Raya and the Last Dragon (2021)

Raya and the Last Dragon is not a subtle movie. It hammers you with its themes from the very beginning, tying setting and conflict and nearly everything else into a robust and relentless thematic journey from initial action through to climax and conclusion.

And I really liked it.

Because while Raya’s thematic beats thump home like clockwork, it’s also heart-warming, dramatic, gorgeous, and engaging.

This movie did not surprise me. While it has nice little flourishes that feel right, it did not wow me with big twists or unexpected reveals. Nor did it leave me guessing about its message. But it did have me crying by the end. This story got me in my narrative soft spots even though I could see the setup coming from its first twenty minutes.

In many ways, Raya is an excellent introductory movie: it both teaches how to incorporate a central theme when making films, and offers a very clear example for audiences still learning to identify themes in movies.

A few quick highlights without spoiling anything: the fight choreography and performance is excellent (partially covered on this episode of Corridor Crew), as is the art and character design and the differentiation for the five different regions of the movie’s world. But the best part, from a narrative perspective, is that the movie feels true to its characters. The speaking characters may not be the deepest and most nuanced, but they feel relatable and human instead of paper thin. And I never really feel like they’re being made to carry an idiot ball; they aren’t roped in as plot tools without deeper consideration given to being honest to the character as we know them.

I like the voice acting and animation too! I’m not wishing for a sequel (the movie does a good job of delivering a conclusion, and doesn’t need more as far as I’m concerned), but I would happily watch and listen to these people (Kelly Marie Tran, Awkwafina, Gemma Chan, Daniel Tae Kim, Benedict Wong, Izaac Wang, and Sandra Oh) doing more work together… especially if the next movie they do is anywhere near as pretty as this one. Oh and points to Alan Tudyk for once again being a charming animal voice actor in a predominantly non-white movie, I continue to appreciate the role reversal.

So yes, I do recommend this movie. I liked it. It might not get you in the emotions the way it got me—I’m sure that experience will vary—but it’s good.

Update: Oh, and, because this video is accurate and made me snort, here’s the link to the Honest Trailer for Raya. Watch it if you don’t mind being spoiled (or if you’ve already seen Raya and want a laugh).

Space Sweepers (2021)

I couldn’t help but think of Cowboy Bebop. I’ll mention Planetes too, but I still haven’t seen it so I’m only making a topical connection.

See, Space Sweepers shares so many aesthetic and tonal qualities with anime that I would be remiss not to point it out immediately. If you already know you don’t enjoy less-rigorous, more-adventurous space thrillers with lots of crunchy techno-bits slathered on for that sweet flavor, but without the density of “totally realistic” sci-fi… this probably isn’t the movie for you.

If, on the other hand, you want a dramatic space thriller with some cyberpunkish themes and just enough emotional moments to make me sniffle, check out this movie.

Why? Because even with my few quibbles, Space Sweepers is still a touching story about grief, struggling to make ends meet, and the humanity of those society has cast aside. It’s flashy, it’s fun, and despite the rough bits it has heart.

Oh, and *damn* do I enjoy the cast and the polyglot melange of this space future. The faces on-screen are incredibly diverse, and absolutely helped sell me on this movie’s setting. Sure, all the main characters are South Korean, and the big antagonist is played by Richard Armitage, but whoever was in charge of casting actually paid attention when they were asked to get a *broad* range of different people.

Having said that, I do have to add one of those quibbles I’d mentioned: this movie’s acting quality and character development are unevenly distributed. I feel like that goes hand in hand with the anime themes I mentioned above, but it’s more noticeable when watching real live humans.

The core crew feel solid to me, and I don’t feel like the script screws them over. Bits of character background and motivation seep out throughout the movie, and I *like* that. We’re not immediately clobbered with each character’s backstory. I already mentioned Cowboy Bebop, but this is yet another place where I see a connection.

Unfortunately, the villain is a tad bit cardboard. I know that Richard Armitage can do better, so I can only assume that either there was more material which never made it to the film’s theatrical edit, or the script never allowed for the character to really shine. Similarly, the whole movie is peppered with some oddly stiff moments where bit-characters talk (mostly in the background) and simply feel… contrived. Like, it made sense for someone to say a thing, so the script included it, but the delivery didn’t quite land for me.

It wasn’t a big enough issue to pull me out of the movie, or even make me dislike it.

My other quibble: there are a few plot twists that feel contrived at best. They didn’t break the movie for me, but the logical holes were… pretty big. Big enough that I simply had to embrace them as part of the story and move on—which was more difficult for me than overcoming my quibbles with the acting. I think what gave me the most trouble wasn’t the deus ex machina, but the fact that the film could have covered it (or at least justified it better) with a few small changes earlier on. It felt like an unforced error.

Of course, knowing the little I do about movie production, I realize that I may be wildly off the mark. Who knows how many variations the script went through, how many of those last scenes were cobbled together from different shoots, or how much of their budget they’d run through by the time anyone saw the same plot holes I see? It’s not like making movies is simple or easy.

Anyway. I liked this movie. If you know you like its genres, I think you’ll like it too.

Tamsyn Muir’s Sword-wielding Lesbian Space Necromancers

This isn’t anything in-depth about Gideon the Ninth or Harrow the Ninth. It’s much faster than that.

If “lesbian swords and necromancy in space” doesn’t sound appealing, I guess you should look elsewhere. I thought it was great. Gideon the Ninth has plenty of drama, channels anime in places and ways that I found very satisfying, and delivers convoluted mystery alongside swordplay, violence, and necro-magic. Tamsyn Muir (Tor page, Tumblr, homepage) has my attention.

I’m also enjoying the separate in-universe story The Mysterious Study of Doctor Sex, which takes place before the opening of Gideon the Ninth.

For those who don’t like starting a series until it’s finished… first, that’s silly, it’s not how publishing works. If you want a series to exist, you should damn well read the first book and recommend it to others. Secondly, I don’t think you need to worry as much about that here: while Gideon the Ninth is obviously the first of multiple books, the ending ties the story up neatly and resolves things while still leaving room for a satisfying next story.

I read Gideon the Ninth last year and loved it. I took a little while to really sink into it, but once I had been caught I was stuck in it and couldn’t put the book down. It juked and weaved all over the narrative space; I never felt like it was letting me down by breaking narrative rules, but always felt like I should have seen the next twist coming and was instead surprised by it. I realize that might not be everyone’s cup of tea, but I found it delightful.

I also loved the deeply anchored first person perspective that carried the narration throughout. I took a while to tease out where Gideon’s perspective was reliable and where it wasn’t, but honestly that only made the whole book more fun for me. The generally grisly nature of the story, the YA drama undertones (or just tones sometimes), and the excellent adventure / mystery plot were only made better by Gideon’s grumbling, scathing commentary.

I haven’t started Harrow the Ninth yet.

I’m really looking forward to it.

Mining my boarding school experience for Cesium Deep

This one is going to be a little more personal. Also a little more disjointed.

I went to a mixed boarding / day school for high school. I was there as a boarder.

My time in my dorm was both great and awful. It’s part of where I’m drawing inspiration for the story I’m writing about Cesium Deep.

When I say that my time in my dorm was great, I mean that I met and made friends with some awesome people. I came to love living in a community, and felt close to some of my dorm mates in a way that is hard to explain. Some of those friendships existed because we were teens who were able to live in the same space and share our passions and interests in ways that I hadn’t really thought possible before boarding school. Sometimes, living in a dorm was a hell of a lot of fun.

But some of those friendships existed because we survived the awfulness together.

I don’t think it’s surprising that no one else from my dorm came to our 10th reunion.

When I say that my time in my dorm was awful, I mean that Continue reading

Trouble Writing Cesi

When I was first writing Bury’em Deep, the editor I was working with through my mentorship program asked me to write scenes from inside Cesi’s head. She wanted, ideally, for the book to include sections or chapters from Cesi’s perspective.

It was a good idea, and Continue reading

The Music Behind Bury’em Deep

This is an incomplete list of the songs and artists that built the soundscape I tried to stay in while writing Bury’em Deep (and editing and rewriting it, and, well, you know).

The initial bulk of the music was industrial, with a few other genres tossed in. I think there was something about the frequently wordless, highly rhythmic, often distorted quality of that music that drove my sense of living inside a spaceship. My vision of those spaces was not the JJ Abrams Star Trek Apple Store feel of white, glass, and lens flares. It had more in common with World War 2 era submarines. Any gleam or shimmer came from the false realities of glasses’ environmental skins.

The next place I took musical inspiration from was synthwave. Something about the way those sounds combined with the more grating and grinding industrial music fused the feeling of large heavy machinery with complicated computers. Better yet, the synthwave often had a driving beat as well, something that mimicked and pantomimed the rhythms of the industrial tracks that had first sparked my imagination.

This means that alongside Front 242 (Tragedy For You), lots of VNV Nation (specifically tracks with fewer words), Foetus (Love, and (Not Adam)), and Ministry, I had heaps and piles of tracks from Makeup and Vanity Set (everything they made for Brigador, plus at least five other albums), Perturbator, Lazerhawk, Kavinsky, and Waveshaper.

Then, the more idiosyncratic additions and odder pairings, the ones that I couldn’t ignore:

VNV Nation’s song 4 A.M. flows seamlessly into the choral version of Barber’s Adagio for Strings that you find at the opening of the Homeworld soundtrack. I later discovered Edward Higginbottom’s choral version of that Adagio for Strings. I used the rest of the Homeworld soundtrack too.

I listened to two remixes of tracks from Star Control 2. They were Starbase – Under a Red Sky, and Property of the Crimson Corporation.

I listened to Holst’s Planets, and Clutch’s eponymous album. I cycled through several tracks off Tomoyasu Hotei’s album Electric Samurai (especially Dark Wind and Howling). I listened to SomaFM’s space mission station, and Science from the album Sounds of GE. Sometimes I listened to Orbital, primarily their Blue Album and In Sides. I used tracks from Receiver, by H Anton Riehl, and NASA’s Symphonies of the Planets: Voyager Recordings.

Sometimes I listened to one album or track on repeat for hours on end. My musical desires grow strange(r) while I’m writing.

If you have any of that music, I suggest playing it while you read the book. If you don’t have the book, I suggest listening to that music and imagining what it feels like to live trapped in a tin can in the far reaches of our solar system.

What year is Bury’em Deep set in?

What year is it? Why don’t I say?

Well, for one thing I don’t want Continue reading

Nutrient Paste in Bury’em Deep

I don’t ever state this explicitly in Bury’em Deep, but food for spacers is more complicated than simple nutrients. In fact, Continue reading

Setting Material for Bury’em Deep (and sequel), pt. 2

This one’s a close follow up to last week’s post. Again: rough draft material, only partial, subject to change. This time, I’m diving deeper into the Rhean intelligence apparatus, and what influence it’s had on Rhea and beyond! Continue reading

Setting Material for Bury’em Deep (and sequel)

While I’ve been working on writing a sequel to Bury’em Deep (yes, I changed the name), I started working my way through some background material that seemed important. This is all rough draft material, only partial, and subject to change… but I thought you might enjoy some of the details! Read on for tidbits of Rhea’s history and its place in the politics of Saturn-space. Continue reading