8) LURKER QUEST ACHIEVED. In the February 8 Scroll (item 10) a lurker described a story and asked for help identifying it.

The answer is Kent Patterson’s “Barely Decent”, published in Analog in 1991. The literary estate holder was located with an assist from Kevin J Anderson, who had anthologized another Patterson story, and from Jerry Oltion. The rights holder has authorized a link to a free download of the PDF for the story.

(9) THE POWER OF LOVE. Barbara Barrett shows how mighty love is in the worlds of Robert E. Howard: “Discovering Robert E. Howard: ‘My Very Dear Beans, Cornbread and Onions’ (Valentine’s Day—Robert E. Howard Style)” at Black Gate. But this otherwise serious roundup begins with a leetle joke —

For those of you who searched for the right way to describe your feelings for that certain special someone on February 14, Robert E. Howard might have been be a good source. After all, he was a wizard with words. And he did have a novel approach when it came to romance. As Bob Howard explains to Novalyne Price Ellis in her book One Who Walked Alone:

[M]en made a terrible mistake when they called their best girls their rose or violet or names like that, because a man ought to call his girl something that was near his heart. What, he asked, was nearer a man’s heart than his stomach? Therefore he considered it to be an indication of his deep felt love and esteem to call me his cherished little bunch of onion tops, and judging from past experience, both of us had a highest regard for onions. (106)

(10) OSCARS. At the Academy Awards on Sunday night, sf favorites The Martian and Star Wars: The Force Awakens won nothing, but Mad Max: Fury Road, so often praised here in comments, won six Oscars (Best Costume Design, Best Production Design, Best Make-up and Hair, Best Editing, Best Sound Editing and Best Sound Mixing), more than any other film.

Other sf/fantasy winners — Best Animated Feature Film: Inside Out and Best Visual Effects: Andrew Whitehurst, Paul Norris, Mark Ardington, and Sara Bennett for Ex Machina.

(11) FAST OUT OF THE GATE. R. S. Belcher, fresh from his GoH-ship at MystiCon, is ready to impart “Lessons Learned at a Writing Workshop”.

Lead strong, hook ’em, and keep ’em hooked: This advice given to several of the workshop participants made an amazing difference between draft one and draft two. The sooner you get the reader’s attention and begin to unwind the reason for your tale, the stronger the likelihood, your reader will keep reading to learn more. Novels can afford a little more leisurely pace…but only a little, and for short fiction, a strong, powerful hook is needed right out of the gate. You may only have a few sentences of an editor’s attention before they decide to keep reading or toss the Manuscript—make them count.

(12) MESSAGE FIRST. SFF World’s “Robert J. Sawyer Interview” offers this self-revelation.

What came first – the story or the characters?

Neither. I’m a thematically driven writer; I figure out what I want to say first and then devise a storyline and a cast of characters that will let me most effectively say it. For Quantum Night, the high-level concept is this: most human beings have no inner life, and the majority of those who do have no conscience. And the theme is: the most pernicious lie humanity has ever told itself is that you can’t change human nature. Once I had those tent poles in place, the rest was easy.

(13) A LITTLE LIST. David Brin asks, “Trumpopulists: what will be the priorities?” at Contrary Brin.

There is often a logic, beneath shrill jeremiads. For example, Ted Cruz has proclaimed that even one more liberal or moderate justice appointed to the U.S. Supreme Court might shift the reading of the Second Amendment (2A) — does it give private individuals an unlimited right to own guns, or reserve that right only to members of a militia?  (Go read the amendment and come back. In Heller v. D.C. the court went with Red America’s wishes by one vote, one interpretative vote. Moreover, let me shudder and add that Cruz is probably right about this one thing. The swing between those two interpretations is very likely to teeter for our lifetimes and more. But in railing about the near-term, he and his followers ignore the long term implication — …

that the Second Amendment, as currently worded, is by far the weakest in the entire Bill of Rights.  If this court or the next one does not reverse Heller, then it will inevitably happen when some huge national tragedy strikes. That’s called the “Ratchet Effect” (see The Transparent Society), and you are behooved to plan, during good times, for what you’ll do at some future crisis, when the public is scared.

If today’s political rightwing were rational, it would be working right now to gather consensus for a new Constitutional Amendment that might protect weapon rights far more firmly than the ambiguous and inherently frail Second. I have elsewhere described just such an amendment, which could actually pass! Because it offers some needed compromises to liberals and moderates – some positive-sum win-wins – while protecting a core of gun rights more firmly than 2A.

(14) JUDGING LOVECRAFT AND OTHERS. Frequent readers of Jim C. Hines will find his Uncanny Magazine essay “Men of Their Times” not only deals with its topic in a significant way, it also outlines the analytical process he applies to history.

…This argument comes up so quickly and reliably in these conversations that it might as well be a Pavlovian response. Any mention of the word “racism” in association with names like Tolkien or Burroughs or Campbell or Lovecraft is a bell whose chimes will trigger an immediate response of “But historical context!”

Context does matter. Unfortunately, as with so many arguments, it all tends to get oversimplified into a false binary. On one side are the self–righteous haters who get off on tearing down the giants of our field with zero consideration of the time and culture in which they lived. On the other are those who sweep any and all sins, no matter how egregious, under the rug of “Historical Context.”

….In an ideal world, I think most of us would like to believe humanity is growing wiser and more compassionate as a species. (Whether or not that’s true is a debate best left for another article.) If we assume that to be true, we have to expect a greater amount of ignorance and intolerance from the past. We also have to recognize that humanity is not homogenous, and every time period has a wide range of opinion and belief.

When we talk about historical context, we have to look both deeper and broader. Were Lovecraft’s views truly typical of the time, or was his bigotry extreme even for the early 20th century? Did those views change over time, or did he double–down on his prejudices?

Recognizing that someone was a product of their time is one piece of understanding their attitudes and prejudices. It’s not carte blanche to ignore them.

(15) STORIES OF WHAT-IF. At Carribean Beat, Philip Sander talks to Nalo Hopkinson, Tobias Buckell, Karen Lord, and R.S.A. Garcia.

Caribbean Beat: How do you define speculative fiction?

Nalo Hopkinson: I generally only use the term “speculative fiction” in academic circles. Science fiction and fantasy are literatures that challenge the complacency of our received wisdoms about power, culture, experience, language, existence, social systems, systems of knowledge, and frameworks of understanding. They make us reconsider whose stories deserve to be told, whose narratives shape the future and our beliefs, and who has the “right” to make and remake the world.

Is there a distinctively Caribbean kind of spec-fic?

A bunch of Caribbean SF/F [science fiction/fantasy] writers will be gathering to discuss this in March at the University of California, Riverside, as part of a year of programming I’m co-organising on alternative futurisms. I suspect one of the things we’ll end up talking about is Caribbean relationships to the experience of resistance — how it’s shaped our histories and imaginations, and so how it must shape our imaginative narratives. For instance, when I watch The Lord of the Rings, I wonder what the orcs do to rebel against their forced existence as beings created to be foot soldiers and cannon fodder.

We’ll probably also talk about the unique impact of place and space on the Caribbean psyche. I recently wrote a short story for Drowned Worlds, a fiction anthology on the theme of the effects of rising sea levels worldwide. For me, coming from island nations whose economies are often dependent on bringing tourists to our beaches, and which are the guardians of so much of the world’s precious biodiversity, it was particularly painful and personal to write a story about what will become of our lands. The resulting piece is angry and spooky, and combines science with duppy conqueror in ways that are uniquely Caribbean.

On the panel, we might also talk about language. The multiple consciousness that Caribbean history gives us is reflected in our code-switching, code-sliding, code-tripping dancehall-rapso-dubwise approach to signifying simultaneously on multiple levels. Science fiction reaches for that in its use of neologisms. Caribbean people, like so many hybridised peoples the world over, live it. We are wordsmiths par excellence.

(16) PUPPY COLLATION. Kate Paulk shut off comments at Sad Puppies IV and says “I’ll be going through them and collating the results over the next 2 weeks”. The Hugo nominating deadline is March 31.

(17) TALKING TO THE CUSTOMERS. The Video Shop presents “400 Fourth Wall Breaking Films Supercut”. (Most of you already know that when somebody on stage acknowledges the audience, that’s called breaking the fourth wall.) (Via io9.)

Since you’re reading this let me give you a bit of background and a couple of provisos.

This is not meant to be a comprehensive list of fourth wall breaking films. There are shitloads. Definitely more than 400. But 400 seemed a tidy number to end on. It’s not an academic study and there’s no rhyme or reason behind the grouping of the clips other than what seemed to work. So while yes, there are highbrow French new wave films in there I’ve also had to include The Silence of the Hams and Rocky and Bullwinkle. But then I kind of like that.

And because it’s mine I give more screen time to my favourite serial offenders, just because I can. Take a bow John Landis, Woody Allen and Mike Myers.

 

[Thanks to John King Tarpinian, Andrew Porter, and Rob Thornton for some of these stories. Title credit goes to File 770 contributing editor of the day Mart.]