Jacob Foxx's Blog, page 55

My All-Star Cast for a Dune Reboot

It is the 50th anniversary of Frank Herbert’s classic. It took until 1984 (19 years) for the first movie version of Dune to be released. While a cult classic among steampunk fans and others, it failed to capture the true thematic depth of the novel. SyFy Channel tried about fifteen years later and did a better job with the visuals but the acting was pretty weak. Their budget was also well short of what was necessary. Imagine trying to make Lord of the Rings on a budget.

As of today, there are no real plans to do a Dune remake but I thought it’d be fun to dream about the perfect cast for the movie. It might have to be a two part film or three parts like LOTR but it also could work better as a 10-part miniseries like John Adams. In either case here are my first and second choices for each role.

Paul Atreides/Maud’Dib – Eddie Redmayne

He proved his acting talent in Theory of Everything and Les Miserables. While he had a major role in Jupiter Ascending, the horrible movie obscured what could’ve been a great performance.

Paul Atreides is not a physically imposing man and is a mere teenager when the story begins. Redmayne is over thirty years of age, which is a bit of a problem but he looks young. His talent combined with his physical features (somewhat frail, light red hair) would make him an excellent choice.

For those that want the typical Hollywood hero, Maud’Dib isn’t that kind of character.

My backup is Nicholas Hoult, known for his role in Mad Max: Fury Road, and X-Men: Days Future Past. While he hasn’t shown much depth in his biggest movies, he has the look and the demeanor. Like Redmayne, he is not a big guy either.

Duke Leto Atreides – Liam Neeson

The obvious choice is Liam Neeson. There are few actors with his presence and aura of command. He also bears some resemblance to Hoult, which would make them a good pair. Having a past that includes playing Zeus certainly helps as well.

Second choice is a tough one as there are a couple good fits. Assuming Leto is middle-aged and has a aura of nobility there are Russell Crowe and Viggo Mortensen. Viggo doesn’t have the right presence though. Crowe could be a good fit but he doesn’t resemble the character that well.

For the second choice I decided to go a little lower profile, since Leto dies before the halfway point of the movie. My second choice is Iain Glen. Known for his recent role as Jorah Mormont in Game of Thrones, he has had a long and very distinguished career in movies and television. He is more reserved in his demeanor but he commands respect and is about the right age, although maybe a touch too old.

Here I think Neeson is the only choice.

Lady Jessica – Lena Headey

Here, my thinking is that Jessica probably appears a little younger than Leto but has the reddish-brown hair. Nicole Kidman comes to mind, although she might be too expensive for a non-leading role. Lena Headey is a natural brunette but has shown she can pull of a blonde in a pretty convincing way. Reddish-brown shouldn’t be too hard. Both Kidman and Headey have more than enough talent for the role.

Or we could go toward the blonde side of the spectrum with Naomi Watts or Maria Bello. Both have the right look and the talent as well.

Lady Jessica is reserved thanks to her Bene Gesserit training, as well as politically savvy. Because of these attributes I would have to go with Lena Headey. Second choice is Nicole Kidman but seriously any of the three others could fill the role well.

Chani – Zoe Kravitz

The Fremen warrior and consort of Maud’Dib is not the cold, political type but is more the rugged warrior. Life in the desert has darkened her skin and hair. She is also on the younger end.

Zoe Kravitz (Mad Max, X-Men: First Class), Freida Pinto (Slumdog Millionaire), and Zoe Saldana fit here. Unfortunately all three are well into their twenties and look it. Maybe it would be better to go with a new young actress here of non-Caucasian background.

If I had to pick, I’d go with Zoe Kravitz.

Gurney Halleck – Stephen Dillane

This was the fun one. I came up with a list that included Hugo Weaving, Hugh Jackman, Stephen Dillane (Stannis from GoT), and Jerome Flynn (Bronn from GoT). Russell Crowe could be a fit here too but the role is probably too small for him. That same is probably true of Jackman.

My top choice is Stephen Dillane. He does the rugged warrior and leader very well. Flynn, also an actor from GoT would also be good here.

Vladimir Harkonnen

I’m not sure anyone could do it better than Ian McNeice, the man who filled the enormous role for the 2000 SyFy miniseries. It would be interesting to see Chris Christie give it a try too (not really). I can’t think of anyone still alive to do the role better than McNeice. Maybe someone should do it in a fat suit.

Feyd – Liam Hemsworth

A psychopathic pretty boy who is in great shape. Liam Hemsworth comes to mind here. Jai Courtney, Sam Worthington, and Tom Hardy are also possibilities. Since this role isn’t that big, the talent level doesn’t need to be elite. To best fit the younger age, I’d go with Hemsworth. Hardy is a little too old. Courtney or Worthington could do it but I don’t particularly like either of them.

Princess Irulan

For this one, Natalie Dormer (Hunger Games, GoT), Emma Stone, and Emily Kinney (Walking Dead) came to mind. Dormer has more than enough experience playing a princess. All three have shown the ability to be manipulative and intelligent in major roles. Amanda Seyfried is another possibility as well.

First choice is Natalie Dormer, second is Emily Kinney. Emma Stone doesn’t have the right look IMO. To really make waves, Mila Kunis or Amanda Seyfried could really boost interest.

 

Just for nostalgia, I’d have Patrick Stewart play Emperor Shaddam IV. I figure you need someone from the 1984 classic in there. If Sting is around, they should give him a role too

The post My All-Star Cast for a Dune Reboot appeared first on Jacob Foxx.

Review: Poor Man’s Fight by Elliott Kay

Amazon has been an excellent platform for self-published and indie authors over the past five years. As part of the enterprise, they established Amazon Publishing which has a family of imprints, including 47North and Skyscape. Elliott Kay’s Poor Man’s Fight is one of many success stories among the Amazon imprints. The novel was revised and re-released this summer. It is one of many examples of new voices in genre fiction that are finding ways to break through without taking the traditional route.

Before Amazon, the best bet for military SF authors was Baen Books. If Baen didn’t buy the manuscript, there weren’t many other publishers that inhabited the space. The Military SF subgenre is a pretty specialized niche. People who read it love it while others find it painfully boring, a bit juvenile, and at times misogynistic. Every once in a while, a good one rises to the top and deserves to be recognized. Poor Man’s Fight is one of them.

Tanner Malone is a high school graduate who bombs on his college entry exams. A bad alarm clock and panic lead to a future with heavy student loan debt. No one is going to give a scholarship to someone with low scores. To help pay for college, he joins the local planetary navy, called the Archangel Navy, which is essentially the Coast Guard of his home system. The bulk of the book is the experiences of this almost valedictorian transforming from a cautious nerd into a war hero.

It is the ultimate nerd fantasy. The unlikely hero rises from being just another smart kid to being a war hero, receiving medals, popularity, and of course, better luck with the ladies. Tanner Malone’s journey is compelling and demonstrates the inevitable challenges of a reluctant, unenthusiastic smart kid that tries to become a soldier. The best part is that Malone isn’t a natural hero or leader, he develops these qualities during the book largely through training and a little sagely advice from his friends.

The details of basic training and some of the inner workings of military bureaucracy feel very real. As it turns out, the author served in the Coast Guard. The hard science and technology also have enough basis in our current understanding in physics to be plausible while not being overwhelming. Elliott Kay did an excellent job avoiding the scourge of sci-fi writers: infodumping.

The other characters all played their roles well. There was Madelyn, Tanner’s high school sweetheart who also joins the military, and his friend Alicia from boot camp. Other than these two, his journey was largely an isolated one. There are also his many nemesis including jealous crewmates, and arrogant officers. While the novel is largely about his journey through basic training, the antagonists in the book are a violent group of pirates that threaten the Archangel system.

The depiction of space pirates was a little cliché but seems to have been partially inspired by the pirates of the 18th and 19th centuries. Think Treasure Island in space.

Casey and Lauren lead the crew of the Vengeance, recruiting a young man named Darren to join them and become a pirate. Darren becomes immersed in pirate life, the violence, theft, and enjoyment of prostitutes. The nature of the pirate crew and their system felt akin to the old school pirate days of a captain and quartermaster. They are democratic and anarchic at the same time. Instead of a rigid chain of command, their subordination is on an ongoing voluntary basis.

Some characters were stereotypical for military SF, including the sexually aggressive female crew members, overbearing drill sergeant, and foul-mouthed womanizing soldiers and pirates. Military SF likes to replace traditional romance and flirtation with a courtship of sexual equality, where the woman is often the aggressor. Tanner is no ladies man yet finds himself gaining the attention of several ladies as he progresses in his military career. There were a few parts where the drill sergeant had cheesy lines, but it wasn’t often. The pirates, meanwhile, were sort of what you’d expect despite their interesting internal governance.

I liked this book a lot and struggled to find things to criticize in order to make the review a bit more balanced. Cliché or not, all of it fit well together into a beautifully executed novel. The only real knock I can think of is that it has a pretty conventional plot. It fits comfortably in the tradition of Starship Troopers with no real innovative aspects, with the exception of the pirates’ perspective. There is a contrast between Tanner’s experience in the military and Darren’s experience with the pirates, one that is interesting at a few points but forgettable in others. Perhaps if Darren’s character was a bit more developed, the contrast would’ve been a unique theme.

Otherwise, it is an excellent novel. I highly recommend for fans of hard science fiction and military science fiction. It isn’t necessarily young adult fiction but I think a lot of high school and college-age readers will relate to the problems of student loan debt, and for-profit education system.

The post Review: Poor Man’s Fight by Elliott Kay appeared first on Jacob Foxx.

Update on Fifth World 3, and other Projects

Happy Fourth of July!

It has been a busy few months. I launched the Thoughtcrime Podcast for my publisher Prescient Sci-Fi, contributed a ton of blog posts, and finished The Fifth World 3! On top of that, I finished two short stories and am preparing to submit them to several sci-fi magazines.

On Thoughtcrime, we talk about science fiction movies, books, TV, and all other mediums, but also try to add in a few other topics. Since I am a huge nerd about science, culture, music, and other random subjects, we will mix some of those in as well. For some of the shows, I will have a co-host but others it will just be me. We’ve got the first one available on iTunes and at the website. Check it out.

The blog is also starting to get a bit more active although we haven’t been able to find a third contributor. If you’re interested in being a sci-fi blogger contact me at jwfox@prescientscifi.com.

After a final round of revisions, the final novel in the Oraibi Trilogy is complete. It will be sent off to an editor in the next week! Publication date is still unknown. There is still some discussion going back and forth on how to package the trilogy and whether it is a good idea to hold off for a couple months to better line things up.

First, I want to go back and revise my first novel, The Fifth World. In the past three years I’ve learned a lot about writing, and want to go back and improve some of the mistakes I made early on. When I reread the book, I noticed glaring problems from a stylistic point of view and want to make improvements. It was my first work of fiction, so it is pretty clunky at times and a little long winded. One round of revisions and I will re-release it along with the third novel.

Second, I want to submit my two short stories for publication. If I can get a magazine to buy it, I might try and time the release dates for the novels to be close to the short stories.

Finally, the Mech Series is almost ready to be released. It needs a round of editing and some artwork. The first episode will be free and each additional one will be $1.99. Each episode will be about 80-100 pages, or roughly the length of a 1 hour TV episode.

All of this will keep me busy for the next couple months. Once all this is lined up and complete, I will take a small break then begin on my next novel, as well as write new episodes for the Mech Series.

Why keep so busy?

Whenever you commit yourself to a craft, it takes a lot of time to master it. If it is an easy craft, you will find yourself in a crowded field of competitors, all of whom didn’t have to do much to gain those skills. Buyers also tend to pay a lot less for these kinds of works. It is basic free market principles. If you want to make more money, you need to offer something few others can.

Writing fiction is extremely difficult and can take a long time to master. The experts say that it takes roughly 10,000 hours to master any craft; translated into literature, editors and publishers say it takes about 1 million words (not that it takes 1 hour to write 100 words, but that all the time it takes to think up the idea, draft it, revise it, edit it, and complete everything can average out to about 1 hour per 100 words).

I’ve written a grand total of 650,000 words so far. Course, I could’ve told you I’m far from mastering writing without the 1 million word goal. The past three years has been an incredible learning experience and very rewarding. Every time I look back at what I’ve learned it is deeply satisfying. With each year, I want to get better, learn more, and reach the ultimate goal of being a professional full time writer.

It is also time to share what I’ve learned so far with other aspiring authors. There really aren’t a lot of quality college programs, textbooks, or online courses to help novelists or fiction writers. A select few are very helpful but most are marginal. Many professors and teachers want to teach you to write what they would enjoy reading, nothing more. For example, in my college it was modernist and postmodernist literature. One of my English professors skipped over Shakespeare, Cervantes, and others in favor of Vonnegut, Joyce, and Hunter S. Thompson. The assignments were all within a tiny sub-section of literature, despite being a 100 level course. For those of us not interested in reading or writing modernist or postmodernist literature, it was not helpful.

Unfortunately, this is what happens when college faculties have full control of the curriculum with limited or no accountability. Some are completely arbitrary and do nothing to benefit students. There are plenty of exceptions. I remember several professors that taught great courses and were very influential in my academic and professional development. Sadly, they are the exceptions not the rule.

Professors are by nature elitist and gravitate toward works that are critically-acclaimed but may have meager sales. When you challenge them on it, they wave their hand at the cheap “sell outs” that cater to the masses. The problem is, if you want to be a professional writer, you must know a little about the peasantry and what they like to read.

Obviously Vonnegut, Joyce and others have written some great books but I highly doubt they are widely read (unless assigned by professors). Many readers do not enjoy modernist or postmodernist literature at all and wonder why the intelligentsia enjoy these strange books so much. To develop your writing skills and learn about the craft, you need to do your own studying. You also need to take control of your own development with an objective approach with plenty of self-reflection and criticism.

Don’t write what others want or tell you to write. Chart your own course. Here are a couple things I’ve learned from charting my own course.

First, before anything else, know what you want to write. You need to figure this out first before you give even a single thought to marketing, target audience, etc. You can be successful writing in just about any genre. There’s no need to awkwardly pound a square peg into a round hole.

When your done figuring out number one and you finish your manuscript, THEN analyze your target market. That is when publishers come in and make changes to your manuscript, shaving off the rough edges of the peg so it will fit perfectly. If you think this is a mistake, either try to find a publisher who doesn’t want to alter your work, or better yet, self-publish. This path is difficult and expensive but gives you maximum freedom.

One of the biggest criticisms I have for some novels is their cookie-cutter feel. Many writers seem to think they need to write “me too!” novels that take advantage of a trend or follow in the wake of a bestseller. There are countless dystopian novels about teen love stories or triangles thanks to The Hunger Games and Divergent. After The Da Vinci Code, there were tons of novels that included knights templar, the Holy Grail, and secret societies. Some were okay but most were clearly bad copies of an original. The success of Anne Rice’s vampire novels and the Sookie Stackhouse series have results in a tidal wave of vampire fiction.

Part of the reasons these trend-setting novels were successful is because they were new in some sense, at least for their time. Most of the novels mentioned above aren’t groundbreaking or 100 percent unique, but they came on market at just the right time when readers were looking for something a little new. If you write a novel to ride the tidal wave of someone else’s work, you’re already lacking one of the key ingredients to your exemplar’s success: freshness.

A novel doesn’t have to be fully original, groundbreaking, or create a whole new genre to be a great book. Indeed, many of my favorites are not terribly original, they’re just good books. At the same time, I won’t read a “me too” book. Write want you want to write, but don’t model your story to try and match up to a trend-setting bestseller.

These are the biggest lessons I’ve learned so far. There is still a long way to go but I figured I’d share a little.

J

The post Update on Fifth World 3, and other Projects appeared first on Jacob Foxx.

Machiavellian Drama Versus the Heroic Epic

America is supposed to be the idyllic shining city on the hill, a place beyond the reach of the ruthless realpolitik of Europe. Our destiny is not in the hands of princes and bishops, all vying for power against one another in a tragic game of political strategy. We are a nation of hope, opportunity, and equality. It is imprinted on our national character and culture. It is why we love such romantic hero’s journeys like Rocky, Star Wars, and The Hunger Games. We cheer for the little guy rising up, the David that defeats the Goliath.

Hero’s journeys are classic struggles between good and evil, where good always triumphs. Sadly the world does not work that way. The good guy doesn’t always win. Many have answered to a higher calling only to become martyrs. The lesson of history is that it doesn’t matter how righteous your cause, the winners are often the ones that wisely and effectively utilize power and influence.

In art, the sort of anti-heroic epic is one that tries to portray the world as it truly is, complicated. Distinctions of good and evil are not always clear, and in some cases there are no true heroes, only flawed characters. In some cases, the story is more about the complexities of real world situations such as competitions over power. One big example is Game of Thrones. George R.R. Martin’s epic takes place in a Machiavellian world where good men die and evil may reign. Political cunning and appropriate use of power lead to victory. A prince’s moral uprightness or compassion often lead to their downfall. The first to die due to his moral principles was Eddard Stark. Meanwhile the most successful prince of Westeros was Tywin Lannister, a brilliant leader who placed his family firmly in control of the iron throne and defeated his two most powerful rivals: Robb Stark and Stannis Baratheon.

Tywin Lannister was not a good man. He was responsible for the raping and pillaging of the river lands, the murder of helpless civilians, and was prepared to have his son executed for a crime he did not commit, all for the purpose of empowering his house. In the end, his son Tyrion murdered him but by then there were no “good guys” left.

Machiavellian dramas like Game of Thrones have been surprisingly successful, despite their anti-heroic nature. Shows like The Sopranos, The Tudors, Vikings, and The Walking Dead all show good people being killed while shrewd tricksters thrive. How can such blatantly anti-heroic franchises be so successful alongside heroic epics?

First, we should know a little more about the man Niccolo Machiavelli if we going to use his name as an adjective. During the early 16th century, Italy was divided among various kingdoms and warlords, suffering from decades of warfare and foreign oppression. Machiavelli wanted to end foreign rule but also end the tradition of ineffective leadership in Italy. To help, he offered his services as an adviser to Lorenzo de Medici in the form of a book, The Prince. It laid out how to be an effective prince, not a good prince. The only constraints on a ruler were what policies worked and which did not. The principle is captured by the phrase “the ends justify the means.”

Critics dismiss his work as lacking legitimate ends, preferentially aiding the rule of tyrants and psychopaths. His philosophy is sometimes called the school of evil. Yet if you read his other works, you’ll find a man who is a strong believer in republicanism and ultimately wanted liberty for his people. That was his ends but he knew that it would never become reality without utilizing effective means. To him, a good man is not a good leader if he doesn’t recognize and abide by the basic laws of political power, some of which may require him to do evil for a good end.

If he were in Westeros, it is likely he would’ve supported Robb Stark but would’ve strongly opposed his execution of Rikard Karstark and certainly would’ve advised against marrying Talisa. After the execution of Karstark he might’ve left Stark’s service and return to private life, waiting for his ideal ruler.

In some ways Tyrion Lannister is Machiavelli. He is educated, clever, and has little regard for public morality. Yet he is surprisingly compassionate, desiring to help his family but without unnecessarily harming others. Varys is also a Machiavellian character, looking for a good prince. At the same time Varys would never commit to a cause without a good chance of success. He believes he has found his cause in Queen Daenerys.

Machiavellian stories demonstrate the truth of basic political reality. They are about competition, intrigue, and power. The power relationships can be political, military, or emotional. Romantic and familial relationships are often about power and manipulation as well. While hardly inspirational, Machiavellian drama can provide practical lessons. We don’t live in an ideal world and therefore need to learn to succeed despite its imperfections.

One of the great works of Machiavellian drama is Francis Ford Coppola’s The Godfather. Michael Corleone is Machiavelli’s great prince, as was his father Vito Corleone. The Godfather Trilogy is largely a tragedy but one cannot discount the incredible success Vito and Michael Corleone enjoyed during their tenures as Don. Both were smarter and more effective than their foes.

In contrast, Rocky Balboa, Luke Skywalker, and Katniss Everdeen did not become heroes through shrewd tactics or the accumulation and application of political power. Rocky triumphed through raw toughness and sheer force of will over the champion Apollo Creed. Luke’s victory was a direct result of his righteous commitment to the Jedi Order, where he successfully resists his father’s legacy to take down an intergalactic empire. Katniss was a slave who gained fame through her bravery in the hunger games. However, she was a symbolic rather than actual leader.

We love these stories, just as we love superheroes like the Avengers, Batman, Superman, the X-Men, the Arrow, and others. They were compassionate, just, and wanted to do great deeds. These heroic epics give us hope and inspire us to make better the world even when it seems it is driven by power.

Back to the question: how is it that Americans flock to see The Avengers and Game of Thrones at the same time?

All of us have an idealistic side that enjoys watching a heroic epic, and a realistic or cynical side that wants to see real stories about real people. By real people I mean characters that must make difficult decisions and do not always make the right one. Greek tragedies were known to supply such stories (e.g. Achilles in The Iliad), as well as Shakespeare (e.g. Julius Caesar). We are capable of enjoying both depending on our mood. There are few pure idealists who cannot stand the gritty, realistic nature of shows like Game of Thrones. There are also pure realists who find superhero movies silly, but I think most of us are a mix.

Another good question is where are science fiction’s Machiavellian dramas? The great sci-fi franchises of the past decade or two have been largely heroic epics or dystopian dramas. Most of the time they are at two extremes when depicting the future, utopian or dystopian. It is clear which side is good and which evil. There is no realistic balance as you’d find in a Machiavellian drama. The Walking Dead comes close but some would say zombie fiction is a subgenre onto itself. When sci-fi explores political themes it is largely from a distinct ideological perspective. When there is such a narrow perspective, the political drama is often found wanting.

Machiavelli would shake is head in disappointment at science fiction’s commitment to heroic adventures and ideologically-based futures. The only realism one can find in sci-fi is the commitment to modern science and technology, rather than realistic characters and political forces. The laws of political power are derived from human nature, something that has not changed in the past five centuries. Until we change our nature, the future cannot be a utopian vision nor driven by heroic acts of the self-righteous. Just like today, sometimes the good guys will lose.

 

The post Machiavellian Drama Versus the Heroic Epic appeared first on Jacob Foxx.

Review: The Beam by Sean Platt and Johnny B. Truant

Some have argued the science fiction novel is destined for the scrap heap. Movies, television, and graphic novels are superior mediums for portraying speculative worlds. Others say novels are in trouble because of the steadily shrinking attention spans of readers. Their only hope is for authors shorten their novels or release them section by section.

John Scalzi’s The Human Division was released by section, as well as Hugh Howey’s Wool, which is actually a collection of short stories. Indie authors have taken notice and begun releasing their own works in shorter sections in hopes of encouraging skeptical readers to pick up part 1. Committing to reading a 80 page section is easier than a 400+ page novel.

I came across an intriguing sci-fi series published in episodes like a TV drama, perhaps preparing for the inevitable TV deal. The Beam, by Sean Pratt and Johnny B. Truant blends the gritty and sometimes graphic style of an HBO drama with impressive imagination.

The premise of The Beam is fascinating with formidable world-building to go with it. In the 22nd century, society is divided into two co-existent factions: Enterprise and Directorate. The Enterprise faction is an ultra capitalist, minarchistic society where there is limited public services and no welfare programs at all. On the other hand, individuals can fly to incredible financial heights without limitation, whether taxation or otherwise. The Directorate is a step or two short of a Communist regime, with equal wages paid to all whether you work or not. Life is tough but there is a complete safety net in place.

Two of the main characters are brothers and major political rivals. Micah Ryan is the younger but seems to be the more talented one. Micah is a prominent figure in the Enterprise faction and fits it well. He is a crafty politician, ruthless, and Machiavellian in his tactics. Isaac is older but immature and unsteady. His role in the Directorate is a gaping contradiction; he is given a generous salary well above the standard wage of the regular people.

Unfortunately the political and philosophical discourse in the book is limited, usually nothing more than short vulgar arguments between brothers or the other characters. The internal monologues are better but get repetitive towards the end. Oddly, the characters seem similar regardless of what faction they belong to. Perhaps this was the hidden message of the author concerning political systems.

The episodes are told from the point of view of various characters orbiting the two brothers. There is Natasha, Isaac’s wife and famous pop star. She is well into her sixties but pays enormous amounts for cosmetic enhancements to look young. Nicolai is Isaac’s speech writer. He is a refugee from Europe, and has a Machiavellian streak in him that makes one wonder why he is in the Directorate. Then there is Kai the high-priced prostitute, a guy known only as Doc, police captain Dominic Long, Leah the hacker, Leo the hippie radical, and Crumb the crazy old man.

You can see the problem. There are at least nine points of view, creating a vast and complicated story arc. The characters are pretty well developed but have a lot in common in terms of demeanor and language. It takes a while for them to become distinctive. There is plenty of swearing and a general disregard for any form of polite conversation. Sex is a joke and all manner of social norms or structures are ignored. It reminded me of Tarantino’s Pulp Fiction with a linear plot, or maybe a futuristic version of Game of Thrones.

The format seems to emulate the HBO-style drama. The episodes are about 70-90 pages, which fit a one hour TV time slot. The graphic content fits on HBO as well. The large number of POV characters is similar to the enormous world of Game of Thrones. While the authors deserve credit for taking on such an ambitious project, I’m not sure their execution was successful. There is a lot to like about The Beam but the early episodes are weighed down by numerous POVs and heavy exposition.

Episodes 4 and 5 really open things up, so if you can get to that point (about page 300), it’ll be worth it.

While the characters seem to develop in the later episodes, I don’t know if it is really a character-driven series. With no clear protagonist, the story plods along with three subplots with no clear picture of how they are intertwined. At least, not yet. For me, the most likable character is Kai, the high class escort. Unfortunately, most of the rest come off as sociopaths. The anti-technology group, known as Organas, are Leah, Leo and Crumb. I think they might become my favorite later in the series.

If this were an HBO drama, I’d say the show struggles for a hook thru three episodes. If readers can get past the slow buildup, the pay off is worth it. It would also help if the series had some sort of central unifying conflict. More character diversity in terms of personality also would’ve helped. The nihilistic, overly-cynical, sex-obsessed array of characters in The Beam are appealing to some but probably will turn off others.

Fans of Game of Thrones, Pulp Fiction, and Sopranos will like the realistic, gritty style of the first season. The quality world-building will appeal to traditional high tech science fiction fans looking for a serious future. At the same time I am not sure fans of young adult fiction or classic space operas will enjoy this one. There are no true heroes in this one. Season 2 is available and received strong reviews. Overall, I’d say this one is worth picking up.

The post Review: The Beam by Sean Platt and Johnny B. Truant appeared first on Jacob Foxx.

Game of Thrones Recap: Mother’s Mercy

At last, the season concludes lingering story lines and opens up a whole new phase of the war for the Seven Kingdoms. Let’s get started with the current occupant of the iron throne.

King Tommen remains in seclusion but his dear mother is free. After a long and unpleasant walk through the city, she is safe. Her uncle is the Hand of the King giving her a new intra-family rival. At the same time she regained her deadliest servant The Mountain that Rides in zombie form. Unfortunately, the peace between Lannister and Martell has ended thanks to the murder of Myrcella. With the Tyrells also imprisoned, they are nearly out of friends.

The gradual decline in the power of House Lannister will only tempt the other great houses to defy them whether through backing a new king or declaring themselves an independent kingdom. The Seven Kingdoms may indeed become seven sovereign kingdoms. The odds that the civil war will continue are very high.

Their enemies are numerous: Doran Martell, Olenna Tyrell, Petr Baelish, and what remains of the other great houses. Blackfish Tully still lives, as does Lady Sansa, Bran Stark (presumably), Rickon Stark (presumably), and Balon Greyjoy.

Stannis was the last major contender for the throne but has now passed on. The Red Priestess is on deathwatch. Ser Davos is all alone and I just can’t imagine him allowing her to live. With no more Baratheon challengers, Dragonstone returns to King Tommen de facto and de jure. The Sparrows have a case challenging King Tommen’s legitimacy but I doubt that lasts long. Cersei is about to unleash the vengeance on the Sept.

The only out I see for Lannister is for King Tommen to grow a pair and get Loras and Margaery released from prison. Wiping out the Sparrows is necessary. Somehow he must contain Cersei’s wrath and make sure the right criminals are punished for the murder of his sister, Myrcella.

One older claim remains: House Targeryen. The problem is timing. To take advantage of the chaos that is Westeros, Queen Daenerys must arrange alliances and unite the Lannister enemies as soon as possible. Alternatively, she could wait for the kingdoms to tire themselves out and swoop in with her army. The problem is the unsullied force isn’t that big relatively speaking, and is shrinking due to battles with Sons of the Harpy.

Her best move is to swiftly to destroy what is left of the Harpy threat, or in this case it may be Tyrion and Varys that accomplish it. Next, she appoints someone to become Lord of Meereen to rule as a warden of Slaver’s Bay. I’d also rename the Bay. Her goal is the iron throne, and it is time she makes a move for it. An alliance with the Martells would be mutually beneficial.

What will inevitably follow is a realignment. All the great houses must choose sides once again. Tyrell and Martell have geographic proximity and some cultural ties. Who is their claimant? Loras? Doubtful. His father? No way. Doran? He is in a wheelchair although has a potentially talented heir in Trystane. I think independence is the more likely path for them.

Lord Baelish planned to let Stannis and Roose Bolton exhaust each other, then intervene to destroy Bolton, and possibly restore the Stark line. Lady Sansa now knows her brothers are alive. Baelish would support a Stark revival but he cannot possibly count on Sansa to be a friend anymore. The heir of Arryn is a weakling as well. Arryn’s best move is to stand pat, possibly become an independent kingdom with the Arryn boy as the king in name only.

However, Baelish’s decision to marry off Sansa suggests an intent to destroy the Boltons, which makes sense due to his undying love for Catelyn. In which case, he may follow through on his word, invade the north, destroy the Boltons and restore the Starks.

Of course I must mention the tragic death of Jon Snow. Ned Stark’s progeny are not doing well. His loss puts the Night’s Watch out of play. The white walkers will find a way over the wall and wipe them out, head south and likely crush the wildlings as well. No one in the Seven Kingdoms knows how to kill them. And of course, where is Bran???!!!

To the east, Queen Daenerys was flown to some distant land alone. The dragon, wounded, is recovering. Unfortunately she wandered off and became surrounded by what looked like Dothraki. That scene leaves plenty of question marks.

I also need to comment on the graphic nature of the episode. Arya’s murder of the leader of the king’s guard was horrific. Cersei’s nude walk through King’s Landing was long and unnecessarily drawn out. While I think Game of Thrones usually uses nudity and violence appropriately given the story, in this case I think it was gratuitous.

I do not see a path to any kind of peace or stability, only death and destruction. The raping and pillaging will continue and the depraved shall rule. We are four seasons in and I believe three novels in, and while I’ve loved a lot of this show, I am wearing down. This is becoming too much darkness and despair. I don’t see how Martin brings us to any measure of hope without magic intervening. Such a move would not be his style at all.

With Walking Dead, Vikings, and Game of Thrones dominating television in my house, I feel like I need to find something positive and hopeful. No more constant death and despair.

The post Game of Thrones Recap: Mother’s Mercy appeared first on Jacob Foxx.

Why does Dystopian Fiction focus so much on the Young?

Popular music has belonged to the youth since MTV. The most popular artists desperately battle for the attention of kids ages 12 to 21, sometimes shamelessly appealing to teenage angst and hormonal overload. Yet it is somewhat surprising to see literature, especially dystopian literature, shift its focus to the youth. Since the onset of the recession, dystopian novels have featured younger protagonists and themes that resonate with younger readers. Even more confounding, they are becoming best sellers. The question is why?

From a historical and cultural standpoint, it doesn’t make much sense. Dystopias are usually a vehicle for political and social commentary, something young Americans have long shied away from. Less than half of Americans ages 18-24 vote in Presidential elections. Most don’t like talking politics at all. Dystopian literature also serves as warnings of future cataclysms if we stay on the same course or ignore rising threats. Foresight or planning ahead is also not something known to interest American teenagers.

So why are the most successful dystopian novels of the past decade young adult (YA) novels?

The most popular titles include The Hunger Games, Divergent, The Maze Runner, Ready Player One, and Red Rising. All feature young protagonists living in futuristic hellholes in lives of poverty, violence, and injustice. In each, the young hero(ine) rises to challenge to social order. They endure harsh, sometimes violent journeys, seeing loved ones die or be imprisoned along the way.

How is it that American youth relate to such characters? We are living in incredibly peaceful and prosperous times by historical standards. There is no totalitarian world order or oppressive government on the rise (although some might disagree). Poverty and violence, while slowly increasing, are still historically lower than previous generations. Clearly readers are not relating to these stories in a direct way.

The second role of dystopian literature is that of dire warning. Young Americans are pessimistic about their future, with many believing they will not inherit the same country as the one their parent’s grew up in in the mid to late 20th century. Terrorism, increasing conflict in the world, a weak economy, national debt, and student loan debt are challenges the younger generation will face, none of which their parent’s faced. This might explain why the trend began roughly between 2007 and 2010, in the deepest depths of the recession.

Dystopian classics arose from troubled times as well. George Orwell’s 1984 was published in 1949, as the Soviet Union became a superpower. Brave New World (1932) came about in the era of eugenics and birth of the pharmaceutical’s industry. Most are a product of their era, capturing the fears and pessimism of their time.

Another possibility is the recent social trend of incorporating victimhood as part of one’s identity. Many activists make a living convincing people they are victims of an invisible oppressive force that is the cause of their struggles, not matter how minor those struggles may be. Racism is the most well-known, but the struggles are real and there is an obvious historical rationale. These days there are many more struggles including the war on women, war on religion, war on the poor, war on the mentally disabled, war on transsexuals, etc. It is an effective marketing tactic to describe a cause as a “war” then convince millions they must join it or be labeled intolerant. On college campuses there are now “trigger warnings” and “micro-aggressions,” concepts that heighten the threat of offensive language, images. If you believed it all, you’d think there are sinister threats all around working in the most devious and subtle ways.

Young Americans, even those with upper middle class or wealthy background, seem drawn to these causes. They don’t want to be part of a privileged or empowered class. Instead, the idea of being oppressed, persecuted, and rebelling against “the man” is much more appealing. Perhaps it is also a convenient explanation for individual failings, whether real or perceived. For example, I might blame President Obama and liberal Democrats for my struggles to find a job. We all want to feel empowered and in control. When we don’t, it is tempting to look for convenient explanations, declaring some sort of injustice to be in effect, even if there is no realistic basis for it.

Do young Americans feel this way? In a general sense yes but they remain politically inactive. It doesn’t quite explain the incredible success of young adult dystopian franchises. After all, it isn’t just teenagers that read The Hunger Games and Divergent; many adults read them as well.

What do the big YA dystopian franchises tell us about our time? First, nearly all of them involve trials. The young protagonists endure a test or challenge of some kind that is very clearly defined. It can be constructive or destructive as is the case of the hunger games. Nearly all take place after the apocalyptic events of the 21st century, but the causes are never really certain. It is not clear exactly how the world will fall apart but there is a strong sense that it will. In this way, it contrasts from the dystopian classics of the 20th century, which focused largely on the causes or foundation of the dystopia.

There is also the triumph of youth over the elderly leadership. Historically rebellions have been fueled by the youth. Katniss Everdeen, Beatrice “Tris” Prior, and Thomas (The Maze Runner) all defy the existing order through the trials and challenge the adult establishment. Built within these stories is an inherent distrust of authority or seniority. However, this has been a constant for centuries, maybe longer. Why the sudden emergence in recent years?

It may be that the different generations are different in so many ways. Technology in particular has transformed childhood and adolescent experiences into something most older Americans cannot recognize. The consequences are astounding. Young Americans are more tolerant, socially liberal, and far less religious. Many embrace foreign cultures and new technology with enthusiasm. Recent studies also indicate millenials are much more frugal than their parents and averse to financial risk. They may be a bit spoiled and entitled, but they aren’t reckless with their own money.

At the same time, teenagers have a greater knowledge of the world and adult situations when compared to previous generations. YA dystopias exploit that fact and depict it compellingly. The Maze Runner, Ready Player One, and Red Rising feature young protagonists thrown into extreme situations before they are ready. For many, there is an appeal to young heroes facing adult challenges, which also explains the popularity of Harry Potter and Percy Jackson.

There is also the prevalence of factionalism. All the big franchises feature a division of society into classes or castes. We seem to be sensitive to this given the increase of income inequality in America. Of course, Americans disagree on the solution but all agree the gap seems to be widening. In particular Divergent, warns against social divisions and forcing groups to compete with one another for survival, wealth, or power.

The Hunger Games is particularly powerful due to the nature of the trial: it is televised. Suzanne Collins was inspired to write the trilogy after watching a combination of reality TV shows and the news, seeing them blend into one another. For a long time there has been a fear that television has the power to desensitize us. Today there is more violence, blood, nudity, sexual content, and swearing on television then at any time in the medium’s short history. Many fear the negative consequences on the youth and their development into adulthood.

So far, we haven’t seen it. Young Americans today are not particularly violent. If anything, they are much more civil. The youth of the 70s and 80s were far more destructive and antisocial. Sexual activity and pregnancy among teens isn’t much higher than it was in previous generations, although there is a disturbing proliferation in pornography featuring young girls. Promiscuity is now celebrated, with more movies and TVs depicting abstention and monogamy as forms of oppression.

Romantic love plays a role in all the successful YA dystopias, unlike the classics of the early 20th century. In The Hunger Games, it is the dreaded love triangle. In the rest, the romantic aspect is much more straightforward, boy meets girl, or vice versa. There is also the dramatic rise of the modern heroine. Katniss Everdeen and Tris Prior stand out as archetype-breaking characters, defying the many female stereotypes of generations past. It is yet another sign of the changing social values and beliefs of the younger generations.

Is there a way to sum all this up? I’ll try.

Young adult dystopias are incredibly successful because of widespread feelings of pessimism about the future. Young readers feel like something bad is coming and they will be the ones to face it, not their parents. They cannot clearly define what the cataclysm will be but it lingers on the horizon. Facing the threat will involve defying the past to avoid the blunders of the previous generation. It will also involve overcoming intolerance, social division, and inequality.

As time goes forward, young Americans will need to more clearly understand the problems they face. Brutal totalitarian states don’t announce themselves before they arrive. It is only when a threat is identified and understood that it can be defeated. That is my lone reservation about the popularity of YA dystopias. They fail to depict the threats in detail, preferring generalizations and overused dystopian models from the previous century.

Maybe the next YA best seller will take that on.

 

The post Why does Dystopian Fiction focus so much on the Young? appeared first on Jacob Foxx.

Game of Thrones Recap: Dance of Dragons

The action has kicked up a notch but the plot isn’t moving. Perhaps this is all staging for the season finale…

Jaime and Doran manage to prevent a war between their houses. The alliance is intact despite the attack of the Sandsnakes. Yet, I doubt they will give up on their quest for vengeance on House Lannister. It appears the target will be someone closer to what happened in the Trial, Cersei or maybe the King himself. The Mountain that Rides is in a coma of sorts, so revenge on him should not be hard.

We are still waiting to see what happens to Cersei, Maergery, and Loras. King Tommen remains on deathwatch.

Ramsey successfully raided King Stannis, burning up food, tents, and horses. Their army is in serious trouble. To save his claim to the throne, Stannis did the unthinkable and sacrificed his daughter. His commitment to the Red Priestess and her monotheistic faith is total, placing him in the irrational idealist category permanently. Even with God’s help with the snow, I don’t see how he retakes the Seven Kingdoms. Stannis lacks creativity and does not inspire his soldiers or his people.

Melisandre is officially on deathwatch as well. I think Ser Davos kills her this time.

The Sons of the Harpy made another attempt on Queen Daenerys. It failed thanks to her free dragon. Oh yeah, and she rides dragons now. Her engagement with the douchebag Meereenese prince is over but Ser Jorah proved his loyalty by saving her life. Unfortunately, her power continues to drain in Meereen, with more of her army being killed and the attempts on her life weakening her position in the eyes of the people. The commentary during the gladiator games suggest she and others in her entourage are beginning to see the hopelessness of the people and their apparent lack of loyalty.

How did so many assassins make it into the colosseum? Are the people behind her or are they too weak and afraid to fight for their freedom themselves?

It seems it is time to release the two imprisoned dragons and focus on security in her capital. In the long term, she needs to decide how she will claim the iron throne. Watching fights thousands of miles away and marrying some former slave owner is not the way to do it.

Arya caught glimpse of one of her targets. I think it is the man who executed her father. She lied to her mentor and it is clear he knows. She will need to make a choice: seek vengeance, or remain true to the Many-Faced God.

What about Jon Snow? Bran? Rickon? Still no answers.

The post Game of Thrones Recap: Dance of Dragons appeared first on Jacob Foxx.

Game of Thrones Recap: Hardhome

A battle with the dead in the north, other than that, another episode with no surprises. Game of Thrones seems to be running low on steam. Its trademark twists have not taken place so far in the new season. We’ve reached a slow point, which suggests things are about to get crazy.

King Tommen Baratheon is officially on death watch. The realm will not tolerate such a weak king. There are powers moving to free Cersei but with the queen and Loras still imprisoned, their grip on the throne is incredibly weak. I doubt Olenna will bother with the alliance anymore. Her best move is to allow the trial to go forward and get an official recognition of Tommen’s incestuous origin, nullifying his claim to the throne. At that point Tyrells could choose independence or align with Stannis.

Stannis marches on Winterfell but his army struggles through the winter. A siege probably won’t succeed without some help getting inside the walls. It would be a dull outcome for Stannis to be defeated again due to his own brashness. The Red Priestess wants his daughter for a sacrifice, which places a difficult decision for the true heir: kingship or his daughter.

Sadly, the daughter is now on death watch as well.

Jon Snow impressively convinced some of the Wildlings to join the Night’s Watch in the defense of the wall. An epic battle with the army of the dead and the white walkers demonstrated his bravery again and improved the chances of this bizarre alliance to hold. We also learned Jon’s sword can harm the white walkers just like dragon glass. It is Valyrian steel but I am not sure if that means there is some dragon element to it or what.

In Mereen, Queen Daenerys listened as Tyrion made his case, as well as one for Ser Jorah. Jorah was not welcomed back into her service but his life was spared. Tyrion persuaded her to accept him as an advisor, giving her some badly needed expertise on Westeros. He  is a semi-idealist, wanting to end war and chaos in his homeland. I am not sure he is fully convinced Daenerys is the right ruler for the task but seems willing to give it a try.

Looks like events are coming to a climax in the north. Stannis will face off against the Boltons. Lady Sansa and the surviving Starks have one hope to have their House restored. The White Walkers are coming and Jon has learned how to kill them.

What about Bran? What about Rickon? Still no answers. HBO is lucky there is no other show like this on television, otherwise I’d say their ratings are in danger. The plot is moving too slowly for me.

If we don’t get some answers soon, I will… probably keep watching.

The post Game of Thrones Recap: Hardhome appeared first on Jacob Foxx.

Game of Thrones Recap: Better Late Than Never

I haven’t been able to do any recaps this season because I’ve been behind. This week I was able to catch up and get an idea how things stand in the world of George R.R. Martin.

Things are progressing on a fairly predictable path. After the death of Tywin Lannister, King Tommen is in very serious trouble. His enemies see weakness as his queen and mother are now imprisoned by the Sparrows. The alliance with the Tyrells is under serious risk and as we learned last season, the Lannister gold mines are depleted. Lord Baelish also plots against the crown, promising to eliminate the Boltons but it is hard to see him following through with that. He is a gifted liar.

Stannis marches south on Winterfell in an effort to eliminate the traitorous Boltons and install an ally as Warden of the North. He tried to persuade Jon Snow to accept the position, becoming Jon Stark. His oath made that impossible. Without a Stark, Stannis will have to find a local house loyal to the Starks and him to become the new Warden of the North. Course, Bran and Rickon are still out there. Winter has slowed his advance and threatened his campaign but I doubt that will prevent him. The Red Priestess wants him to sacrifice his daughter, testing his faith in her religion. Stannis needs to decide if he will be a realist, prudent king or one guided by mysticism.

The Boltons look to be in a bad place. Ramsay is abusing his new wife, Lady Sansa, tempting his enemies in the north to move on him. Roose seems oblivious and running out of friends. Only Frey could help him but I doubt old Walder will bother.

Jaime is showing an amazing lack of ability. His attempt to rescue his daughter/niece failed putting him at the whim of Lord Doran Martell. The Martells don’t want war but that could change if the Tyrells back out of their royal alliance and support another claimant to the throne. As of now, Stannis is the only option.

Our friend Tyrion found his way to Maureen to meet Queen Daenerys Targeryen. Jorah hopes for forgiveness with his gift of the dwarf. The Queen needs to decide if she wishes to rule Slaver Bay or continue with her ultimate aim: the iron throne. She needs allies and Tyrion could help. He knows the politics of Westeros and the country, a blind spot Daenerys now has after the death of Barristan Selmy.

Queen Daenerys needs a fleet and friends. Houses Tyrell and Martell have a compelling reason to back her and eliminate the hated Lannisters. In the north, there are many who are prepared to back King Stannis, who is a lot closer and a proven track record of military success.

If King Tommen dies, the crown reverts to King Stannis. The Lannisters lose their grip on the throne. Even by their own claim, they would have to give it to Stannis. Tommen is the key to their power and they are not protecting him well. As I expected, without Tywin, their house is extremely weak.

What of the Starks? We don’t know the deal with Bran or where Rickon is. The North is unaware there are legitimate heirs to the North, even after Jon refused the position. If Stannis succeeds, the Stark allies will come forward restore their domain and back Stannis. Boltons won’t be around much longer.

No surprises yet this season.

The post Game of Thrones Recap: Better Late Than Never appeared first on Jacob Foxx.