Monthly Archives: December 2023

Pixel Scroll 12/27/23 So Have You Looked Up And Seen How Pixels Twinkle Against The Midnight Sky? 

Posted on by

(1) UNFORSEEN INTERSECTION. Maya St. Clair draws a fascinating comparison between a current bestseller and Heinlein’s controversial classic in “Fourth Wing Review: Starship Troopers (for Girls!)”

…Criticisms of Starship Troopers’ themes, while hyperbolic, were not entirely off-base. In Heinlein’s world, the ideal military life is violent, abusive, and deindividualizing; death is and should be omnipresent at every stage of training. For example, there’s the basic training exercise in which

“… they dumped me down raw naked in a primitive area of the Canadian Rockies and I had to make my way forty miles through mountains. I made it [by killing rabbits and smearing fat and dirt on his body] … The others made it, too… all except two boys who died trying. Then we all went back into the mountains and spent thirteen days finding them…. We buried them with full honors to the strains of ‘This Land Is Ours’… They weren’t the first to die in training; they weren’t the last.”

Through the eyes of Johnnie, we experience an intensity of life that makes civilian existence seem anemic, even pathetic….

…With all that being said, it feels wrong to mention Fourth Wing in the same breath as Starship Troopers. Putting aside the fact that Fourth Wing is a poorly-written work whose prose has been critiqued to death by many people before me, the two books seem to represent opposing moments in publishing history. Heinlein, for all his faults, was writing “up” for an audience of teens, treating them as adults and including them in the sphere of “adult” science fiction, with complex worldbuilding and (relatively) sophisticated themes. Sixty years later, Fourth Wing and its team (author Rebecca Yarros and Entangled Publishing) represent a publishing world moving in the opposite direction: creating books for adults in an actively juvenile style, and cultivating an audience of adult readers who no longer demand that published books have good writing at all so long as they check necessary boxes of sensation and eroticism.

But thematically and content-wise, the two books are as close as one could possibly get. Fourth Wing, like Starship Troopers, sells a military coming-of-age story in which mass death is a part of the allure (“brutally addictive,” says the cover blurb). Someone on Reddit puts the death count of Fourth Wing at 222 cadets, plus an untold number of civilians — though it’s widely considered a “fluff” read. Its primary audience (and the primary audience of most mainstream fantasy now) is female, young, progressive, and would probably be aghast at being compared to grimdark bros, Heinlein apologists, or men in general. And yet here we all are, hooked on the same stuff….

(2) ICONIC LE GUIN COVER ART OFFERED. The estates of Carol Carr and her husband Robert Lichtman are in the news: “Original cover art for Le Guin sci-fi novel goes on sale” at Bay Area Reporter.

…First published in paperback by Ace Books, the novel sported cover art by award-winning artists and biracial couple Leo and Diane Dillon. Their painting featured profiles of the book’s protagonists in the left bottom corner looking off into the distance. Surrounding the pair is a blue and white celestial-like scene with what appears to be a brown planet and a spaceship hovering above.

(Leo Dillon, of Trinidadian descent, died in 2012. He was the first African American to win the prestigious Randolph Caldecott Medal for illustrators of children’s books, while the Dillons were the only consecutive winners of the award, having received the honor in 1976 and 1977.)

The Dillons’ original 17 and 1/4 by 13 inches acrylic painting is now being offered for sale for the first time at the Antiquarian Booksellers’ Association of America global book fair taking place in San Francisco in early February. The asking price is $20,000.

“It is literally unique. This is it, the original and not a print,” said Mark Funke, a rare bookseller who lives in Mill Valley where his business is also located.

Scouting out shops in the East Bay several years ago looking for new material to sell, Funke had received a tip about the sale of various items from a home in the Oakland hills. It led him to receive an invite from the executor of the estate to come to the house.

To his amazement, Funke had stumbled onto the archives of three individuals involved in the world of science fiction writing. One was the late Terry Carr, an editor at Ace Books who published the works of Le Guin and other sci-fi authors and died in 1987. While most of Carr’s personal papers had gone to UC Riverside, Funke found several boxes still in the house and acquired them….

… Funke is now handling its sale on behalf of the Carr and Lichtman Estate. He will have it available on a first-come, first-served basis at his booth at the book fair.

“I am pricing it high for the artists but, I think, reasonable for it being Le Guin’s most famous novel. She won awards for it, and it ratcheted her up to the greats of science fiction,” said Funke. “It’s got very topical content; this idea of the planet Gethen and ambisexual individuals. I just think it is fascinating and a very active topic in today’s discussion.”

In a statement to the B.A.R. about the sale, the executor for the family estate said, “The Carr-Lichtman family has treasured this artwork for over 50 years and now it is time to find a new owner who will cherish this remarkable work of science fiction publishing history for the next 50 years.”…

(3) KORSHAK COLLECTION NEWS. The Korshak Collection announced on Facebook —

We have partnered with the University of Delaware for an academic illustrated catalog of the Korshak Collection. We don’t want to give away all of our surprises, but the catalog will include a foreword by New York Times bestselling author Neil Gaiman and entry by Pulitzer prize winner author Michael Dirda, as well as an interview with the Hugo Award winning artist Michael Whelan. We are so grateful for this partnership and all of the outstanding contributions that have made this project possible.

(4) MCU UK. James Bacon recommends David Thorpe’s account of his time as a creator for Marvel UK: “In Review: The Secret Origin of Earth 616 By David Thorpe” at Downthetubes.net.

… This is a fascinating book, and, for Captain Britain fans, a definite buy. For comic fans interested in Marvel UK, of great interest. Yet it is also an excellent autobiography, a very readable and personal exploration of a comic fans desires, aspirations and progression to be a writer and an insight into how Marvel UK was, and offers real honesty when it comes to a comics career that took an interesting turn that saw David Thorpe’s work in the industry elsewhere. The story is brimful, and includes how another comic related moment saw him turn to a very successful career beyond comics, one that arguably has made a real difference to the world….

… David Thorpe came up with the concept of Earth 616, and he describes it as a Stan Lee styled “Hoo Boy” moment when he heard Mysterio say “This is Earth dimension 616. I’m from Earth 833.” to Spider-Man in Spider-Man: Far From Home and that is something that any comic reader can appreciate, many of whom have imagined themselves as writers….

(5) IN FELLOWSHIP THERE IS STRENGTH. “Board Game Cafe Workers Went on a Quest for a Union and Won” reports the New York Times.

A golden glow illuminated the employees huddled inside a Hex & Co. cafe on the Upper East Side, a haven created for board game enthusiasts to gather for fantastical quests.

Meticulous campaigns were second nature to these workers — how many times had they infiltrated an obsidian castle or vanquished a warlock? They had been immersed in this particular adventure for months, navigating a labyrinth governed by strict rules and made harrowing by unfamiliar tasks and tests. Now they gathered to plot their final triumph: unionization.

On that Tuesday in September, Hex & Co. workers confronted their bosses with a demand for recognition. Less than two months later, they voted to join Workers United, the same group that has been organizing workers at Starbucks stores across the United States. The workers at the three Hex & Co. locations across New York City were just the first employees of a board game cafe in the city to unionize. Workers at the Uncommons and the Brooklyn Strategist followed this month.

All the stores fall under the ownership of either Jon Freeman, Greg May or both, and they pleaded with their employees not to unionize, saying that a union would wipe out the “flexible and open-door atmosphere we have tried to foster.”

Teaching board games is a far cry from swinging a miner’s pick or working numbing hours on an assembly line. In fact, many of the cafe workers said they hung out at their workplaces in their off hours. But in the end, complaints over dollar-an-hour raises and bands of unruly children reigned: Among the 94 employees who voted, only 17 dissented….

…Only 10 percent of American wage and salary workers were union members in 2022, a historical low, according to the Bureau of Labor Statistics. The food-service sector’s membership rate was less than 4 percent. But this fiscal year saw the most representation filings since 2015, according to the National Labor Relations Board.

Young workers “are willing to take risks, because they feel like their future is at stake,” said Kate Bronfenbrenner, the director of labor education research at Cornell University.

After slogging through a recession and a pandemic, many found themselves earning minimum wage while corporate profits soared, she said….

(6) AI AS SEEN BY THREE SFF AUTHORS. The River Cities’ Reader tells fans how to access the “Virtual Event: ‘Speculating Our AI Future,’” with Cory Doctorow, Ken Liu, and Martha Wells on January 11.

Designed for those fascinated by, or terrified about, the rise of artificial intelligence is invited to a January 11 virtual event hosted by the Rock Island and Silvis Public Libraries, when Illinois Libraries Present’s Speculating Our AI Future finds bestselling science-fiction writers Cory Doctorow, Ken Liu, and Martha Wells in discussion on the promise, perils, and possible impacts that AI will have on our future, as well as AI as portrayed in contemporary and future science-fiction writing.

The Speculating Our AI Future panel discussion with Corry Doctorow, Ken Liu, and Martha Wells will begin on January 11 at 7 p.m., participation in the virtual event is free, and more information is available by calling (309)732-7323 and visiting RockIslandLibrary.org, and calling (309)755-3393 and visiting SilvisLibrary.org.

Cory Doctorow, Ken Liu, Martha Wells.

(7) GRAPHIC EXAMPLES. Sam Thielman hits the high notes in a review of “The Year in Graphic Novels” for the New York Times.

Good graphic novels tend to appear in bookstores seemingly out of nowhere after years of rumors, scattershot serialization, “process” zines and snippets posted to social media. As literature, long-form comics are uniquely resistant to editing. As visual art, the cartoonist is in the weird position of having no access to the final product until it’s presented to the public. So it’s frankly miraculous when we get as many good comics as we do. This year there were remarkable new books from established masters and freshman graphic novels from brilliant young artists. Better still, a gratifyingly thick stratum of our 2023 stack was devoted to making us laugh. It’s a rich conversation, and one that promises to continue into next year and long beyond.

From the moment you open it, Daniel Clowes’s MONICA (Fantagraphics, 108 pp., $30) announces its ambition. Against the weird hellscape of its front endpapers, the title spread depicts the world at its lifeless, churning, brightly colored beginning. Then all of time (so far) goes by in a whoosh on the next two pages — the dinosaurs, Jesus, Hitler, Little Richard, Sputnik — alongside the copyright boilerplate and the names of the editors and publicist. In Clowes’s smooth lines and precise hues, the rest of the book borrows styles from war, horror and romance comics to tell the story of an ordinary woman trying to give her life some meaning. Is such a thing even possible? Could the attempt destroy everything?…

(8) EVA HAUSER (1954-2023). Past fan fund winner (GUFF) Eva Hauser died December 23 at the age of 69. Here is an excerpt from Jan Vaněk Jr.’s tribute on Facebook:

I am sad to announce that the 1992 GUFF delegate died on Friday 22nd. Eva Hauser[ová] travelled from Prague, still-Czechoslovakia to Syncon ’92 in Sydney, and then to Melbourne and back.

If you were there (despite the small attendance, the trip report reads like the Who Is Who of a golden age of the Australian fandom, and a testimony to their hospitality. Even though so much, and many, have already been lost in time, like tears in rain…), you may remember; and then you will understand why Eva is so much-lamented and widely eulogised from many different communities she was a part of….

(9) TODAY’S BIRTHDAY.

[Written by Cat Eldridge.]

Born December 27, 1951 — Charles Band, 72. We have come tonight to honor a true film genius in Charles Band. He entered film production in the Seventies with Charles Band Productions. Dissatisfied with distributors’ handling of his movies, he formed his own company in the early Eighties. At its height, he would release an average of two films a month, one theatrically and one on home video. 

So what are you going to recognize out of his hundreds of films? 

Most of his films paid the cast next to nothing, were notoriously lax on safety measures according to State officials who fined him considerable amounts over the years and he paid screenwriters, well, guess. 

Trancers, also released as Future Cop, the first of a series, which I’ve seen and liked, had Tim Thomerson and Helen Hunt in the lead cast. Supposedly the detective here is homage to Bogart’s various detective roles.

As producer, he did Metalstorm: The Destruction of Jared-Syn.  Richard Moll who is in the cast and he shaved his head for his role here. The Night Court producers liked the look for Moll, so he continued shaving his head for the show.

Now he also produced a lot of more frankly sleazy SF such as Slave Girls from Beyond Infinity, Galactic Gigolo, and Space Sluts in the Slammer, and the post-apocalypse zombie films, Barbie & Kendra Save the Tiger King and Barbie & Kendra Storm Area 51. 

His autobiography has a title that’s every bit has as over the top as most of some of film titles are, Confessions of a Puppetmaster: A Hollywood Memoir of Ghouls, Guts, and Gonzo Filmmaking. 

One final note. His entire financial house of cards collapsed in the late Eighties and was seized by various banks who in turned sold the assets off to MGM, so you’re likely to see one of his films streaming just about anywhere these days. 

(10) STORIES YES AND NO. Rich Horton reaches back to 1970 to tell Black Gate readers about “No More Stories — The Capstone to Joanna Russ’s Alyx Sequence: ‘The Second Inquisition’”.

“No more stories.” So ends Joanna Russ’s great novelette “The Second Inquisition.” But in many ways the story is about stories — about how we use them to define ourselves, protect ourselves, understand ourselves. It’s also, in a curious way, about Joanna Russ’s stories, particularly those about Alyx, a woman rescued from drowning in classical times by the future Trans-Temporal Authority….

(11) CORE TELEVISION. [Item by Olav Rokne.] Now, I don’t agree with everything in this article (for one thing, Foundation is execrable.) But it is an interesting look at what Apple+ is doing in SFF and why so much of it works. “The Best Sci-Fi Shows of 2023 All of Have One Shocking Thing in Common” at Inverse.

…For All Mankind isn’t the only sci-fi show pushing the limits of the genre on Tim Cook’s dime. The Apple CEO has been quietly funding some of the best science fiction TV in recent memory, ranging from the centuries-spanning Isaac Asimov adaptation Foundation to the mind-bending near-future of Severance to the globe-trotting Godzilla spinoff series Monarch: Legacy of Monsters — to name just a few.

And while it’s hard to say what exactly defines an Apple sci-fi show, Inverse spoke to several showrunners and producers who all agree the tech giant brings a unique, futurist perspective to the genre that — when combined with endless cash — helps explain why, all of a sudden, it seems like the best science fiction television is all coming from the same company that sold you your iPhone….

… One thing you can say about pretty much any show or movie on Apple TV+ is that it probably looks gorgeous. While many Netflix productions have a certain flatness to them that can make it feel like the streamer has been cutting corners, Apple is pouring a lot of money into the look (and star power) of its original series — it helps to have a trillion-dollar cash pile, even if Amazon and Disney are still outspending the MacBook maker….

(12) MARATHON FAN. SYFY Wire understandably wants us all to know “How to Watch SYFY’s Twilight Zone New Year’s Marathon 2023-2024”.

Just as you can count on our planet making a full rotation around the sun every 365 days or so, you can also rest assured that SYFY will use the key of imagination to unlock its annual New Year’s marathon of The Twilight Zone. The honored tradition of airing Rod Serling’s groundbreaking anthology series won’t be going anywhere anytime soon. In fact, the 2023-24 edition is super-sized, with the marathon spanning a total of three whole days — starting Saturday (December 30) and ending Tuesday (January 2).

Who needs to smooch someone at midnight when you’ve got Jason Foster (Robert Keith) teaching his wicked family members a lesson they’ll never forget in “The Masks”? Fittingly enough, the classic episode — which revolves around a collection of vain and greedy individuals ordered to wear hideous masks until the stroke of midnight — will air about 40 minutes before the ball drops. If someone offers you a grotesque party favor along with that glass of Champagne, you might want to turn it down….

(13) CHINA’S MIXED SIGNALS ON VIDEO GAME PLAYING. “Will China Ease Its New Video Game Controls? Investors Think So.” The New York Times says, “After a market rout, gaming companies like Tencent and Netease rally on signals that regulators might apply proposed curbs on users less harshly than feared.”

 …The events of the past several days underline the push-and-pull forces in Chinese policymaking. The country’s top leaders have acknowledged they need to stabilize the economy, which has been slow to recover from being virtually locked down during the Covid pandemic. But the government’s tight control of how companies do business continues to inject uncertainty into the markets.

China’s National Press and Publication Administration, which issues licenses to game publishers and oversees the industry, unveiled a proposal on Friday aimed at effectively reducing how much people spend playing games. The plan took the industry by surprise, and investors dumped tens of billions of dollars in company stock.

The regulator issued a statement on Saturday stressing that the draft rules aim to “promote the prosperity and healthy development of the industry,” and said it is “listening to more opinions comprehensively and improving regulations and provisions.”

Then on Monday, the agency announced that it had licensed about 100 new games, after licensing 40 others on Friday. And a semiofficial association affiliated with the agency said that the additional game approvals were “positive signals” that the agency supports the industry.

The new regulations would cap how much money users could spend within games on things like upgrading the features of characters or procuring virtual weapons or other things used by the characters. It would also ban rewards that companies use to entice players to return. The proposal did not specify a spending cap…..

… The industry is still reeling from earlier restrictions first imposed in 2019 aimed at what the government deemed was an online gaming addiction among minors, as well as a broader crackdown against tech companies. Regulators also stymied publishers by not issuing any new game licenses for an eight-month stretch that ended in April 2022….

(14) CHART YOUR COURSE. Archie’s Press offers interesting “Outer Space” prints.

Outer Space is so huge, there’s really no way to wrap your head around the entire thing. This makes it all make sense.

(15) VIDEO OF THE DAY. [Item by Dann.] A tale of old Japan.  A tale as old as time.  A beleaguered hero looking to avenge past wrongs.  Western forces looking to control a local government.  A beauty of a beast.

When the culture and government deny any usual path to survival, much less happiness, our hero seeks unusual opportunities instead.  Learning the secrets of steel.  Surreptitiously learning the secrets of the sword.  All of them.

Eventually, our hero sets out on a path of vengeance leaving rivers of blood along the way.  Companions are found, whether or not our hero desires their companionship.

Each character is well-developed with unique strengths, flaws, and motivations.  Even the villains have a compelling story to tell.

Blue Eye Samurai is not to be missed.  And The Critical Drinker knows why.  Go watch the “The Drinker Recommends… Blue Eye Samurai”.

[Thanks to Andrew Porter, John King Tarpinian, Chris Barkley, Dann, Olav Rokne, Michael J. Walsh, James Bacon, Cat Eldridge, SF Concatenation’s Jonathan Cowie, Steven French, and Mike Kennedy  for some of these stories. Title credit belongs to File 770 contributing editor of the day Cat Eldridge.]

Piotr

Posted on by
Piotr Rak and the Katowice sports arena

By Rich Lynch: I learned about his death from a short two-line obit in the December issue of Ansible:

Piotr ‘Raku’ Rak (1962-2023), noted Polish fanzine editor, con-goer and club/award organizer who won special Eurocon awards in 1991 and 1993, died on 2 November aged 61.

To me, the fandom I know is maybe a bit like an ornate tapestry – filled with colorful memories about events I’ve participated in and people I’d met and come to know over the years.  And every time one of those people passes it creates a tear in that fabric.  That’s definitely the case with Piotr.

He was not the first Polish fan I ever met – that distinction goes to Andrzej Kowalski, who at that time was his supervisor.  Most of my professional career had been as an International Activities Advisor at the U.S. Department of Energy and way back in 1992, Andrzej had been part of a visiting Polish delegation of energy experts that I had chaperoned to meetings at several technology demonstration sites in the United States.  We were out in the middle of Kentucky, almost a week into the trip, before I discovered he was an avid science fiction reader and fan.  And it had probably been a similar revelation for Andrzej to discover that I was, too.

I met Piotr the following year on my first of many trips to Poland.  Andrzej had assigned Piotr as my liaison when I visited their energy institute in Katowice.  He had evidently informed Piotr of my interests in science fiction and that I was a fan because it was what our first extended conversation was mostly about.  Things were in transition, during that first ten years following the fall of communism, and I was fortunate that there had been sufficient interest from the U.S. Government, in terms of getting greater knowledge of Poland’s energy sector, that I was able to find funding to go there about once or twice a year through the end of the 1990s and very beginning of the 2000s.  Whenever I traveled to Poland, Katowice and its energy institute was always part of my itinerary.  And my point of contact there was always Piotr.

We became friends very quickly.  Science fiction and its fandom was a common denominator, of course, but it went beyond that.  He took time away from his family to make sure everything was okay during my stays in Katowice and that included setting up a dinner with him and others in his local fandom whenever I was in town.  They were bonding experiences, fueled by good food and good beer.  It was at one of these dinners I met the prominent Polish fan and translator Piotr Cholewa, and we all found we had yet more of common interest – 1970s and 1980s rock music.  I told them in more detail than was probably necessary about a fabulous Springsteen concert I’d attended in Tennessee and got back a similar amount about a Jethro Tull concert at Katowice’s big flying saucer-shaped sports arena.  It went on from there – it was a  musical geekfest.

The time Piotr went the most out of his way to help me was on the first day of my May 2000 trip.  Just as the train to Katowice was about to depart the Warsaw Central Station, two guys jostled me while I was struggling to get settled in the railcar compartment and got away with my wallet.  All my credit cards were in that wallet, including my ATM card.  It could have been a financial disaster.  But Piotr met me at the Katowice train station and he immediately provided unlimited use of his mobile phone to call back to the United States to cancel the stolen credit cards, arrange for replacements, and get some cash wired to me.  He also vouched for me at the hotel so I could check in without a credit card.  And he even treated me to dinner at one of Katowice’s many pleasant sidewalk restaurants.  He absolutely saved my trip.

I didn’t know it then, but that was the last time I’d ever see him.  He wasn’t at my meeting the next day with the institute’s upper management and when that concluded I was whisked away to the Katowice station for a train ride back to Warsaw.  We kept in touch by email and I’d planned to go back there the next year, in the autumn, but then 9-11 happened and all international travel was put on hiatus.  By the time that had lifted my funding had dried up and I had been reassigned to another group where my travels took me to other places in the world.  I did eventually make it back to Poland, but not anywhere near Katowice.

And now he’s gone.  What I have left to remember him by are a few photos I’d taken of him all those years ago.  But up in my headspace he’s still alive and probably always will be.  Oh, and there’s one more thing.  Even though he wasn’t at that next day’s meeting he’d made sure I was given a replacement for the wallet that had been stolen – a much nicer one than what I’d had.  I still have it.  And I make use of it whenever I’m on the road.  Like me, it’s starting to show its age but I’m not going to discard it.  It’s a reminder of all the good times.

Piotr Cholewa, Piotr Rak, and Andrzej Kowalski

Pixel Scroll 12/26/23 Warning – Spindizzy Recall! Your City May Auto-Return Abruptly!

Posted on by

(1) TO THE NASFIC AND BEYOND. A chapter of Sandra Bond’s Trans-Atlantic Fan Fund trip saga appears in the new issue of Geri Sullivan’s fanzine Idea 13. Says S&ra, “It contains my report on Pemmi-Con with detailed thoughts on What Went Wrong With It And Why.”

Day thirteen of TAFF, unlucky for some. Sandra Bond – already befuddled by her travels and overwhelmed by the generosity of North American fans – has left Minneapolis and has hitched a lift with Minnesota fans Curt Gibson and Alice Ableman in Curt’s mom’s SUV, riding north for NASFiC. No, you haven’t missed any previous instalments; they will be published elsewhere, in due course, and eventually a complete version will follow. I’m starting with this chapter, partly because Geri is publishing it and chapter 1 will largely be about her as my first host, and partly in order to air some issues arising from Pemmi-Con while the iron, so to speak, is hot….

Here’s a taste of those hot iron issues. Think of it as what the 2023 Worldcon experience would have looked like if Chengdu had not wrested it away from Winnipeg.

… (The programme as a whole showed every sign of having been thrown together by robots with no human eyes; for instance, the registration field had a space for you to enter your “organization.” I had put “TAFF”, which was fine, but Tanya Huff had foolishly essayed a little joke by putting “I am not at all organized” in that field, and was rewarded by having that phrase appended to her name on every single programme item featuring her. Others were flagged as variations on “n/a” or “–”, or found themselves billed as representing the organisation of “Myself” (Rich Horton) or “Julie E. Czerneda” (go on, guess). And Nisi Shawl – a fucking guest of honor, and consequently on many programme items – was accompanied on every occasion by the tag “I believe you already have my bio and photo.” Apparently they didn’t, since her “photo” was the generic one used for people who hadn’t supplied any.)…

(2) WHEN NEEDS MUST. The BBC interviewed a fan who remembers “When Tom Baker popped in to watch Doctor Who”. The experience wasn’t quite like when Dustin Hoffman needed to see “Wapner” in Rain Man, but was not entirely unlike it, either.

The time is November 1976, and the space is the Nuneaton branch of Radio Rentals, the old TV stockist that was once a familiar high street fixture. Pauline Bennett remembers being on shift there when a “very smart chap” walks in with a strange request.

“He came in about five o’clock and said he and Tom Baker needed to watch the Doctor Who episode that was going to be on shortly,” she said.

Titular star Baker had been travelling back from the show’s exhibition in Blackpool with BBC manager Terry Sampson when the pair were delayed by fog.

They had turned off the motorway heading for the town, hoping to persuade someone to let them watch the show, the first to feature filming at an outside location, she explained….

(3) FREE AT LAST. Jennifer Jenkins, Director, Duke Center for the Study of the Public Domain, tells us what we can look forward to on “Public Domain Day 2024” at the Duke University School of Law blog.

On January 1, 2024, thousands of copyrighted works from 1928 will enter the US public domain, along with sound recordings from 1923. They will be free for all to copy, share, and build upon. This year’s highlights include Lady Chatterley’s Lover by D. H. Lawrence and The Threepenny Opera by Bertolt Brecht, Buster Keaton’s The Cameraman and Cole Porter’s Let’s Do It, and a trove of sound recordings from 1923. And, of course, 2024 marks the long-awaited arrival of Steamboat Willie – featuring Mickey and Minnie Mouse – into the public domain. That story is so fascinating, so rich in irony, so rife with misinformation about what you will be able to do with Mickey and Minnie now that they are in the public domain that it deserved its own article, “Mickey, Disney, and the Public Domain: a 95-year Love Triangle.” Why is it a love triangle? What rights does Disney still have? How is trademark law involved? Read all about it here. …

(4) NO WAITING FOR PUBLIC DOMAIN HERE. In “’Gale: Stay Away From Oz’ Offers a Horror Take on ‘The Wizard of Oz’”, The Mary Sue reminds everyone this 30-minute short already was released in September.

…In 2023, The Wizard of Oz books by L. Frank Baum entered the public domain. That means anyone can take those characters or the world of Oz and reimagine them in brand-new stories. The independent short horror film Gale: Stay Away From Oz does just that. According to IMDB, Gale‘s official summary is “Long gone are the days of emerald cities and yellow brick roads. In this dark re-imagining of the Wizard of Oz, Dorothy Gale is now an elderly woman, broken by years of paranormal entanglement with a mystical realm.” Emily Gale, the granddaughter of Dorothy, reconnects with her grandmother and the mystical realm that haunts her.

Unlike Winnie the Pooh, which also got the horror treatment, the original stories of Dorothy already lend themselves to the horror genre. Who hasn’t watched Return to Oz and felt terrified? With Gale: Stay Away From Oz, it seems like the curse of Oz haunts any of Dorothy’s descendants, which makes for an even creepier connection. So when is Gale: Stay Away From Oz coming out and where can you watch it?…

(5) AT THE NIMOY. “Mr. Spock’s Widow Puts on a Show” – and The New Yorker profiles her.

The other day, Susan Bay Nimoy—actress, writer, director, philanthropist, and widow of Leonard—stood at the entrance of a historic Art Deco theatre in Westwood, which she had helped to restore and convert to a live-performance space. On the marquee, lit bulbs spelled out the theatre’s new name: the Nimoy.

“There’s a lot of history,” Bay Nimoy, an exuberant eighty-year-old, said. “I called Jane Fonda and asked if she would come to the press opening, because her mother, Frances, funded the theatre.” More history: during the Second World War, newsreels played at the theatre; “Dr. Strangelove” had its first L.A. screening there, in 1964. Two decades later, when Disney managed the theatre, “Three Men and a Baby” was the opening film. Leonard was the director; Bay Nimoy accompanied him to the première. “It was certainly in the eighties, because I wore a black suit with big shoulder pads, with a lot of jewelled things on them,” she said….

… “Leonard and I came from very poor backgrounds. His father was a barber. My dad was an accountant,” Bay Nimoy said. The couple invested their Hollywood earnings in California real estate and contemporary art. “Leonard was not a fancy person,” she went on. When they met, she said, “I was driving a Honda.” Their goal was to give their children—he had two, she had one—a buffer, and no more. “They will not be gabillionaires, but they have a leg up,” she said. “And the rest we’re giving away.” They built a Jewish day school (their rabbi asked them to), a new theatre at Griffith Observatory (Leonard loved outer space), and a theatre for Symphony Space, in New York (where Leonard used to perform short stories)….

(6) NOTHING YOU HAVEN’T THOUGHT OF YOURSELF. Maris Kreizman tells New York Times Readers “Let’s Rescue Book Lovers From This Online Hellscape”.  

… In an ideal world — one in which it wasn’t owned by Amazon — Goodreads would have the functionality of a site like Letterboxd, the social network for movie fans. Letterboxd has called itself “Goodreads for movies” but it has far surpassed that initial tag line, having figured out how to create a smooth and intuitive user experience, provide a pleasant and inviting community and earn revenue from both optional paid memberships and advertisers, including studios that produce the films being discussed. Meanwhile, publishers still rely on Goodreads to find potential readers, but targeted advertising has grown both less affordable and less effective.

So how to fix it? It starts with people: Goodreads desperately needs more human moderation to monitor the goings-on. Obviously, part of any healthy discussion is the ability to express displeasure — those one-star reviews, ideally accompanied by well-argued rationales, are sacrosanct — but Goodreads has enabled the weaponization of displeasure.

It’s not just fledgling authors being pummeled. Earlier this year, Elizabeth Gilbert, the best-selling author of “Eat, Pray, Love,” decided to withdraw a forthcoming novel, “The Snow Forest,” after Goodreads users bombarded its page with one-star reviews objecting primarily to the fact that the novel (which no one had yet read) was set in Russia and would be published at a time when Russia and Ukraine were at war. There is most likely no way to eliminate personal attacks entirely from the site — or from the internet, for that matter — but having more human beings on hand to mitigate the damage would certainly improve the experience.

Fortifying the guard rails wouldn’t be that difficult. Currently Goodreads uses volunteer librarians who add new books to the site’s database in their free time. Hiring these people (and scores more like them) and paying them a living wage would empower Goodreads’s representatives to communicate with publishers, large and small, to facilitate posting books to the site when, and only when, a book has actually been written and edited and is ready to be shared with the world….

(7) CURING YOUR WHO HANGOVER. In the unlikely event that you need somebody to explain the Doctor Who Christmas Special to you, The Hollywood Reporter has volunteered. “’Doctor Who’ Christmas Special “The Church on Ruby Road,” Explained”. For everyone else, beware spoilers. The following excerpt is a little spoilery though not prohibitively so, I thought.

…Initially, Mrs. Flood would appear to be just a normal neighbor. Nothing unusual about her, until we see her sitting down to enjoy the TARDIS dematerializing. Something that most humans would balk at.

However, not for Mrs. Flood. In fact, at the end of the episode, she says to her understandably shocked neighbor (who also witnessed The Doctor’s ship disappearing), “Never seen a TARDIS before?”

And, if this wasn’t enough, she looks directly down the camera and winks. Mrs. Flood is clearly someone to be reckoned with, and undoubtedly will make a return. But is she a familiar character in the Whoniverse? (Time Lords change their appearance quite regularly.) Or, is this a new friend/foe for The Doctor? Names have often hinted at deeper connections and meanings in Doctor Who (see Melody Pond and River Song, for example) — is there a clue here?

Mrs. Flood is played by Anita Dobson, who will be known to many in the U.K. as she made a name for herself as alcoholic landlady Angie Watts in the BBC’s long-running soap, Eastenders. An accomplished stage actress, Dobson is also married to Brian May, guitarist for rock outfit Queen (who’ve had a number of songs feature memorably in Doctor Who, such as “Bohemian Rhapsody,” “Crazy Little Thing Called Love” and “Don’t Stop Me Now”)….

(8) IT ONLY GETS WORSE. [Item by Mike Kennedy.] Did you get new clothes for Christmas? Then beware Jólakötturinn, the gigantic Yule Cat, which will chase you down and eat you if you don’t wear those clothes! “Meet the Yule Cat, an Icelandic folklore beast who eats children” on NPR.

… That’s right. A child’s worst nightmare — new clothes under the tree — could only be outdone by a somehow worse nightmare, being devoured by a ferocious feline that hunts down children caught not wearing their new clothes.

The tale of Jólakötturinn, which translates to Yule Cat, is an Icelandic Christmas classic dating back to at least 1932, according to the Icelandic Folklore website, a research project managed by the University of Iceland….

(9) THE COMPUTER SAYS ‘CHEESE!’ “A.I. Is the Future of Photography. Does That Mean Photography Is Dead?” wonders Gideon Jacobs in an opinion piece for the New York Times.

John Szarkowski, the legendary curator at the MoMA, once described photography as “the act of pointing.” And for the nearly 200 years since its inception, photography has consisted of capturing a visual perspective from the physical world using light — first with light-sensitive plates, then film, then digital sensors. When digital cameras became widely available, many photographers lamented the move away from analog technology but basically Szarkowski’s definition still held: Photography consists of pointing, as a reaction to something that exists in the world.

With advent of A.I. image generators, however, this definition feels obsolete.

Generative A.I. tools can produce photorealistic images, typically in response to written prompts. These images are available for purchase from major stock photography agencies, alongside traditional photos. They routinely go viral before being debunked. They even occasionally win prestigious photography prizes. All if which has reignited a two-centuries-old debate: What exactly qualifies as a photograph?

… Artists, writers and theorists have long remarked on our very human tendency to project slippery ideas about truth onto two dimensional surfaces. In 1921, Franz Kafka was told about a miraculous machine that could automatically take one’s portrait, a “mechanical Know-Thyself.” He offered up his own name for the apparatus: “The Mistake-Thyself.” Kafka was ahead of his time — in Susan Sontag’s 1977 essay “In Plato’s Cave,” she wrote, “Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are.” Each photograph, she argued, is inevitably the product of countless decisions informed, consciously or not, by the photographer’s predilections and biases, as well as the limits and parameters of the technology.

So when I hear some people calling the arrival of A.I. an extinction-level event for photography, I often think of the French painter Paul Delaroche who, legend has it, declared painting “dead” after seeing a daguerreotype, one of the first photographic inventions. Painting did not die; it just evolved into a different kind of artistry, freed from the obligations of verisimilitude….

(10) TODAY’S BIRTHDAY.

[Written by Cat Eldridge.]

Born December 26, — Elisha Cook, Jr. (Died 1995.) His first major role was the psychopathic killer Wilmer Cook in the 1941 version of The Maltese Falcon. Yeah there are two versions, I’ve never seen the earlier version. Anyone here seen it? 

Now as for genre roles, his first was a Boris Korloff film, Voodoo Island, in which he was Martin Schuyler. Adam West is here in his first film role, uncredited.

His next horror film with Vincent Price, House on Haunted Hill, in which he was Watson Pritchard, is interesting because exterior shots of the house were filmed at the historic Ennis House in Los Feliz, California, designed by Frank Lloyd Wright and built in 1924.

Here’s a curious one for you. The Haunted Palace is a horror film starring Vincent Price Lon Chaney Jr. in which he’s Micah Smith / Peter Smith. The film was marketed as based on a Poe title but only the title is from him – the plot is from Lovecraft’s “The Case of Charles Dexter Ward” novella.

I saw Rosemary’s Baby once in which he played Mr. Nicklas. That was more than enough, thank you.  Hey, he’s in the original The Night Stalker movie as Mickey Crawford. Neat. And next up is being Gordon “Weasel” Phillips in Salem’s Lot, a scary film indeed.

Most memorable series appearance? As Samuel T. Cogley, Esq in Star Trek’s “Court Martial” episode of course. He also made a Wild, Wild West appearance as Gideon McCoy in “The Night of the Bars of Hell”, the new Twilight Zone in “Welcome to Winfield” as Weldon, The Bionic Woman in “Once a Thief” as Inky and in ALF in “We’re So Sorry, Uncle Albert” as Uncle Albert.  Oh, and his first television appearance was on the Adventures of Superman in “Semi-Private Eye” as Homer Garrity.

(11) COMICS SECTION.

(12) EJECT! Arturo Serrano declares “Rebel Moon is the most Snyder that Snyder has ever been” at Nerds of a Feather. And that’s not a good thing.

One could summarize Rebel Moon as “the Zack Snyder of Star Wars,” which would sound mean-spirited if it weren’t its literal description. Conceived originally as Snyder’s pitch for Lucasfilm and eventually rescued by Netflix, Rebel Moon files off the Star Wars serial numbers just enough to prevent lawsuits from the Mouse. As you would expect, it tells the story of a loosely assembled team of impromptu freedom fighters who rise up against a brutal interstellar empire. A tale as old as time, and one that Lucasfilm has kept profitable for nine movies and I forget how many TV shows. But Snyder’s version of this formula, stripped of its identifiable markers for legal reasons, becomes a nameless, featureless collection of plot beats and cool poses. If there was ever a time when the infamous itch for canceling everything at Netflix could be used for good, it’s now. There’s no need for a Rebel Moon Part 2, or for all the multimedia spinoffs Snyder is reportedly preparing. This is not the galaxy you’re looking for….

(13) TO HELL AND MAYBE BACK. Disney+ has started airing the new series based on Rick Riordan’s YA fictionalization of Greek myth: “Percy Jackson and the Olympians: The Quest Begins in New Clip” from Comicbook.com.

Percy Jackson and the Olympians is gearing up to kick off its quest. The serialized adaptation of Rick Riordan‘s best-selling novels made its surprise debut on December 19th, dropping its first two episodes six hours ahead of schedule in the Tuesday primetime slot. This came with the announcement that all future episodes of Percy Jackson would get the primetime treatment, as the rest of Season 1 will premiere at 9 PM ET. The last fans saw, Percy (Walker Scobell) was officially claimed by his father, Poseidon, and given the news that he must lead a cross-country quest to retrieve Zeus’s (Lance Reddick) stolen master bolt. The belief is that Hades (Jay Duplass) stole it out of jealousy and is keeping it in the Underworld….

(14) STRANGE NEW WORLDS. We hear from the Guardian “How the James Webb telescope is ‘set to find strange and bizarre worlds’”.

There is a distant world where quartz crystals float above a searing hot, puffy atmosphere. Vaporised sand grains, not water droplets, form the clouds that fill the sky on Wasp-107b, a planet 1,300 light years from Earth.

Then there is GJ1214, the sauna planet. With a mass eight times that of Earth, it orbits its parent star at a distance that is one-seventieth of the gap between Earth and the sun and seems to be coated in a thick dense atmosphere containing vast amounts of steam.

Or there are the giant, Jupiter-sized planets of the Orion Nebula which have been discovered free-floating in space, rogue worlds that appear to be unconnected to any parent star – to the bafflement of astronomers….

(15) A YEAR’S WORTH OF SCREEN TIME. Gizmodo picks out the “40 Most Memorable Sci-Fi, Fantasy, and Horror Movie Moments of 2023”. Here’s one example:

Dungeons & Dragons: Honor Among Thieves: Jarnathan Arrives

This is the moment you knew Honor Among Thieves absolutely got Dungeons & Dragons. It’s an incredible set-up to a gag that builds over the opening scenes, establishing the roguish humor of our heroes, throwing a loving curveball to an esoteric D&D race, and of course giving us the most perfect ass-pull of a character name that feels like a Dungeon Master made it up for an NPC on the spot mid-improv. Oh Jarnathan, indeed.

(16) VIDEO OF THE DAY. “Our Pros bring Wednesday Addams to the Strictly Ballroom” from the BBC.

[Thanks to Mike Kennedy, Andrew Porter, John King Tarpinian, Daniel Dern, Jeff Warner, Kathy Sullivan, Chris Barkley, Cat Eldridge, SF Concatenation’s Jonathan Cowie, and Steven French  for some of these stories. Title credit belongs to File 770 contributing editor of the day Daniel Dern.]

Pixel Scroll 12/25/23 It’s Not My Pixel, Monkey Boy!

Posted on by

(1) SCROLL LITE. I’m spending Christmas with my brother and his wife today, so this will be a short edition of the Scroll. I wish a happy holiday season to all of you!

(2) ‘TIL NEXT YEAR. Santa’s finished his rounds and can relax at his favorite intergalactic watering hole. (An Emsh cover for Galaxy Magazine.)

(3) DOCTOR BARBIE. [Item by SF Concatenation’s Jonathan Cowie.] It’s Christmas and some science journals have festive light-heartedness…

The cover of the British Medical Journal (BMJ) relates to the fantasy film hit of the year Barbie. “Christmas 2023: Ideas for a new world”.

The cover of The BMJ’s Christmas issue this year shows a Barbie that challenges sexist and racist norms. Richard Hurley describes the other new ideas this Christmas issue presents.

See also: “This Barbie is a surgeon”.

In her elegant qualitative study, Katherine Klamer dares the reader to dream bigger for a rising generation of girls.1 In an analysis of nearly 90 Barbies, Klamer found that Barbie brand medical professional dolls largely treated children (63%, n=48/76), with only three dolls (4%, n=3/76) working with adults. 59% of the Barbie brand dolls were white, 28% black, and 6% East Asian, and none had any physical disabilities. All Barbie brand doctors appeared to have either no specialization or were paediatricians with no apparent sub-specialization. Analysis showed that the dolls’ personal safety accessories were inadequate for standard practice; 98% of the Barbie brand dolls came with stethoscopes yet only 4% had face masks. Overall, the group of Barbies showed only a very limited range of medical careers.1 As surgeons in decidedly male dominated fields, we support Klamer’s conclusion that Barbies should represent a more diverse field of medical and scientific professions and that safety comes before fashion. Surely, personal protective equipment (known as PPE) should be commonplace accessories in medical and scientist Barbies’ wardrobes. While the evolution of Barbie’s career options has expanded in recent decades, there is clearly still room for improvement….

The issue also includes an article about  “The space doctors”

Few doctors get to go on real space missions, but they do conduct space research, often in extreme…

What do you actually do on a mission?

SR: “You’re trying to simulate the conditions in an environment like the Moon or Mars or anywhere in space so that you can test out technologies and see how they stand up and whether they’re appropriate to be used by a group of isolated people. But you also train future astronauts.”

RV: “When I started in analogue missions (where researchers carry out field tests in places with physical similarities to space environments1 ) there was me and two other doctors in the whole discipline and that was it. Now analogue space medicine has grown into a bigger specialty, and I think that may be because of the Lunar Gateway (the planned extraterrestrial space station to orbit the Moon) plus multiagency/international collaboration planning an extraterrestrial space station on Mars. For that we need to have more testbeds for doing what we call ‘quick, fast, and fail’ to learn what works. To do that you need analogues.”…

(4) MEMORY LANE.

[Written by Cat Eldridge.]

1980 — I assume most of you are familiar with the M*A*S*H series that ran eleven seasons starting in 1972. Based off of the Robert Altman film of the same name, it was supposed to be a comedy but a lot of very dark humor, pathos, tragedy and even quite moving deaths got in it as well. 

It did three Christmas-centered episodes of which I think only “Death Takes A Holiday” from the ninth season stands up as a truly interesting story. 

The secondary story which I’ll detail first has Charles Emerson Winchester the Third, our insufferable Bostonian surgeon, refusing to help salvage things after a party for orphans is cancelled. Everyone else digs into their rations from home and puts together a true military style Christmas party, but him. 

It turn out that Emersons don’t do public charity and he had given expensive chocolate that he got from his parents to that orphanage instead. Thus he’s understandably angry when he discovers the chocolate had made its way to the black market. So he takes the director aside and shouts at him, but the director says the candy was better used to purchase rice and cabbage, which the kids needed far more than candy.

So now for the main story.

A soldier shot by a sniper is choppered in on Christmas. It’s clear that there’s absolutely no hope of saving him as the surgeons know he is brain dead and will die no matter what they do. Just as they’re dropping life saving measures, they find a photograph of his family.

So Hawkeye, B.J., and Margaret decide to keep him alive, not indefinitely as not cannot happen even as a Christmas miracle, just until December 26th, so his family will never have to think of Christmas as the day their husband and father died. They succeed until after late evening, but he doesn’t make it to midnight. Finally, Hawkeye makes the decision to push the hands past midnight, and they agree to the list his time of death as early the next morning. 

So no Christmas miracles, just a lie that will help a family be just a little more happy come the next Christmas. Maybe. 

As our medical staff leave the dead behind and Father Mulcahy has administer the Last Rites, they are greeted by Potter as Santa. Potter says Santa knows they’ve “been very good boys and girls today” and has an elf, one of the orphans, give them the last four pieces of nurse Peg’s mother’s fudge from California.

Snow begins falling as they each take a piece and toast each other with it, wishing each other a Merry Christmas while the M*A*S*H staff  in the Mess Tent sing the last lines of “Silent Night”. 

Writing episodes was never a solitary enterprise for the series, so this episode was written by Mike Farrell, John Rappaport, Dennis Koenig, Thad Mumford, Dan Wilcox, and Burt Metcalfe and directed by Farrell. Mike Farrell played Captain B.J. Hunnicutt on the series. 

Colonel Potter here became the third and final member of the 4077th to play Santa Claus, after Hawkeye in “Dear Dad”, and B.J. in “Dear Sis”.

(5) TODAY’S BIRTHDAY.

[Written by Cat Eldridge.]

Born December 25, 1924 — Rod Serling. (Died 1975.) Rod Serling is best remembered for the original and certainly extraordinary Twilight Zone series and its sequel series of sorts Night Gallery, with the former winning an impressive three Hugos. He was involved at some stage in Seven Days in May, as well as The New People series, The Strange Case of Dr. Jekyll and Mr. Hyde, UFOs: Past, Present, and Future and Planet of the Apes.

So let’s look at that work I listed above which is other than Twilight Zone and Night Gallery and what Serling had to do with them, if anything. 

Let’s start Seven Days in May, a very scary film indeed, which first in released in 1964. Director John Frankenheimer hired Serling to write the script off the novel of the same name by Fletcher Knebel and Charles W. Bailey II. It’s a solid piece of alternative history.

The New People series isn’t really anything he was involved in despite many websites listing him as being so. He was given the idea by Aaron Spelling about a group of young people who crash-land on a remote island and with everyone thinking they’re dead, they set out to form a new society.   

He said in a later interview that “He brought me the idea and I wrote the pilot script. Beyond that, I have nothing to do with it. The show is somewhere between Gilligan’s Island and San Francisco State. It may work. But not with me.” The original never-aired fifty-one minute pilot was screened at UCLA Film & Television Archive with a full Serling credit eleven years ago.

Now Serling again had nothingwith the final aired version of The Strange Case of Dr. Jekyll and Mr. Hyde film. He was hired to write the script when it was to film in London but Jason Robards was unhappy with his script so it was moved because of a strike to Toronto and a new script by a new writer done. No idea what happened to that script. A pity as it might’ve been interesting.

UFOs: Past, Present, and Future was narrated by Rod Serling, Burgess Meredith, and José Ferrer who had been involved in The Twilight Zone. A documentary purportedly proving they were real. It is various claimed that officials at California’s Norton Air Force Base, the U.S. Department of Defense or the National Republican Party asked for this film. Serling had no role in it beyond narrating part of it. 

Planet of the Apes is an interesting story as the script he wrote was then modified by subsequent screenwriters. Even Serling himself disputes that much of his script remains in the final shooting script saying “The original script that I wrote was considerably different than the one they ultimately used” and whether iconic visual aspects of the film such as the hand of The Statue of Liberty were solely his idea. 

So The Twilight Zone and The Night Gallery which I just checked to make sure and yes Paramount + is still streaming the original Twilight Zone. 

The Twilight Zone as created, largely written by and presented by Rod Serling premiered on CBS with the “Where is Everybody?” episode sixty-four years ago. An earlier pilot was developed but it ended up airing on a different show, Westinghouse Desilu Playhouse, and was later adapted as a radio play. Serling served as executive producer and head writer; he wrote or co-wrote ninety-two of the show’s one hundred and fifty-six episodes. 

The series would run four seasons in total. It would win the Hugo at Pittcon and then again the next year at Seacon for Best Dramatic Presentation repeating that for a third year straight at Chicon III. It didn’t do that for a fourth year running at DisCon I as no Best Dramatic Presentation Hugo was awarded. 

Some of my favorite episodes? “Five Characters In Search of an Exit” for its minimalistic approach to, well, everything; “Nightmare at 20,000 Feet” with Shatner of course which was actually written not by Serling but by Richard Mathewson; “The Mighty Casey” and “I Sing The Body Electric”, an episode based on a story by Ray Bradbury. Although Bradbury contributed several scripts to the series, this was the only one produced. 

Now for The Night Gallery. Unlike The Twilight Zone which has seeped into my consciousness and into my bones as well, I’ll willingly admit that although I’ve watched bits and pieces of it down the decades that I won’t say that’s it has gotten a firm hold on my consciousness like its predecessor. I think it’s that I’m just not interested in horror and suspense which was its focus, so what I saw just didn’t interest me the way the stories on The Twilight Zone always did.  It’s not just as pure a storytelling experience for me as that series is. Oh well. 

(6) COMICS SECTION.

Tom Gauld brings back a couple of his Good King Wenceslas variations.

(7) WHO WAS THAT MASKED DOG? CBR.com tells how “Batman: Ace the Bat-Hound Received an Award-Winning New Christmas Origin”.

It’s our yearly Comics Should Be Good Advent Calendar! This year, the theme is the Greatest Christmas Comic Book Stories Ever Told! I had you all vote for your all-time favorite comic book Christmas stories and I collected all the votes, and now I am counting down the results! Each day will spotlight the next story on the list as we count down from #24 all the way to #1!

Every day until Christmas Eve, you can click on the current day’s Advent Calendar post, and it will show the Advent Calendar with the door for that given day opened, and you can see what the “treat” for that day will be! You can click here to see the previous Advent Calendar entries.

And now, we open the sixteenth door on the calendar…

Who was the original Ace the Bat-Hound?

The best thing about Ace the Bat-Hound (created by Bill Finger, Sheldon Moldoff and Charles Paris) is that originally he wasn’t even Batman and Robin’s DOG!

When he debuted in 1955’s Batman #92, he was just a dog that they found with a distinctive mark on his forehead and Bruce Wayne advertised in the local newspaper that he found the dog. The dog then jumped into the Batmobile while Batman and Robin were on the way to a crime scene, and since Batman and Robin couldn’t very well be seen hanging around with the same dog that Bruce Wayne just advertised that he had found, Robin made him a mask to cover the distinctive mark, and so Ace the Bat-Hound made his debut!…

[Thanks to Steven French, Kathy Sullivan, Mike Kennedy, Andrew Porter, John King Tarpinian, Chris Barkley, Cat Eldridge, and SF Concatenation’s Jonathan Cowie, for some of these stories. Title credit belongs to File 770 contributing editor of the day Andrew (not Werdna).]

Pixel Scroll 12/24/23 I’ve Got 99 Pixels But The Scroll Ain’t Fifth

Posted on by

(1) WHAT HAPPENS IN TRISOLARIS — STAYS IN VEGAS. “Netflix to Stage ‘3 Body Problem’ Immersive Experience at CES 2024”. Variety tells what visitors at the Las Vegas event will encounter.

Next month, Netflix will have a booth on the main CES show floor for the first time — where it will stage an “immersive experience” for the “3 Body Problem,” the sci-fi drama series from “Game of Thrones” duo David Benioff and D.B. Weiss and Alexander Woo.

The streamer’s exhibit space at CES 2024 will be located at the Las Vegas Convention Center’s Central Hall, Booth #17048. Per Netflix’s description of the activation: “An otherworldly headset will transport CES attendees into the mysterious world of ‘3 Body Problem’ in a fun and experiential way, showcasing the series’ genre-bending high stakes.” The experience keys off a key narrative element in the “3 Body Problem” universe, in which a gaming headset is used by characters to transport into an unknown world.

In the wearable-display experience, CES attendees will be able to watch the series trailer for the very first time. And as they watch, Netflix says, “they are transported into an immersive, real-world extension of the series, revealing clues about the nature of the core threat in the ‘3 Body Problem.’”…

(2) BAD BUZZ ABOUT GOODREADS. [Item by Mike Kennedy.] The saga of Cait Corrain, et al., takes the lede in the Guardian story, “’It’s totally unhinged’: is the book world turning against Goodreads?”

For Bethany Baptiste, Molly X Chang, KM Enright, Thea Guanzon, Danielle L Jensen, Akure Phénix, RM Virtues and Frances White, it must have been brutal reading. All received scathing reviews on Goodreads, an online platform that reputedly has the power to make or break new authors.

But the verdicts were not delivered by an esteemed literary critic. They were the work of Cait Corrain, a debut author who used fake accounts to “review bomb” her perceived rivals. The literary scandal led to Corrain posting an apology, being dropped by her agent and having her book deal cancelled.

It also uncovered deeper questions about Goodreads, arguably the most popular site on which readers post book reviews, and its outsized impact on the publishing industry. Its members had produced 26m book reviews and 300m ratings over the past year, the site reported in October. But for some authors, it has become a toxic work environment that can sink a book before it is even published.

“It has a lot of influence because there are so many people now who are not in the New York ecosystem of publishing,” says Bethanne Patrick, a critic, author and podcaster. “Publishers and agents and authors and readers go to Goodreads to see what is everybody else looking at, what’s everyone else interested in? It has a tremendous amount of influence in the United States book world and reading world and probably more than some people wish it had.”

Goodreads allows users to review unpublished titles. Publishers frequently send advance copies to readers in exchange for online reviews that they hope will generate buzz. But in October, Goodreads acknowledged a need to protect the “authenticity” of ratings and reviews, encouraging users to report content or behaviour that breaches its guidelines.

Goodreads said: “Earlier this year, we launched the ability to temporarily limit submission of ratings and reviews on a book during times of unusual activity that violate our guidelines, including instances of ‘review bombing’. This kind of activity is not tolerated on Goodreads and it diminishes the community’s trust in people who participate.”…

(3) THE HAUNTENING. [Item by SF Concatenation’s Jonathan Cowie.] BBC Radio 4 has had a short comedy, thriller. When he gets a gift from his girlfriend, he does not realize that it is a deep fake powered by an artificial intelligence.  But the AI does not take well to criticism and things soon become personal… You can listen to it here. “The Hauntening”.

Travel through the bad gateway in this modern ghost story as writer and performer Tom Neenan discovers what horrors lurk in our apps and gadgets. In this episode, a celebrity birthday message from Joanna Lumley turns into a terrifying gift for Tom

Modern technology is terrifying. The average smartphone carries out three-point-three-six billion instructions per second. The average person can only carry out one instruction in that time. Stop and think about that for a second. Sorry, that’s two instructions – you won’t be able to do that.

But what if modern technology was… literally terrifying? What if there really was a ghost in the machine?

(4) POSTERIZED. Think of it as a start on next year’s shopping. Or simply a well-deserved gift for yourself.  “Star Wars and Other Galactic Funk (Millennium Records, 1977)” at Heritage Auctions. Bidding is only up to $16 at last look.

Star Wars and Other Galactic Funk (Millennium Records, 1977). Very Fine on Linen. All English Language Japanese Record Store Poster (20.25″ X 29.25″) Robert Rodriquez Artwork.

Even though its films take place in a galaxy far, far away, the Star Wars franchise has connected with audiences since the original film’s release in 1977. 20th Century Fox had no idea that the film would resonate so much with fans, so when George Lucas agreed to pass up a $500,000 directing bonus to attain merchandising rights, it seemed safe for the studio to do. However, Lucas, who had seen the merchandising blitz that came with his good friend Steven Spielberg’s Jaws, knew well the power that films had on consumers. George Lucas’ imagination led to a licensing goldmine of action figures, play sets, posters, board games, books, trading cards, costumes, and more. It’s been 45 years since Star Wars hit the screen, and the franchise has raked in over $29 billion in merchandise sales alone. Much more than the Joseph Campbell hero’s journey set in a space opera, the retail and promotional items made in conjunction with this multi-faceted property have brought tremendous joy to fans worldwide and remain coveted among collectors. The characters, the settings, and the galaxy continue to be beloved by Force believers, and here we present an extensive treasure trove of rare items dating from 1977 to today. May the Force be with you!

Offered in this lot is a rare all-English language Japanese record store poster for Meco’s best-selling album Star Wars and Other Galactic Funk, which reworked the Star Wars score into a disco and jazz fusion medley. A restored poster with bright color and a clean overall appearance. Minor touchup and color touchup is applied to several creases. Grades on all restored items are pre-restoration grades.

(5) VISION QUESTS. Deadline studies the rapid advancement in animation effects in “’Across The Spider-Verse’, ‘Nimona’ & ‘TMNT: Mutant Mayhem’ VFX”.

… Since the first Academy Award for Best Animated Feature was awarded in 2002 to DreamWorks’ Shrek, the animation industry has made incredible strides. This awards season, such films are pushing the boundaries of what animation can be, and VFX plays a huge part in infusing new artistic styles into every frame….

Spider-Man: Across the Spider-Verse pushed the animated comic book style of the 2018 film even further with six new, distinct worlds and a visually complex villain. 

Spider-Man: Into the Spider-Verse amazed everyone in 2018 with an interpretation of animated comics, and set a bar for what animation could look like. Spider-Man: Across the Spider-Verse exceeded expectations with the introduction of six new worlds, each with a new style of animation. While these were all challenging in their own way, VFX supervisor Mike Lasker says the most challenging aspect of the film was the new villain, the Spot. 

“This was the culmination of every tool in our toolbox we had created over the course of production,” he says. “We had a lot of great reference paintings of him, and there were all these different, dark and evil sorts of purples and ink splattering off of him as he moved his limbs.” Using 2D tools integrated into the 3D animation software, Lasker’s team was able to add hand-drawn ink lines, paint strokes, distortion, and more to create the final look. “We ended up using the stroke system, ink splatter coming off the layers, heavy compositing, lighting, paint strokes—every area of the pipeline was involved.”

Lasker says look supervisor Craig Feifarek was an essential part of creating the final look of the Spot. “Craig actually lit and composited all of these shots,” he says. “He did a great job, but also the animation department did an amazing job prototyping how the Spot acts in the last shots of the film. They were able to create all these crazy flash frames… I look at this now and I’m still in awe of what they’ve done.”

(6) HERE’S MY NUMBER AND A DIME. Slashfilm says “A Chance Run-In With Ray Bradbury Helped Bring Blade Runner To The Big Screen”.

…Paul M. Sammon’s “Future Noir: The Making of Blade Runner” provides an in-depth look at the genesis of “Blade Runner” and details Fancher’s attempts to seek out [Philip K. Dick] the man behind “Do Androids Dream of Electric Sheep?” Unfortunately, the search was proving fruitless at first, with Fancher claiming “it was just about impossible to learn anything about him.” The writer, eager to get going on a script, took a trip to New York in search of the mysterious author’s agents, who turned out to be unhelpful.

What happened next was complete luck, according to Fancher, who ended up “accidentally” running into an author not dissimilar to Dick: the legendary author Ray Bradbury. The man responsible for sci-fi classics such as “Fahrenheit 451” and “The Martian Chronicles” handed Fancher a lifeline during their chance encounter. Flipping through his address book, he found Philip K. Dick’s home phone number and promptly handed it over to Fancher.

As the future co-writer of the “Blade Runner” script recalled: “the next day, in fact, I called Phil about the book and we set up an appointment to meet in his apartment.” The two spoke at Dick’s Santa Ana home where they are said to have gotten along well despite Fancher sensing some “manic” and “self-reverential” tendencies in the author, who seemed initially wary of any Hollywood treatment of his novels….

(7) TODAY’S BIRTHDAY.

[Written by Cat Eldridge.]

Born December 24, 1910 — Fritz Leiber. (Died 1992.) Now in Birthdays we come to the matter of Fritz Leiber.

Fritz Leiber. Photo by and (c) Andrew Porter.

Warning: this is my list of favorite works by him, not a definitive look at him. 

I’ll  start with The Big Time as it has long been my favorite work by him, and I must say that it has magnificently held up over the years. No Suck Fairy has dared approach it lest she turn to dust on the winds of the Change Wars. 

First published sixty-two years ago as a novel by Ace Books, The Big Time started out as a two part-serial in Galaxy Magazine‘s in the March and April 1958 issues. It would win the Hugo Award for Best Novel or Novelette at Solacon. 

It was well-received with Algis Budrys liking it but he noted it was more of a play than an actual novel. One set, a small number of actors — perfect to be staged.

There were also the Change War stories, collected in Snakes & Spiders: The Definitive Change War Collection, published by Creative Minority Productions which I can’t say I’ve ever heard of. It is available from the usual suspects. And yes, I just got a copy as I can still read short stories fine even if novels are long beyond me. 

Next up without question are that barbarian and thief duo, Fafhrd and the Gray Mouser. Leiber wrote it as a counterpoint he says in part to such characters as Conan the Barbarian, and I for one like them very much better. I think I’ve read all them, and they’re certainly his most entertaining writing by far.

I really like Conjure Wife which was awarded the Retro Hugo Award at Dublin 2019. A most delicious take on the premise that all women are witches, and told all so well. 

Yes, I like his short stories by I can’t remember which are my favorite ones other than the Change 

That’s my list of favorite Leiber works, what’s yours?

(8) COMICS SECTION.

  • Tom Gauld sends help to those hunting for last-minute gifts.

(9) AFTER THE CALAMITY. [Item by Steven French.] Read Jeff Vander Meer “On Sven Holm’s Novella of Nuclear Disaster” in The Paris Review. The post-apocalyptic story Termush,  originally published in 1967, was reissued earlier this year with a foreword by Vander Meer:

…In its treatment of the aftermath of nuclear war, Termush distinguishes itself from the so-called disaster cozies of the fifties, like the novels of John Wyndham, to occupy more urgent territory. In this genre, the dangers of some calamitous situation become entwined with an almost cheery disaster-tourism tone; more importantly, civilization always wins in the end, even if in an altered form. The militias may hold sway for a while, or the plague lay waste to whole towns, but by the novel’s close, equilibrium and balance, logic and order, always return to human endeavors. Not so much in Termush, which also eludes, through its particular focus and narrative velocity, echoes of Cold War conflict that otherwise might have dated the novella. Instead of a pervading sense of “the other” about to storm the gates, Holm delves into the psychology of the holed-up survivors and the hazards of societal breakdown….

… The right excerpt from Termush could easily have appeared in New Worlds, the seminal sixties magazine for the New Wave…

(10) VIDEO OF THE DAY. Ryan George takes us inside the “Wish Pitch Meeting”.

[Thanks to SF Concatenation’s Jonathan Cowie, Steven French, Kathy Sullivan, Mike Kennedy, Andrew Porter, John King Tarpinian, Chris Barkley, and Cat Eldridge for some of these stories. Title credit belongs to File 770 contributing editor of the day Andrew (not Werdna).]

Uncanny Magazine Issue 56 Launches January 2

Posted on by

The 56th issue of the Uncanny Magazine, winner of seven Hugos and a British Fantasy Award, will be available on January 2 at uncannymagazine.com. 

Hugo Award-winning Publishers Lynne M. Thomas and Michael Damian Thomas are proud to present the 56th issue of their seven-time Hugo Award-winning online science fiction and fantasy magazine, Uncanny Magazine. Stories from Uncanny Magazine have been finalists or winners of Hugo, Nebula, Locus, Sturgeon, and World Fantasy Awards. As always, Uncanny features passionate SF/F fiction and poetry, gorgeous prose, provocative nonfiction, and a deep investment in the diverse SF/F culture, along with a Parsec Award-winning monthly podcast featuring a story, poem, and interview from that issue. 

All of Uncanny Magazine’s content will be available in eBook versions on the day of release from Weightless Books, Amazon, Barnes & Noble, Google Play, and Kobo. Subscriptions are always available through Weightless Books. The free online content will be released in 2 stages- half on day of release and half on February 6. 

Follow Uncanny on their website, or on Twitter and Facebook.

Uncanny Magazine Issue 56 Table of Contents:

Cover

  • Resurrecting Venus by Galen Dara

Editorial

  • “The Uncanny Valley” by Lynne M. Thomas & Michael Damian Thomas

Fiction

  • “Marginalia” by Mary Robinette Kowal (1/2)
  • “A Recipe for Hope and Honeycake” by Jordan Taylor (1/2)
  • “Do Houses Dream of Scraping the Sky?” by Jana Bianchi (1/2)
  • “An Elegy of Soil” by Natalia Theodoridou (2/6)
  • “La mandíbula del río” by Ana Hurtado (2/6)
  • “The Feast of Baku & the Yume no Seirei” by Cheri Kamei (2/6)
  • “A Contract of Ink and Skin” by Angela Liu (1/2)

Nonfiction

  • “Scalzi on Film: When Fun Becomes Homework” by John Scalzi (1/2)
  • “Lest We Become Possessed” by Alex Jennings (1/2)
  • “A Novel Is an Empathy Engine” by Cecilia Tan (2/6)
  • “Dance Dance Matrix Revolutions” by Amanda Wakaruk and Olav Rokne (2/6)

Poetry

  • “Six of Swords Becomes The Emperor” by Ali Trotta (1/2)
  • “We Drink Lava” by Ai Jiang (1/2)
  • “fowlskin” by C. S. E. Cooney (2/6)
  • “genesis” by Sodïq Oyèkànmí (2/6)

Interviews

  • Jordan Taylor interviewed by Caroline M. Yoachim (1/2)
  • Natalia Theodoridou interviewed by Caroline M. Yoachim (2/6)

Podcasts

  • Episode 56A (1/2): Editors’ Introduction, “Marginalia” by Mary Robinette Kowal, as read by Erika Ensign, “We Drink Lava” by Ai Jiang, as read by Matt Peters, and Lynne M. Thomas interviewing Mary Robinette Kowal.
  • Episode 56B (2/6): Editors’ Introduction, “La mandíbula del río” by Ana Hurtado, as read by Matt Peters, “fowlskin” by C. S. E. Cooney, as read by Erika Ensign, and Lynne M. Thomas interviewing Ana Hurtado.

Pixel Scroll 12/23/23 He Was Scrolling Pixels When Scrolling Pixels Wasn’t Cool

Posted on by

(1) FOR ART’S SAKE. If you want to read “Bodily Autonomy in the Murderbot Diaries: Martha Wells Interviews Herself and ART” you need to buy F(r)iction’s “The Bodies Issue (No. 20)” – digital for $12, print & digital for $20. But Murderbot, right?!

(2) GET READY FOR SMOFCON $ALE. Marah Searle-Kovacevic, Chair, Smofcon 41announced they will be having a post holiday membership sale! From December 26-31, attending memberships will be $65! Get yours, they’ll never be any lower! Sign up here starting next week: “Membership – Smofcon 41”

(3) WORLDCON BID Q&A SESSIONS. [Item by Kevin Standlee.] SMOFCon 40 allowed the Worldcon Events YouTube channel to extract the presentations from past and future Worldcons and from those bids who had representatives either in person or remotely.

I tried to trim these down to just the presentations/Q&A, not including the changeover time between presenters or any issues with getting the tech set up.

There were presentations from the following Worldcons and bids:

None of the other bids that have previously announced interest and that are currently listed on our Worldcon bids page (Tel Aviv in 2027, Brisbane in 2028, Texas in 2031, Minneapolis in 2073) had representatives at SMOFCon 40.

(4) TALKING ABOUT TOLKIEN. Tom Emanuel of the University of Glasgow is looking for nonreligious people to interview about Tolkien:

Are you a fan of The Lord of the Rings? Do you identify as nonreligious? Would you be interested in talking to me (Tom Emanuel) for 1-2 hours about why you love Tolkien?

If you answered “yes” I would love it if you filled out this questionnaire for my PhD research at the University of Glasgow!

Robin Anne Reid forwarded the request with a couple of links to Tom’s previous scholarship that is open-access if people are interested in seeing what sort of work he does in Tolkien scholarship. 

(5) GOBLIN SONG FALLING AFTER SPLASH DEBUT. [Item by SF Concatenation’s Jonathan Cowie.] After climbing to number 12 in its first week in release, Doctor Who’s “The Goblin Song” has now slipped to 52 on UK charts.

There had been a concerted campaign to make it number one.

(6) MIKE NUSSBAUM (1924-2023). [Item by Cat Eldridge.] Actor Mike Nussbaum was The Principal in Field of Dreams, Gentle Rosenberg in Men in Black, Yuri Rosanov in Early Edition, and Mr. Wallace in The Water Engine. Look the last one up, it’s fascinating. No series work at all of a genre nature save a character on the Twilight Zone Radio Dramas called Nathaniel Harris. 

Deadline’s complete tribute is here: “Mike Nussbaum Dies: Veteran Actor In ‘Men In Black’ And ‘Fatal Attraction’ Was 99”.

(7) MEMORY LANE.

[Written by Cat Eldridge.]

December 23, 1960 — Twilight Zone’s “The Night of The Meek”

On December 23rd in 1960, Twilight Zone’s “The Night of the Meek” first aired. It was one of the six episodes of the second season which was shot on videotape in a failed attempt saved to cut costs. Networks and their bean counters.

This was a Christmas themed story with Art Carney as a Santa Claus fired on Christmas Eve who finds a mysterious bag that gives an apparently unlimited stream of gifts. But before we learn that we have this opening scene and narration:

As snow begins to fall, a drunk Henry Corwin ((Carney) wearing his Santa Claus suit, leans against a curbside lamppost. He is approached by two tenement children begging for toys, a Christmas dinner, and “a job for my daddy.” As he begins to sob, the camera turns to Rod Serling standing on the sidewalk:

This is Mr. Henry Corwin, normally unemployed, who once a year takes the lead role in the uniquely popular American institution, that of the department-store Santa Claus in a road-company version of ‘The Night Before Christmas’. But in just a moment Mr. Henry Corwin, ersatz Santa Claus, will enter a strange kind of North Pole which is one part the wondrous spirit of Christmas and one part the magic that can only be found… in the Twilight Zone.

The script would be used over in the Eighties version of this series and on the radio program as well. 

Serling ended the original broadcast with the words, “And a Merry Christmas, to each and all”,  but that phrase was deleted in the Eighties for reasons never made clear and would not be back until Netflix started streaming the series. The series runs on Paramount+ now in its original full, uncensored version. The line is still missing from all the DVD versions.

John Fielder who is Mister Dundee here would have a second Twilight Zone appearance in “Cavander is Coming” in which he has the lead as the Angel Harmon Cavender.

Oh, and let’s note that it’s a cat that mysteriously starts off this tale by knocking down a large burlap bag full of empty cans, which when Corwin trips over it, is then filled with gifts. See cats are magical! 

Serling ends with this narration:

A word to the wise to all the children of the Twentieth Century, whether their concern be pediatrics or geriatrics, whether they crawl on hands and knees and wear diapers or walk with a cane and comb their beards. There’s a wondrous magic to Christmas and there’s a special power reserved for little people. In short, there’s nothing mightier than the meek. And a Merry Christmas to each and all.

(8) COMICS SECTION.

  • Tom Gauld’s Christmas shopping advice.
  • Or maybe the person on your list has dropped a heavy hint?

(9) SNYDERVERSE’S LATEST. Camestros Felapton has a very wry way of telling everyone how little he thinks of Zack Snyder’s new production: “Review: Rebel Moon (Netflix)”. There are three or four lines even funnier than this:

…This is Part 1 of 2. The Seven Samurai haven’t got to the village yet, Thanos knows Gamora is leading them and Darth Vader isn’t actually dead (spoiler), so there is a lot to expect in Part 2 including the whereabouts of the magic space princess….

(10) THE VOICE-CLOCK SANG. The National Review pointed readers to “Ray Bradbury’s ‘There Will Come Soft Rains’” with a commentary by Luther Ray Abel that says in part:

…Something splendid this way comes from “Rains”: its treatment of the works of man. Even the seemingly immortal machines we build — contraptions subservient to our whims and intelligence that can operate without our input — will disappear in time, much faster than one would expect, even.

There’s this idea from the utopianists among us, many of them progressives, that technology will undergird the socialist state — that objects will remove the necessity for man to do and to make, and, ultimately, be answerable for anything. Scruton refuted this irrational optimism as only he could, “[Political optimists] ignore or despise the findings of experience and common sense. The millions dead or enslaved do not refute utopia, but merely give proof of the evil machinations that have stood in its way.”

There is nothing inherently wrong with technology, but with its false promises, we pick through the ruins of Babel and dream of raising her again. Man cannot save himself, even with infinite microprocessors and processes. To think of technology as anything other than a temporary salve — a way to soften the effects of the Fall — is folly; the family vaporized on the wall of their home consider the purported benefits of progress fatally unfulfilling….

(11) TYPE LIKE TOLKIEN. Slashfilm has its Eye on “Cool Stuff: Colorful Lord Of The Rings Custom Keyboards Come In Elvish, The Black Speech & More”.

Taking cues from the various realms of Middle-earth… Drop’s keyboards and keycaps utilize various fantastical languages, including Elvish, Dwarvish, and even the sparsely spoken Black Speech that adorns the Ring of Power, to give your mundane keyboard a beautiful upgrade. Don’t worry if you don’t speak any of those languages fluently; these keyboards still have English where needed to define keys you might not use frequently….

With another green color scheme, you might also be interested in the Elvish keyboard featuring custom artwork by OSHETART depicting the Two Trees of Valinor (because the time of the elves is not over)….

(12) CHECKING IT TWICE. Santa’s feeling the last-minute stress, too, in this old Emsh cover for Galaxy Magazine.

[Thanks to Cat Eldridge, SF Concatenation’s Jonathan Cowie, Steven French, Kathy Sullivan, Robin Anne Reid, Mike Kennedy, Andrew Porter, John King Tarpinian, and Chris Barkley for some of these stories. Title credit belongs to File 770 contributing editor of the day Bill.]

Robert Tilendis Review: Brooklyn Born Chocolate’s Holy Molé

Posted on by

Review by Robert Tilendis: At first glance, the idea of chocolate laced with spices more often found in South American cuisine might seem a little off-putting. But hey, they’re all from South America, so there’s got to be some affinity there, right?

Brooklyn Born Chocolate, although currently based in New Jersey, was, indeed, originally in Brooklyn, New York. Executive Pastry Chefe François Bonnet is noted for blending exotic ingredients — fruit, nuts, and spices — with very “normal” counterparts — in the case of their Holy Molé, caramelized Rice Krispies.

Holy Molé comes in a 2.1 oz (60 g) bar scored into six squares. Aside from the chocolate, which is 72% cacao, the ingredients include almond, toffee bits, chile blend spices (pasilla, casabel, ancho, mulato), sesame seeds, and fleur de sel.

Ah, but how does it taste? It’s fairly brittle, but tends to, as they say, melt in your mouth. The overriding taste is chocolate, slightly bitter, with, ultimately, a buttery feel and an underlying saltiness. And, in spite of what you might think from the name (and the ingredients), it’s not particularly spicy — just a sort of tingly aftertaste (but be warned: that tingle builds up the more of it you eat).

All in all, it’s an interesting variation on your basic dark chocolate, but for those not overly fond of spicy foods, best enjoyed in moderation.

Catching Up On Reading Nina Kiriki Hoffman

Posted on by

By Daniel Dern: I’d been noodling this piece on “where to find/e-find Nina Kiriki Hoffman’s fiction” for the past few weeks, and, conveniently, Item (1) in the Dec 15, 2023 scroll, noting and excerpting Episode 214 of Scott Edelman’s Eating the Fantastic podcast both motivated me to finish this piece — and saves me some background contextual exposition re Hoffman’s about/career/awards, by letting me simply point to Scott’s. (Thanks, Scott!)

Nina Kiriki Hoffman. Photo by Scott Edelman.

Between some gafiating and other distractions, while I may have read of Nina Kiriki Hoffman’s short fiction, I didn’t really become aware of her work until her 1995 novel, The Silent Strength of Stones (the second in her Chapel Hollow novels), which became (and has stayed) one of my two favorite sf/f novels (tied with John Crowley’s Engine Summer, with Patricia McKillip’s The Riddle of Stars trilogy just below them), and in the core pile of books I re-read more or less yearly.

(Slight digression: Based on the inscription, which includes “Moderator!”, in my autographed Stones paperback, I (briefly) met Hoffman at a ReaderCon. It’s possibly our paths also crossed at Sasquan, 73rd Worldcon, 2015, in Spokane (aka “SmokeCon” due to, well, the at-times oppressive smoke blowing in from major fires).)

But I hadn’t, until a month or so ago, realized that Hoffman has published not only around a dozen-and-a-half-novels, but also 200+ stories (ranging from short through long). That’s my bad: for no clear reason, I hadn’t taken my frequent next step of going to the library and bookstores (new and used) to read everything else a new-to-me-author had written (or, to a lesser extent, an author’s character and/or series). (E.g., as I did with Ross Thomas, Steven Brust’s Vlad Taltos series, Rex Stout’s Nero Wolfe.) I did keep up with some of her subsequent books, and stories in F&SF. Some.

Then, a few months ago, I saw Amazon was having another of their periodic Kindle Unlimited deals — here, three months for a buck-ninety-nine per — which I use to explore and enjoy. (I don’t feel the need for the regular KU subscription.)

Something led me to search on her name, within the “Kindleverse” along with Hoffman’s Wikipedia entry.

And, via info/links at the end of Hoffman’s stories on KU, her page on Ofearna.

Hoffman’s Ofearna page lists what looks like most (possibly all? ) of her work (including showing a lot of book cover art on the novels and collections), with links to Amazon/Kindle links, and, in many cases (presumably, where available), legitimate links to specific story text (many from Daily Science Fiction).

It turned out that there’s a fair amount of Hoffman in Kindle Unlimited (also purchasable, ranging from $0.99 to $8.99) — searching Kindle Unlimited on her fullname, 33 hits, including numerous stories I’d not previously heard of nor read.

(Note: At least two of the KU hits look like false positives, meaning not, based on author/title, by Hoffman. This is a problem that, in my annoyed experience, nearly every library, comic and bookstore catalog search is abysmally prone to. I blame a lot of this on incomprehensibly bad search coding/design. I’m still waiting for “only look/match within the specified field” and “only precise matches, please” search options, grumble.

Searching Amazon on Hoffman’s name yielded 171 hits, including novels, stories, collections, and magazine and anthology appearances…and a bunch more false positives.

(Note: Your own searches may yield significantly different results. My own efforts, with a different browser and/or other tweaks, and probably with changes in barometric pressure, burped up lots more bogus hits and other “huh, why’s this here” results. Again, IMHO bad search design. Bleh.)

Searching (my public) library’s (and the 40-library consortium the e-catalog aggregates) physical and e-holdings turns up far fewer Hoffman hits (not surprisingly):

  • The full library (consortium) catalog (includes both books and e-books) shows 21 hits, including about half a dozen of her novels…two of which I recently reserve-requested and are now there waiting for me to pick them up.
  • Libby (the OverDrive library app’s successor, there’s a paltry one hit (of what’s available through my library), of an issue of Uncanny with one of Hoffman’s stories in it. Tsk!

And HooplaDigital.com, which is available via my library, but has its own inventory) yields a modest seven Hoffmans — The Silent Strength of Stones, Ghost Hedgehog, and a few anthologies (Note, I don’t know whether Hoopla’s offerings are uniform to all the libraries and institutions it provides access through, or not — if you know more, please let me know in a comment or directly).

READING HOFFMAN: NOT JUST FANTASY AND PERSONAL MAGIC/POWER, BUT ALSO SF. Back to the original motivating deal: Once I’d done the search within KU I e-borrowed and read pretty much all of Hoffman’s work that was there that I hadn’t previously read, with about a fortnight to spare on the KU deal:

  • Savage Breasts and Other Misbehaving Body Parts: Eight Short Stories
  • Faint Heart, Foul Lady: A Novelette: & Bonus Story: Night Life
  • Meet in Fear and Wonder: Four Science Fiction Stories
  • Wild Talents: Three Short Stories
  • The Skeleton Key & Bright Streets of Air: Two Stories
  • Surreal Estate: A Short Story
  • Short, Sharp Snacks: Fifteen Flash & One Short Story
  • Antiquities: Five Stories Set in Ancient Worlds
  • Escapes: A Short Story
  • The Spirit in the Clay : A novelet in the Chapel Hollow/Silent Strength of Stones universe
  • The Other Side Secret: A Short Young Adult Novel
  • The Dangers of Touch: A Short Story

A lot, unsurprisingly, was fantasy, ranging from contemporary to whatever-we-call-non-contemporary fantasy. Magic powers, abilities, beings/races and artifacts figure strongly in Hoffman’s fantasy; what’s interesting is that while there are some common methods/terms, even within a given book (or series), there’s often a mix, so characters who discover they both have abilities, etc. are often puzzled/impressed/startled.

Until this binge, however, I hadn’t realized how much science fiction Hoffman has written.

Most (possibly all) of Hoffman’s fantasy shows magic, rather than fueling a quest, empire, fight-universe-ending-evil or other large-scale plot, as somewhere between personal and interpersonal, discovering/learning/coming to terms with one’s often-newfound powers, sorting out how they relate to it, and do/don’t use it within the world around them. (The same goes for much of the science fiction.)

What it all has in common is how enjoyable it is.

Now (well, over the weekend and beyond), I’ll be clicking through Hoffman’s Ofearna page/links (to read, etc.).