Jeremy L. Jones's Blog, page 4
July 8, 2020
7 Things About Old School Evil
The wacky 80’s Saturday Morning cartoon villains you knew and loved didn’t go away, they just got old.
Tucked away in the Hidden Brook retirement home Max Malice, former head of an army of mutated dog-people, the Muttants, is forming a plan to escape. But to do that he will need his long-lost son, Jayce who, himself, is clinging to the edge of society. He is homeless and living from one day to the next, but his life changes when one of his father’s henchmen makes an attempt on his life.
1. As Over The Top As The Cartoons That Inspired It:
This was such a fun idea and the author nailed it. This book is an homage to the goofy action/ adventure cartoons from the '80s. And from the punny superteam names (i.e. Muttants and Hurricanines), on-the-nose alliterative villains (Max Malice) not to mention lasers and mutants shooting out of every corner of every room, Cave managed to capture the quirky traits that defined this genre and put them all together for one hell of a ride.
2. How To Survive A 80's Cartoon:
While I was reading this, the book 'How To Survive a Horror Movie' came to mind. This book isn't a straightforward genre manual, but the narrative had a similar feel. Jayce, a homeless man with a dark past and a love for old cartoons wakes up one day to find himself inside said cartoons. The Scream series comes to mind as well as Jayce has to learn the 'rules' to survive and '80's cartoon.
3. The Machinations of Evil... From Hidden Brook:
The story is also told (as is often done in the genre) from the villains point of view and in almost a stark contrast. Max Malice finds himself trapped in the everyday world. Yes he is surrounded by fellow supervillains but they slowly wile away their remaining years while Malice still has World Conquest on his mind. And the two storylines play extremely well with each other.
4. Wait... What Was Happening?:
The one thing I did notice is that, to a certain extent, the genre itself is driving the plot. Here and there, I felt like the book lost its way, the characters were just reacting, and events in the book were driven forward in order to get to the next awesome genre reference. It wasn't a major problem but it did poke out along the edges sometimes.
Although given how loose the plots of these cartoons were, maybe that, in and of itself, is a brilliant reference.
5. You Had To Be There:
As a child of the '80's I have fond memories of waking up early on a Saturday to run downstairs, flip on the television and eat sugar cereal in my pajamas while marinating my brain on those cartoons. I remember loving Thundercats (which I rewatched fairly recently and, I've gotta say, it holds up amazingly well) and He-Man. She-Ra was for girls but it was also a guilty pleasure of mine. To this day, one of my personal catch phrases is a variation of, "Well now I know. And knowing is half the battle. Go Joe!"
I guess what I am saying is that I'm familiar with the conventions of this genre.
That being said, while the story is fun and gripping, I'm not sure it holds up by itself. It would be interesting to know how someone who never really had that experience would react to this book. I have the feeling they would shrug and say, "Yeah, I don't get it."
6. And The Ending *Chef's Kiss*
This book probably has my favorite ending of any book this year. Obviously don't want to spoil it other than to say the author's explanation for the world he created and the world of '80's cartoons in general... it makes me smile just thinking about it.
7. The Verdict ⭐⭐⭐⭐⭐
Again, I feel like someone who didn't grow up in the '80s or '90's on these cartoons might feel like their missing something but, since those kids are now (mostly) adults, its the perfect time and place for this book.
And the references aren't so obscure that a person who was only tangentially aware of these would probably have just enough knowledge to enjoy this. Overall a fun little action/adventure that will leave you wanting to scroll through Netflix to find some old friends.
Tucked away in the Hidden Brook retirement home Max Malice, former head of an army of mutated dog-people, the Muttants, is forming a plan to escape. But to do that he will need his long-lost son, Jayce who, himself, is clinging to the edge of society. He is homeless and living from one day to the next, but his life changes when one of his father’s henchmen makes an attempt on his life.
1. As Over The Top As The Cartoons That Inspired It:
This was such a fun idea and the author nailed it. This book is an homage to the goofy action/ adventure cartoons from the '80s. And from the punny superteam names (i.e. Muttants and Hurricanines), on-the-nose alliterative villains (Max Malice) not to mention lasers and mutants shooting out of every corner of every room, Cave managed to capture the quirky traits that defined this genre and put them all together for one hell of a ride.
2. How To Survive A 80's Cartoon:
While I was reading this, the book 'How To Survive a Horror Movie' came to mind. This book isn't a straightforward genre manual, but the narrative had a similar feel. Jayce, a homeless man with a dark past and a love for old cartoons wakes up one day to find himself inside said cartoons. The Scream series comes to mind as well as Jayce has to learn the 'rules' to survive and '80's cartoon.
3. The Machinations of Evil... From Hidden Brook:
The story is also told (as is often done in the genre) from the villains point of view and in almost a stark contrast. Max Malice finds himself trapped in the everyday world. Yes he is surrounded by fellow supervillains but they slowly wile away their remaining years while Malice still has World Conquest on his mind. And the two storylines play extremely well with each other.
4. Wait... What Was Happening?:
The one thing I did notice is that, to a certain extent, the genre itself is driving the plot. Here and there, I felt like the book lost its way, the characters were just reacting, and events in the book were driven forward in order to get to the next awesome genre reference. It wasn't a major problem but it did poke out along the edges sometimes.
Although given how loose the plots of these cartoons were, maybe that, in and of itself, is a brilliant reference.
5. You Had To Be There:
As a child of the '80's I have fond memories of waking up early on a Saturday to run downstairs, flip on the television and eat sugar cereal in my pajamas while marinating my brain on those cartoons. I remember loving Thundercats (which I rewatched fairly recently and, I've gotta say, it holds up amazingly well) and He-Man. She-Ra was for girls but it was also a guilty pleasure of mine. To this day, one of my personal catch phrases is a variation of, "Well now I know. And knowing is half the battle. Go Joe!"
I guess what I am saying is that I'm familiar with the conventions of this genre.
That being said, while the story is fun and gripping, I'm not sure it holds up by itself. It would be interesting to know how someone who never really had that experience would react to this book. I have the feeling they would shrug and say, "Yeah, I don't get it."
6. And The Ending *Chef's Kiss*
This book probably has my favorite ending of any book this year. Obviously don't want to spoil it other than to say the author's explanation for the world he created and the world of '80's cartoons in general... it makes me smile just thinking about it.
7. The Verdict ⭐⭐⭐⭐⭐
Again, I feel like someone who didn't grow up in the '80s or '90's on these cartoons might feel like their missing something but, since those kids are now (mostly) adults, its the perfect time and place for this book.
And the references aren't so obscure that a person who was only tangentially aware of these would probably have just enough knowledge to enjoy this. Overall a fun little action/adventure that will leave you wanting to scroll through Netflix to find some old friends.
July 2, 2020
Oh What Tangled Webs We Weave
Twists and turns; surprises around every corner.
Or maybe, like producer Shaun, you kinda worked out what was happening back in chapter fifteen or sixteen.
Viekko's plan is underway and, by this point, it should be pretty clear what it is. There's someone on the inside who, for unknown reasons wants to keep life interesting for the Cythreans by pointing out vulnerable spots in the city for the Corsaio to exploit
Whatever motivation compels that person to betray their city, Viekko wants to exploit it and lead a full revolt. And right there, one can probably see the likely upshot. (Hint, it's a bad idea in both fiction and life to begin any endeavor that includes characters of questionable motivation.)
I'm not much of a military planner as my performance on the Risk board can attest. (Ask my wife. In true Irish fashion, I've never won a victory in that bloody game.) Although some inspiration for this situation came from a tour guide at the Gettysburg battlefield. He was talking to a group of tourists and mentioned something along the lines of, "A lot of people ask me how the situation would have changed if either army had machine guns. And that would have been interesting. But you know what would have really changed the battle? A radio."
That stuck with me and I've read several historians in books about ancient battles ruminate on battlefield communication and how things would have been different if they simply had a form of communication that we all take for granted.
And now against a bronze-age civilization, it gives Viekko an edge. Although maybe not as much as it might seem.
Like I said last week, Isra's ultimate fate in this book was a dramatic last-minute change. But the scenes that situation created are engaging as all hell. Okay, yes, when I was reading this most recent scene, Isabel came off as almost a James Bond villain with the way she was gloating and revealing her whole plan. But it seems right. It seems well within her character. Isabel wants to break Isra completely. She has already done this physically. And now she wants to finish the job by illustrating just how bad things are getting.
Nevermind the added bonus of the dramatic irony created. Yes, dear reader, Viekko is leading a massive Corsario assault right into a trap. All of it elaborately created by the Rainha to secure her position.
But Isra, she's not an easy person to break.
Or maybe, like producer Shaun, you kinda worked out what was happening back in chapter fifteen or sixteen.
Viekko's plan is underway and, by this point, it should be pretty clear what it is. There's someone on the inside who, for unknown reasons wants to keep life interesting for the Cythreans by pointing out vulnerable spots in the city for the Corsaio to exploit
Whatever motivation compels that person to betray their city, Viekko wants to exploit it and lead a full revolt. And right there, one can probably see the likely upshot. (Hint, it's a bad idea in both fiction and life to begin any endeavor that includes characters of questionable motivation.)
I'm not much of a military planner as my performance on the Risk board can attest. (Ask my wife. In true Irish fashion, I've never won a victory in that bloody game.) Although some inspiration for this situation came from a tour guide at the Gettysburg battlefield. He was talking to a group of tourists and mentioned something along the lines of, "A lot of people ask me how the situation would have changed if either army had machine guns. And that would have been interesting. But you know what would have really changed the battle? A radio."
That stuck with me and I've read several historians in books about ancient battles ruminate on battlefield communication and how things would have been different if they simply had a form of communication that we all take for granted.
And now against a bronze-age civilization, it gives Viekko an edge. Although maybe not as much as it might seem.
Like I said last week, Isra's ultimate fate in this book was a dramatic last-minute change. But the scenes that situation created are engaging as all hell. Okay, yes, when I was reading this most recent scene, Isabel came off as almost a James Bond villain with the way she was gloating and revealing her whole plan. But it seems right. It seems well within her character. Isabel wants to break Isra completely. She has already done this physically. And now she wants to finish the job by illustrating just how bad things are getting.
Nevermind the added bonus of the dramatic irony created. Yes, dear reader, Viekko is leading a massive Corsario assault right into a trap. All of it elaborately created by the Rainha to secure her position.
But Isra, she's not an easy person to break.
June 24, 2020
Sometimes Really Bad Shit Needs To Happen
So... yeah. That happened.
If you don't know what I am talking about you should definately listen to this chapter before reading.
And, actually, it was a decision that came very late in the process. My first two draft didn't have anything close to this dramatic which, as of now, makes this is the most dramatic shift that I've ever done late in the writing process. This is only my second book, mind you, but I feel like it's a doozy.
One of the problems with Saturnius Mons from the very beginning was that it felt like a group of people just wandering the landscape with no real purpose. Just wondering. In search of... nothing in particular. No real progress until around the end when they wander into the right place finally and do something.
Not exactly gripping reading.
I managed to mitigate some of this but, still, I feel that there was some 'residual wandering' if you will. If that is a thing. At least an unfocused feel that I never managed to wring out of the book.
So when it came time to write Templum, I was hyper-aware of that flaw and wanted to make sure that my characters had defined goals, a clear story arc, and were constantly (for good or ill) following those goals. There was a problem though and I call her Isra.
In the earliest outlines, I had Isra turning against the group at this point. Like Viekko and Cronus, I wanted her to be so entranced by Cytherean society that she lost herself inside it. In one version I even had her trying to join Cytherean society and leave Earth behind forever.
And even as I write it down now I see how stupid it sounds. That's just not Isra. Cytherea appeals to one's basest instincts and though she demonstrated that she does, on occasion, indulge those instincts. But she's got a bit of Spock in her, not to mention a will one could bend a horseshoe around. Isra is just not susceptible to this kind of obvious manipulation and I don't know why I thought she might be.
But Isra is susceptible to Isra. So I wrote it so Isra was following her pride and creating more trouble than she was solving; burning down the house to kill a spider.
And then I came to this point. Where Viekko and Althea fell right into the Rainha's hands and attacked just as she planned to and Isabel reveals that everything, even the Corsario, are working according to some master plan she has for all of Cytherea. Isra was there but she was just kind of there. Hanging out with the Rainha while she watched her entire team get decimated. This moment needed... something. A disaster. Something that would make it clear, in no uncertain terms that Isra Dun Fucked Up.
Having people blinded with hot pokers as the ultimate Cytherean punishment was a factor early in the book but mostly as a way to show the horrible brutality of Isabel's regime. But it was a minor thing. Just one more object on the pile of atrocities that the Rainha racked up.
And then, one morning, it came together and I realized the disaster I needed was right in front of my face. I thought it was a bit extreme when I wrote it but, looking at it now it fits. Every once in a while I'll be reading a book and I get to the spot where something terrible is supposed to happen. And then, through the pages, I can almost see the author quickly fixing things so that the terrible thing didn't have to happen. I always hate that. I feel that an author shouldn't be afraid to 'go there' if the situation calls for it.
Welp, this is me 'going there'.
It was either that or kill her off and you probably shouldn't tempt me.
If you don't know what I am talking about you should definately listen to this chapter before reading.
And, actually, it was a decision that came very late in the process. My first two draft didn't have anything close to this dramatic which, as of now, makes this is the most dramatic shift that I've ever done late in the writing process. This is only my second book, mind you, but I feel like it's a doozy.
One of the problems with Saturnius Mons from the very beginning was that it felt like a group of people just wandering the landscape with no real purpose. Just wondering. In search of... nothing in particular. No real progress until around the end when they wander into the right place finally and do something.
Not exactly gripping reading.
I managed to mitigate some of this but, still, I feel that there was some 'residual wandering' if you will. If that is a thing. At least an unfocused feel that I never managed to wring out of the book.
So when it came time to write Templum, I was hyper-aware of that flaw and wanted to make sure that my characters had defined goals, a clear story arc, and were constantly (for good or ill) following those goals. There was a problem though and I call her Isra.
In the earliest outlines, I had Isra turning against the group at this point. Like Viekko and Cronus, I wanted her to be so entranced by Cytherean society that she lost herself inside it. In one version I even had her trying to join Cytherean society and leave Earth behind forever.
And even as I write it down now I see how stupid it sounds. That's just not Isra. Cytherea appeals to one's basest instincts and though she demonstrated that she does, on occasion, indulge those instincts. But she's got a bit of Spock in her, not to mention a will one could bend a horseshoe around. Isra is just not susceptible to this kind of obvious manipulation and I don't know why I thought she might be.
But Isra is susceptible to Isra. So I wrote it so Isra was following her pride and creating more trouble than she was solving; burning down the house to kill a spider.
And then I came to this point. Where Viekko and Althea fell right into the Rainha's hands and attacked just as she planned to and Isabel reveals that everything, even the Corsario, are working according to some master plan she has for all of Cytherea. Isra was there but she was just kind of there. Hanging out with the Rainha while she watched her entire team get decimated. This moment needed... something. A disaster. Something that would make it clear, in no uncertain terms that Isra Dun Fucked Up.
Having people blinded with hot pokers as the ultimate Cytherean punishment was a factor early in the book but mostly as a way to show the horrible brutality of Isabel's regime. But it was a minor thing. Just one more object on the pile of atrocities that the Rainha racked up.
And then, one morning, it came together and I realized the disaster I needed was right in front of my face. I thought it was a bit extreme when I wrote it but, looking at it now it fits. Every once in a while I'll be reading a book and I get to the spot where something terrible is supposed to happen. And then, through the pages, I can almost see the author quickly fixing things so that the terrible thing didn't have to happen. I always hate that. I feel that an author shouldn't be afraid to 'go there' if the situation calls for it.
Welp, this is me 'going there'.
It was either that or kill her off and you probably shouldn't tempt me.
June 17, 2020
The First Glimpse of the Enemy
Okay, yeah, Viekko is alive. But you already knew that.
I wasn't exactly trying to convince people that he was dead. Although I did want just enough time to pass to sow a hint of doubt in people's minds. Someday I will write a book where the one person that everyone things can't die is totally going to die. That should take care of any budding career I've built up to that point.
So, for the first time, we actually see the Corsario and FUCKIN SURPRISE... they aint the bloodthirst savages the Cythereans make them out to be.
It feels like a cliche. The idea that, in a clash of societies, they end up dehumanizing each other to the point that, when the full scope of the conflict is known, we realize that the two peoples aren't so different and the conflict would be over if they two sides only understood that. It's a theme told in I don't even know how many books. I'll bet it's in every genre, for every age group.
But there's something inherently human about that urge to see the enemy as less than. There is something, probably even genetic, that urges us to form small groups of those who look, think and/or act like us and then view everyone else as, at best, as inferior on some level or, at worst, a threat. And yet, we know that between all people there is a shared humanity that could bring us together. We know this because, again, it's a theme across millions of movies, books, songs, plays, games, and pretty much every other form of art imaginable.
But as recent events in our own world continue to point out, it's a lesson that we either refuse to learn or simply forget when convenient.
The twist and the big reveal in this chapter (well sorta, I think Producer Shaun figured it out a while ago) is that the Rainha and Cytherea has weaponized this bug in humanity's programing. (Although I suspect, in the Rainha's thinking, this is a feature.) And again, this is nothing new. National propaganda, especially wartime propaganda is often geared toward exploiting that particular bug/feature.
I guess the little twist I take on the idea is that given that the Corsario are literally made up of Cythereans shows just how powerful that urge is and how easily it can be weaponized.
At the same time, it's a remarkably easy attack to counter because all that it requires is that the people involved engage their own brain. The reader now sees the truth and sees how stupid it is. Viekko does but, as much as he wants to 'rewrite the script' he can't see how easy that would be.
Once the people start thinking for themselves, the spell is broken. But that is another chapter.
I wasn't exactly trying to convince people that he was dead. Although I did want just enough time to pass to sow a hint of doubt in people's minds. Someday I will write a book where the one person that everyone things can't die is totally going to die. That should take care of any budding career I've built up to that point.
So, for the first time, we actually see the Corsario and FUCKIN SURPRISE... they aint the bloodthirst savages the Cythereans make them out to be.
It feels like a cliche. The idea that, in a clash of societies, they end up dehumanizing each other to the point that, when the full scope of the conflict is known, we realize that the two peoples aren't so different and the conflict would be over if they two sides only understood that. It's a theme told in I don't even know how many books. I'll bet it's in every genre, for every age group.
But there's something inherently human about that urge to see the enemy as less than. There is something, probably even genetic, that urges us to form small groups of those who look, think and/or act like us and then view everyone else as, at best, as inferior on some level or, at worst, a threat. And yet, we know that between all people there is a shared humanity that could bring us together. We know this because, again, it's a theme across millions of movies, books, songs, plays, games, and pretty much every other form of art imaginable.
But as recent events in our own world continue to point out, it's a lesson that we either refuse to learn or simply forget when convenient.
The twist and the big reveal in this chapter (well sorta, I think Producer Shaun figured it out a while ago) is that the Rainha and Cytherea has weaponized this bug in humanity's programing. (Although I suspect, in the Rainha's thinking, this is a feature.) And again, this is nothing new. National propaganda, especially wartime propaganda is often geared toward exploiting that particular bug/feature.
I guess the little twist I take on the idea is that given that the Corsario are literally made up of Cythereans shows just how powerful that urge is and how easily it can be weaponized.
At the same time, it's a remarkably easy attack to counter because all that it requires is that the people involved engage their own brain. The reader now sees the truth and sees how stupid it is. Viekko does but, as much as he wants to 'rewrite the script' he can't see how easy that would be.
Once the people start thinking for themselves, the spell is broken. But that is another chapter.
June 11, 2020
8 Things About The Kitten Who Rocked Holland
My usual fare of dystopian sci-fi feels just a little too real right now. I feel like we're on the cusp of descending into the world of my favorite cyberpunk novels. Unfortunately, as much as I like them, I'm not in the mood to live in them.
So this book was just the right amount of light-hearted fun at just the right time.
Bas has spent most of his days in the student dorms at University in Leiden, Netherlands. His life consisted mostly of eating kibble and avoiding the awful dance music that his owner and the other guys in the dorm play non-stop. But during his very first seagull hunt, he finds himself out in the world where he discovers music of all kinds. Classic rock, punk, country, blues; all of which fill him with wonder and a sense of freedom he's never known.
But as he ventures deeper he finds an underground 'critter' society where cats like him lord over the other creatures. Furthermore the 'Itty Bitty Kitty Committee' has taken a certain interest in the kitten who listens to problematic music and hangs with undesirables. With the Kitty Kops closing in, Bas has to find his place in a critter world not so different from our own.
1. It's Pretty Much What It Says On The Tin:
It's about a kitten named Bas who discovers a love for rock music. Everything from Elvis Prestley to thrash metal. Punk rock to country rock. And in the process, like any good book about rock music, he fights The Man™(Or the Kitty™?)with the sheer force of his rocking out. Holla.
2. If Disney Made a Movie About The History of Rock:
It sounds like a back-handed compliment, but I mean it in the nicest way possible. For all the shit I give Disney (and they deserve all of it and more) they've got a compelling structure that makes their movies timeless. Kids love their simple storylines and wacky characters. And, when they grow up, they see the deeper commentary about Life, The World, and Everything.
That being said they will sue your ass if you so much hum 'Let it Go' in public without giving them a dollar. And they will soon own all media and make anything not owned by them illegal. Fuck Disney.
...
...
ANYHOOO!
The structure of this story has a similar feel. On the surface, there is a cute kitten who desperately wants to be a rock star. On his journey, he meets brawling seagulls, a sassy bulldog, a punk rock girl hedgehog, a brash and loud mouse (named Colin Ferrel), and many others. A parent could read this to their kid to, I imagine, much fanfare. Especially if they are savvy enough to affect the proper voices.
3. Sowing Subversion in the Next Generation:
And this story goes along well with a tale as intertwined with the history of rock as the invention of the electric guitar. In this case commentary on class and race struggles (or species as it's illustrated here). Free expression and authoritarian attempts to stop it. Wealth and privilege and the art that is created in its shadow.
4. Also Dubstep Sucks:
Besides fighting The Kitty™, Bas has to contend with a critter culture (and human for that matter) that seems to prefer mindless dance music. Which, you know, yeah. That stuff is awful, I'm glad someone said it.
5. Tulips, Windmills and Canals:
The fact that this takes place in Leiden adds another fun layer to this book. Hartley clearly has a love for his adopted city as he incorporates a lot of the landmarks and culture into this book. Apparently, even the idea of Bas was loosely based on a cat who was a bit of a local celebrity in town. Add to that a group of characters who are not only different species, but tend to speak with different dialects and hail from different parts of the world and one gets a feel for a city that's a bit of a cultural hodge-podge.
6. From Zero To Rock God:
If I have one criticism, it's this: The book starts as a coming-of-age story where a kitten finds out about the world through discovering a world of music. In the process, he learns to play the guitar and (spoiler alert....kinda but not really) instantly becomes a music sensation. As a music nerd who really dug the references throughout the book, it felt like that aspect got put to the side by the end. I wished there was more development there. Like, I dunno finding one's own sound, learning to work a crowd, that one awful gig where everyone just looks at you like a dog that's been shown a card trick... Maybe not the story that was trying to be told but what else is a nerd good for except bitching about shit.
7. The Music Goes On?:
At the end, Hartley indicates in his afterword that this story might not be over as he had ideas to make it a trilogy. For the record, I would follow Bas the Kitten through more adventures around the critter world.
8. The Verdict ⭐⭐⭐⭐⭐
In summary, it was just fun. A whimsical tale about a kitten who likes music, plays guitar and pisses off the Plus, with a compelling story and short chapters, it managed to do this to me a couple of times:
"One more chapter before bed."
"The next chapter is short, so just one more."
"Maybe one more."
"Okay one.... shit, it's 2am. Okay, really just one more."
I can't think of higher praise for a book.
So this book was just the right amount of light-hearted fun at just the right time.
Bas has spent most of his days in the student dorms at University in Leiden, Netherlands. His life consisted mostly of eating kibble and avoiding the awful dance music that his owner and the other guys in the dorm play non-stop. But during his very first seagull hunt, he finds himself out in the world where he discovers music of all kinds. Classic rock, punk, country, blues; all of which fill him with wonder and a sense of freedom he's never known.
But as he ventures deeper he finds an underground 'critter' society where cats like him lord over the other creatures. Furthermore the 'Itty Bitty Kitty Committee' has taken a certain interest in the kitten who listens to problematic music and hangs with undesirables. With the Kitty Kops closing in, Bas has to find his place in a critter world not so different from our own.
1. It's Pretty Much What It Says On The Tin:
It's about a kitten named Bas who discovers a love for rock music. Everything from Elvis Prestley to thrash metal. Punk rock to country rock. And in the process, like any good book about rock music, he fights The Man™(Or the Kitty™?)with the sheer force of his rocking out. Holla.
2. If Disney Made a Movie About The History of Rock:
It sounds like a back-handed compliment, but I mean it in the nicest way possible. For all the shit I give Disney (and they deserve all of it and more) they've got a compelling structure that makes their movies timeless. Kids love their simple storylines and wacky characters. And, when they grow up, they see the deeper commentary about Life, The World, and Everything.
That being said they will sue your ass if you so much hum 'Let it Go' in public without giving them a dollar. And they will soon own all media and make anything not owned by them illegal. Fuck Disney.
...
...
ANYHOOO!
The structure of this story has a similar feel. On the surface, there is a cute kitten who desperately wants to be a rock star. On his journey, he meets brawling seagulls, a sassy bulldog, a punk rock girl hedgehog, a brash and loud mouse (named Colin Ferrel), and many others. A parent could read this to their kid to, I imagine, much fanfare. Especially if they are savvy enough to affect the proper voices.
3. Sowing Subversion in the Next Generation:
And this story goes along well with a tale as intertwined with the history of rock as the invention of the electric guitar. In this case commentary on class and race struggles (or species as it's illustrated here). Free expression and authoritarian attempts to stop it. Wealth and privilege and the art that is created in its shadow.
4. Also Dubstep Sucks:
Besides fighting The Kitty™, Bas has to contend with a critter culture (and human for that matter) that seems to prefer mindless dance music. Which, you know, yeah. That stuff is awful, I'm glad someone said it.
5. Tulips, Windmills and Canals:
The fact that this takes place in Leiden adds another fun layer to this book. Hartley clearly has a love for his adopted city as he incorporates a lot of the landmarks and culture into this book. Apparently, even the idea of Bas was loosely based on a cat who was a bit of a local celebrity in town. Add to that a group of characters who are not only different species, but tend to speak with different dialects and hail from different parts of the world and one gets a feel for a city that's a bit of a cultural hodge-podge.
6. From Zero To Rock God:
If I have one criticism, it's this: The book starts as a coming-of-age story where a kitten finds out about the world through discovering a world of music. In the process, he learns to play the guitar and (spoiler alert....kinda but not really) instantly becomes a music sensation. As a music nerd who really dug the references throughout the book, it felt like that aspect got put to the side by the end. I wished there was more development there. Like, I dunno finding one's own sound, learning to work a crowd, that one awful gig where everyone just looks at you like a dog that's been shown a card trick... Maybe not the story that was trying to be told but what else is a nerd good for except bitching about shit.
7. The Music Goes On?:
At the end, Hartley indicates in his afterword that this story might not be over as he had ideas to make it a trilogy. For the record, I would follow Bas the Kitten through more adventures around the critter world.
8. The Verdict ⭐⭐⭐⭐⭐
In summary, it was just fun. A whimsical tale about a kitten who likes music, plays guitar and pisses off the Plus, with a compelling story and short chapters, it managed to do this to me a couple of times:
"One more chapter before bed."
"The next chapter is short, so just one more."
"Maybe one more."
"Okay one.... shit, it's 2am. Okay, really just one more."
I can't think of higher praise for a book.
June 10, 2020
Sometimes You Need A Filler Chapter
Okay, not filler, exactly. There are some elements that I wanted to add to give the reader a better sense of what is happening on a larger scale. It was hard to find a specific place to put them so they all got crammed in here with a nifty little conflict and Althea showing that thieve's craftiness at work.
For one, I wanted, of all people, Athea to have a moment to react to Viekko's.... ahem... disappearance. But it strikes me that, devoid of any tangible evidence, that reaction would be shock and denial. Both valid but not a lot to work with.
"This can't be happening..."
"No way it could happen."
Pretty much it. Short of having her run and go look for him (which she can't do) or try to rally the others to figure out what happened (not the best time) she's kinda just stuck looking at a screen in stunned silence. It's a hard thing to make a chapter out of but I think it is important.
But, at the same time things are happening. Rainha Isabel will be wanting to contain this situation and turn it to her advantage as soon as possible.
But, again, it's hard to illustrate that short of a sweeping exposition of soldiers tearing through the city, raiding houses and searching Occulto for any signs that they might be hiding. And, even then, that's pretty much the extent of it. One could probably get a chapter out of that but it's not the direction I wanted to go and not really the feel I like in this series.
This chapter was a pretty late addition to the book, actually it was written during the final draft (as you might sense) but it pulled together those threads I thought were just hanging in the breeze. It doesn't move the story forward as much as it just gives a wider idea of what the story is as we enter the third act. Which is set to begin, right about now...
For one, I wanted, of all people, Athea to have a moment to react to Viekko's.... ahem... disappearance. But it strikes me that, devoid of any tangible evidence, that reaction would be shock and denial. Both valid but not a lot to work with.
"This can't be happening..."
"No way it could happen."
Pretty much it. Short of having her run and go look for him (which she can't do) or try to rally the others to figure out what happened (not the best time) she's kinda just stuck looking at a screen in stunned silence. It's a hard thing to make a chapter out of but I think it is important.
But, at the same time things are happening. Rainha Isabel will be wanting to contain this situation and turn it to her advantage as soon as possible.
But, again, it's hard to illustrate that short of a sweeping exposition of soldiers tearing through the city, raiding houses and searching Occulto for any signs that they might be hiding. And, even then, that's pretty much the extent of it. One could probably get a chapter out of that but it's not the direction I wanted to go and not really the feel I like in this series.
This chapter was a pretty late addition to the book, actually it was written during the final draft (as you might sense) but it pulled together those threads I thought were just hanging in the breeze. It doesn't move the story forward as much as it just gives a wider idea of what the story is as we enter the third act. Which is set to begin, right about now...
June 3, 2020
Isra (Over)Plays Her Hand
I'm pretty sure I've said before that Isra is the most interesting and challenging of my main characters to write. Viekko is fun, he's all snark, sass, guns blazing, and obscene words in Martian.
Althea's gentle, restrained but has a bit of hellfire burning just below the surface.
Cronus is just nuts.
And then there's Isra...
Isra's story in Templum Veneris is one of control. She's losing it on Earth which is part of the strange sexually-charged dance that she and Joseph engage in way back in Chapter 1. And after that, the narrative more or less follows a woman desperate to prove herself to the Ministry, a group of people with whom power and control are the ultimate currency.
In the process, she meets Rainha Isabel and we learn how differently she sees power. The Ministry hordes it. It's a display. It's used to advance one's own position, punish rivals, raise up loyalists and then, maybe, MAYBE, some of it trickles out in a way that helps people. But mostly it's used in roughly the same way as a peacock uses feathers.
But Isabel wields it. She weaves it into a whole shared reality for her people and I think, on some level, Isra admires that. To be clear, I don't think she approves of the way it's being used, but I think she admires the skill and grace with which it is used. Perhaps like watching a skilled swordfighter killing innocent people. Admires the skill, wish it was put to better use.
Also, at this point, Isra sees cracks in said power. She has an idea in her mind that all she has to do is outwit and outflank the Rainha she can use the holes in her own narrative against her. And that's what's basically happening here. Isra is playing a dangerous game but she doesn't see it as such. For her, it's just a game. After all, she comes from a place where power essentially is just plumage.
But she knows but utterly fails to understand that this is not a game for Rainha Isabel. This is life and death for her.
The game is afoot, as Shakespeare once said.
Althea's gentle, restrained but has a bit of hellfire burning just below the surface.
Cronus is just nuts.
And then there's Isra...
Isra's story in Templum Veneris is one of control. She's losing it on Earth which is part of the strange sexually-charged dance that she and Joseph engage in way back in Chapter 1. And after that, the narrative more or less follows a woman desperate to prove herself to the Ministry, a group of people with whom power and control are the ultimate currency.
In the process, she meets Rainha Isabel and we learn how differently she sees power. The Ministry hordes it. It's a display. It's used to advance one's own position, punish rivals, raise up loyalists and then, maybe, MAYBE, some of it trickles out in a way that helps people. But mostly it's used in roughly the same way as a peacock uses feathers.
But Isabel wields it. She weaves it into a whole shared reality for her people and I think, on some level, Isra admires that. To be clear, I don't think she approves of the way it's being used, but I think she admires the skill and grace with which it is used. Perhaps like watching a skilled swordfighter killing innocent people. Admires the skill, wish it was put to better use.
Also, at this point, Isra sees cracks in said power. She has an idea in her mind that all she has to do is outwit and outflank the Rainha she can use the holes in her own narrative against her. And that's what's basically happening here. Isra is playing a dangerous game but she doesn't see it as such. For her, it's just a game. After all, she comes from a place where power essentially is just plumage.
But she knows but utterly fails to understand that this is not a game for Rainha Isabel. This is life and death for her.
The game is afoot, as Shakespeare once said.
May 13, 2020
In The Wake of Viekko Spade
Author CommentaryChapter 21
So Viekko is dead.
Just kidding he's totally alive.
But, no seriously, he's dead.
Nah, I wouldn't do that.
I would totally do that.
Just kidding, I wouldn't.
I would and did.
Anyhoo!
An event like what happened is bound to have a ripple effect across the society and immediately make life difficult for everyone. So I thought it was important to spend some time with the other characters as they dealt with a new and swiftly changing situation. Well, that and build tension as to whether or not Viekko is dead.
...he totally isn't it's fine.
It's not fine, I'm a bastard and you know it.
In this scene, I wanted to show two things. First that Viekko's actions have already had a direct effect on the underground resistance movement in Cytherea. What underground resistance movement you might ask? Why the one that's so underground we don't even know about it yet. Or, if you've been paying attention, it's the one that Isra's gotten some hints exist. The strange fight that drew her attention early in the book, the movement in the alleyways as the emissary took them on a tour through the city, a poignant look here and there; I've been trying to drop hints up until now that something was going on at the edge of our screen but recent events have forced it to the front.
The other thing is that Isra is starting to understand that she is losing control here. The betrayal and death(?) of Viekko Spade has given Rainha Isabel the perfect excuse to do exactly what she wanted all along. Isra still things she can get the outcome she wants though, but it's going to mean doing more things that will hurt her in the long run.
And we also start to understand the lengths Isabel will go to keep this city under her strange enthrallment. We begin to see that the current state of Cytheria isn't the way it has been in the past or is supposed to be. It would be like aliens landing in nazi Germany. They would likely naturally assume that what was going on was just the way that was instead of a strange, short-lived aberration.
So Viekko is dead.
Just kidding he's totally alive.
But, no seriously, he's dead.
Nah, I wouldn't do that.
I would totally do that.
Just kidding, I wouldn't.
I would and did.
Anyhoo!
An event like what happened is bound to have a ripple effect across the society and immediately make life difficult for everyone. So I thought it was important to spend some time with the other characters as they dealt with a new and swiftly changing situation. Well, that and build tension as to whether or not Viekko is dead.
...he totally isn't it's fine.
It's not fine, I'm a bastard and you know it.
In this scene, I wanted to show two things. First that Viekko's actions have already had a direct effect on the underground resistance movement in Cytherea. What underground resistance movement you might ask? Why the one that's so underground we don't even know about it yet. Or, if you've been paying attention, it's the one that Isra's gotten some hints exist. The strange fight that drew her attention early in the book, the movement in the alleyways as the emissary took them on a tour through the city, a poignant look here and there; I've been trying to drop hints up until now that something was going on at the edge of our screen but recent events have forced it to the front.
The other thing is that Isra is starting to understand that she is losing control here. The betrayal and death(?) of Viekko Spade has given Rainha Isabel the perfect excuse to do exactly what she wanted all along. Isra still things she can get the outcome she wants though, but it's going to mean doing more things that will hurt her in the long run.
And we also start to understand the lengths Isabel will go to keep this city under her strange enthrallment. We begin to see that the current state of Cytheria isn't the way it has been in the past or is supposed to be. It would be like aliens landing in nazi Germany. They would likely naturally assume that what was going on was just the way that was instead of a strange, short-lived aberration.
May 7, 2020
Jeremy Discusses Story Structure or How Viekko Ruined Everything
Author Commentary:
Chapter 20
Spoiler alert. Or maybe not. But things start going a little pear-shaped in this chapter.
I've described my story structure before. It's basically a three-act structure because, let's face it, hundreds and hundreds of movies can't be completely wrong. But mine has a certain emphasis...
This is definitely the "Shit! Shit! Shit! SHIT!" moment.
And yes, it's basically a three-act structure but with different and more ostentatiously profane expletives for the acts. But, in a way, that reflects how I think about a story as I'm putting it together. Not only does one disaster inevitably led to another, but I also want the characters to be somehow (however unwittingly) responsible for shit getting worse.
Let's take Viekko's story arch since that is the thing that is sending this particular story careening off the rails:
'Shit It's Bad':
That moment was right at the beginning when Althea arrived after her job wishing to... ahem... celebrate and the rejection that soon followed. This was simply the situation at the time. Viekko didn't really ask for this, but how he responded definitely makes things worse. Which brings us to...
Fuck! We Made It Worse:
So Viekko is depressed and angry. He feels a little used and discarded. As anyone who's felt that way knows, this is not a good headspace for good decisions and when it comes to Gabriel's challenge at the Provacao, I think that becomes pretty clear. Would Viekko have caved to Gabriel's goading if Althea hadn't just kicked him to the curb? Hard to say. It is Viekko and he does have a strange sense of honor about him. On the other hand, I don't think he often feels the need to prove himself. But the fact that Althea did just bruise his ego a little, well, It made it an inevitability.
SHIT SHIT SHIT SHIT!:
That brings us to the current scene. Since the 'Fuck, We Made It Worse' things have been getting... well, worse. Viekko has become entranced by the Cythereans and more distant from Althea. And he senses this by the time he goes on patrol for the last time. I don't know if he truly understands his situation but he knows it isn't good. And when he sees the harsh brutality of the Cythereans... well, he does what Viekko does. Something immensely stupid to make it worse.
We're All Gonna Die:
Well, we are not there yet so I will just say this. Shit gets worse before it gets better.
It's Mostly Fine Everybody... Mostly...:
Which will bring us to the conclusion however that ends up. If you read and/or listened to Saturnius Mons, you probably know that I'm not one for cute, tidy little endings. Again the line from the musical version of Buffy the Vampire Slayer always comes to mind when I am thinking of endings:
"The battle's done,
And we kind of won
So we sound a victory cheer.
Where do we go from here?"
Chapter 20
Spoiler alert. Or maybe not. But things start going a little pear-shaped in this chapter.
I've described my story structure before. It's basically a three-act structure because, let's face it, hundreds and hundreds of movies can't be completely wrong. But mine has a certain emphasis...
This is definitely the "Shit! Shit! Shit! SHIT!" moment.
And yes, it's basically a three-act structure but with different and more ostentatiously profane expletives for the acts. But, in a way, that reflects how I think about a story as I'm putting it together. Not only does one disaster inevitably led to another, but I also want the characters to be somehow (however unwittingly) responsible for shit getting worse.
Let's take Viekko's story arch since that is the thing that is sending this particular story careening off the rails:
'Shit It's Bad':
That moment was right at the beginning when Althea arrived after her job wishing to... ahem... celebrate and the rejection that soon followed. This was simply the situation at the time. Viekko didn't really ask for this, but how he responded definitely makes things worse. Which brings us to...
Fuck! We Made It Worse:
So Viekko is depressed and angry. He feels a little used and discarded. As anyone who's felt that way knows, this is not a good headspace for good decisions and when it comes to Gabriel's challenge at the Provacao, I think that becomes pretty clear. Would Viekko have caved to Gabriel's goading if Althea hadn't just kicked him to the curb? Hard to say. It is Viekko and he does have a strange sense of honor about him. On the other hand, I don't think he often feels the need to prove himself. But the fact that Althea did just bruise his ego a little, well, It made it an inevitability.
SHIT SHIT SHIT SHIT!:
That brings us to the current scene. Since the 'Fuck, We Made It Worse' things have been getting... well, worse. Viekko has become entranced by the Cythereans and more distant from Althea. And he senses this by the time he goes on patrol for the last time. I don't know if he truly understands his situation but he knows it isn't good. And when he sees the harsh brutality of the Cythereans... well, he does what Viekko does. Something immensely stupid to make it worse.
We're All Gonna Die:
Well, we are not there yet so I will just say this. Shit gets worse before it gets better.
It's Mostly Fine Everybody... Mostly...:
Which will bring us to the conclusion however that ends up. If you read and/or listened to Saturnius Mons, you probably know that I'm not one for cute, tidy little endings. Again the line from the musical version of Buffy the Vampire Slayer always comes to mind when I am thinking of endings:
"The battle's done,
And we kind of won
So we sound a victory cheer.
Where do we go from here?"
April 29, 2020
Logical Insanity 2: Viekko Charges In
Author CommentaryChapter 19Leave it to Viekko to take everything too far.
The fun part about writing a character like Viekko Spade is that he's a useful thing to move the story forward. If I ever find myself in a position where the characters are kinda standing around not sure what to do, I can usually just light a fire under Viekko and stand well back.
But I like where this one went specifically. This story has been an emotional rollercoaster for the Maritan warrior. From thinking he and Althea might actually get together, to inevitable rejection. Finding some solace in military life only to find the dark underbelly of Cytherean society. At this point, I imagine Viekko as being pretty much numb and mentally exhausted when he enters the scene. Which puts him in the perfect frame of mind to deal with Cronus.
This is probably one of my favorite scenes in the book. As a socially awkward dude, there is definitely a little bit of a young me coming out through him. Maybe not quite so helpless... ... probably? One of Cronus' last lines, 'I wish I knew how to fake it.'
Same, Cronus. Same.
It's Viekko's very pragmaticism that comes out here. As confused as he is, he just wants to feel good; achieving that nebulous goal that so many of us are in pursuit of, namely happiness. From the outside, it's easy. But inside, it's a hard thing to get together since we're always wired to crave the next thing. That's the mindset that he is in when he heads out with Gabriel. And then the battle happens.
Like I said before, this has been a hell of a rollercoaster for Viekko and right, there, at the top looking down at a hell of a crash, he does something impulsive. Not just because he wants to break this bizarre cycle of death and misery that he is starting to become aware of, although that's part of it. But there's an addiction at play here. A need to stay high and keep that feeling of exhilaration and focus going. A need to avoid the inevitable crash.
Let us never forget that, at his core, Viekko is an addict. And addicts will do anything to keep the high going.
The fun part about writing a character like Viekko Spade is that he's a useful thing to move the story forward. If I ever find myself in a position where the characters are kinda standing around not sure what to do, I can usually just light a fire under Viekko and stand well back.
But I like where this one went specifically. This story has been an emotional rollercoaster for the Maritan warrior. From thinking he and Althea might actually get together, to inevitable rejection. Finding some solace in military life only to find the dark underbelly of Cytherean society. At this point, I imagine Viekko as being pretty much numb and mentally exhausted when he enters the scene. Which puts him in the perfect frame of mind to deal with Cronus.
This is probably one of my favorite scenes in the book. As a socially awkward dude, there is definitely a little bit of a young me coming out through him. Maybe not quite so helpless... ... probably? One of Cronus' last lines, 'I wish I knew how to fake it.'
Same, Cronus. Same.
It's Viekko's very pragmaticism that comes out here. As confused as he is, he just wants to feel good; achieving that nebulous goal that so many of us are in pursuit of, namely happiness. From the outside, it's easy. But inside, it's a hard thing to get together since we're always wired to crave the next thing. That's the mindset that he is in when he heads out with Gabriel. And then the battle happens.
Like I said before, this has been a hell of a rollercoaster for Viekko and right, there, at the top looking down at a hell of a crash, he does something impulsive. Not just because he wants to break this bizarre cycle of death and misery that he is starting to become aware of, although that's part of it. But there's an addiction at play here. A need to stay high and keep that feeling of exhilaration and focus going. A need to avoid the inevitable crash.
Let us never forget that, at his core, Viekko is an addict. And addicts will do anything to keep the high going.
