Novelizations Panel Schedule, Arisia 2021

Come hear me (and other people) talk about Movie Novelizations!

1pm EST, Saturday Jan. 16th, this coming weekend.

I’m only on the one panel this year. This is a far lighter load than I had last year, when I was on seven panels and modded four of them—one of those by surprise (the Harassment one).

Part of me is a little sad about doing less this year. I really do enjoy being on and moderating panels, for all that I was worn out by it last year. But another part of me is fine with it; I have a weekend that I can use to do other life-things. I won’t come out of this weekend feeling run down from running around constantly and talking non-stop for hours on end.

And yet.

I enjoy nerding out about a hodge-podge of topics, and I enjoy listening to other people speak knowledgeably about their areas of expertise, and I *really* enjoy shepherding panels through their explorations. I’ve made some good friends, people I value reconnecting with, over the years that I’ve been at Arisia. I’ll miss seeing and talking with them this year. I’ll miss being on panels with them.

There were fewer panels offered this year that called to me, fewer panels for which I thought “oh that one fits me to a T” or “I could really add something there.” I don’t think that lack is beyond normal variation, especially given the trying circumstances for any convention this year. And I don’t mean that there aren’t good panels on offer, merely that there weren’t as many that felt correct for me.

If you’d like to hear about movie novelizations, or the struggles involved in translating any given story across media, come check out this panel on Saturday. I hope you’ll see me there.

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.

The Old Guard, quick thoughts

I love The Old Guard because it upends so many of the constraints of its genre, even as it faithfully delivers exactly what the genre demands. The Old Guard is a modern action adventure story with fantastical elements. In movies (and other media) “action adventure with fantastical elements” usually means straight white male protagonists and lots of male gaze… and that’s thrown out the window here.

There’s no doubt that is partially due to the influence of the comic’s writer (Greg Rucka, who also wrote the screenplay)—but I want to draw attention to director Gina Prince-Bythewood. The movie was a hell of a lot of fun, and I quite honestly appreciate the eye, the connections, and the humanizing focus she brings. It didn’t matter that the movie’s plot was straightforward enough for my partner and I to call the twists in the first fifteen minutes, because the movie was a delight.

This will be a strange comparison, but… I watched The Old Guard the same day that I saw Beautiful Boy (a serious drama about mental illness, drug abuse, addiction). They’re so wildly different that I doubt anyone would put them together unless forced to by the fact of their shared medium. I didn’t know how Beautiful Boy would end, it left tears in my eyes and wound my chest up tight, and while I appreciate it I absolutely don’t want to watch it again right now. The Old Guard is the opposite. I felt freer, lighter, and unlike other stories in its genre I never felt like the film was a guilty pleasure.

Look, there were multiple points where my partner and I paused, rewound, and giggled in delight as we rewatched a scene from The Old Guard. Having already seen some of the movie repeatedly, I would happily watch the whole thing again. Why? It’s so DAMN refreshing for both leads of an action adventure to be women, one of whom is black. Even better (thank you Gina Prince-Bythewood) those leads both feel like they’re played and filmed as human beings rather than eye-candy. The delicious garnish? The side-character scene stealing lovers are an adorable gay couple who’ve been together for a millennium.

This might not be your kind of movie. That’s fine. All I have to say is: it’s delightful and I absolutely recommend it to anyone who enjoys action adventure but can’t stomach how those stories are usually written.

The Letter for the King, early thoughts

I’ve only watched a few episodes, a little bit into number four at the time of this post. I don’t know whether I’ll get through the rest of it at this rate. I’ve been enjoying it, for the most part, but I’m not sure I’ve enjoyed it enough for it to hold my attention when I have so many other things to watch.

If you watch this show, you should be ready for YA fantasy tropes to hit you really hard. This is especially true of those classic questing YA fantasy adventure tropes, from stories full of knights and long journeys and all that jazz. These tropes will be all over, and they aren’t too carefully hidden. If you don’t like YA fantasy, I can’t recommend the show. If you do like it, well, keep reading.

What’s good about the show?

First, most obviously when you’re watching the show, it’s friggin’ gorgeous. Lots of pretty scenery and fabulous locations, solid costuming, the works. If you want attractive medieval fantasy vistas, this show will deliver. I think it’s intended to cash in on the present lack of Game of Thrones, and while it hasn’t yet hit any of the bonkers high notes that GoT did with its visuals, I will vouch for this show’s eye candy.

Second, something that I rather appreciate and feel is important: this show has more actors of color than most other medieval fantasies (or TV shows, period) that I’ve seen recently. Now, that isn’t particularly hard to do given the pasty complexion of so many TV shows and movies. It’s an admittedly low bar, and it’s one more shows should clear.

But I’m glad to say that the actors of color here aren’t simply set dressing, and aren’t (all) reduced to stereotypes—a higher proportion of them are main characters than I usually see. Even better, the focal character is a person of color. It’s refreshing! I like having a broader representation present on the screen, and I find it more interesting this way. 

Unfortunately, that brings me to a less-good detail.

The setting for the show still has fantasy racism, clothed in a thin skein of nationalist bluster. Yet that skein is see-through: the folks that most racist people in the show are racist against are still people of color. Mostly black. 

The show’s writing is clearly of the opinion that this racism is bad and/or wrong. The story is written to empathize with the main character, as he deals with other people being racist against him. Unfortunately, I feel like the show could be doing a better job with this, and could be teasing more out of this. The show’s handling of things feels more tame and settled than makes sense.

Certainly there are better examples of recent works interrogating racism and handling surrounding issues of systemic oppression (mostly not TV, I admit). If the show didn’t want to face all of that, I think they could have done a better job of presenting national animosity without tying it to skin tone. Overall, it feels more like a missed opportunity and a curiously unexamined blank spot in the larger whole of the story, like someone left a low-res artifact in the middle of a beautiful landscape photo.

Maybe the clumsy handling of racism comes from the fact that the source material is a Dutch fantasy novel from the 1960s? I haven’t read it. But browsing the novel’s wikipedia page leads me to think the original didn’t even attempt any such handling; the show has obviously already diverged a good deal from the book, and seems likely to diverge further.

That means the clumsy handling is new to the show, perhaps in an attempt to make the show more modern or current. I’m not sure how to feel about that (especially given that I’m simply guessing). On the one hand, it’s good that they are trying (I think)… but on the other, well, I wish they’d done it differently.

Still, I will say that the broader representation and vague attempt to critique racists is an improvement over many previous shows. Having a diverse group of actors is better than a homogeneously pale cast. Critiquing racism, even poorly, seems like a clear advance from not daring to mention it or (worse) simply including it without any comment or critique. So while I think the show could do better, I’m willing to give it a pass here for trying.

Am I the right person to be passing judgment here? No, not really. If you want to do proper diligence, you should probably read some less-pale person’s thoughts on the show. But I do think this show is contributing to shifting the mode of pop culture in a better direction.

Addendum: Alright, just finished the fourth episode after writing the above. I’m still not sure I like the way the show has handled everything I mentioned previously (also, goodness they’re bad at making a believable belowdecks set for a small ship)… but there does seem to be some more interesting side commentary implied in how the story handles magical power, white savior narratives, and attempts at cultural appropriation etc. So as I said before: I’m not sold on the whole thing, but the show is doing a better job of some of this than their predecessors have.

Children of Blood and Bone, by Tomi Adeyemi

CBB+Book+CoverShit Children of Blood and Bone is good. Tomi Adeyemi deserves more than praise for this.

The end of the book was all that I could have wanted and more, and I loved it. I finished it in tears, big warm heartfelt and healing ones, the kind I like. I would wholeheartedly recommend this book to anyone looking for fantasy YA, and I’d add it to the reading list I’ve made of works by Nnedi Okorafor, N.K. Jemisin, and Alaya Dawn Johnson (all of whose work you should also try if you haven’t yet).

Now, as often happens with YA these days, I did bounce several times nearly two-thirds through. My dislike of YA star-crossed romance tropes—and my fear and anticipation of the next guessed-at story beat—got the better of me. But each time, what Adeyemi actually wrought was so much better than what I’d feared. She did conform closely enough to the tropes for the story beats to be recognizable as those tropes, but she wrote them well. Better, she wrote them differently enough that I, as someone who struggles through those pieces of YA novels, enjoyed it. Tomi Adeyemi is skillful and capable, and she twists characters around and makes them suffer, and she does it brilliantly.

This book is beautiful and powerful and magnificent, it is evocative and compelling, I love it. And I absolutely admire it as craft and as message. Children of Blood and Bone calls out brutal truths about our own world. I fervently hope it reaches more people… and that we change our world.

Thank you, Tomi Adeyemi, for making this and sharing it.

I’ve already picked up Children of Virtue and Vengeance, the sequel.

Arisia 2020 is next week!

I’ll be at Arisia next weekend, from Jan 17th-20th (Friday through Monday). I’m going to be on seven panels, and will be moderating three of them! Here’s my schedule, and a quick overview of *some* of the material for each panel.

The GM-less Game; Lewis, Friday 7pm: discussing the growing genre of GM-less games, what makes them work, and how to dig into them.

Cooperative Games (mod); Marina 4, Saturday 4pm: discussing cooperative and semi-cooperative board and video games, barriers to entry, how to pick the right ones for your group, and how to navigate their traps and pitfalls.

Feet of Clay, Mind of Light; Marina 2, Saturday 5:30pm: discussing sentient life in non-organic bodies, with plenty of robots, AIs, and conversation about gender, immortality, bodies, dysphoria, and the soul.

Harassment, Missing Stairs, and Safety in LARP; Faneuil, Saturday 7pm: discussing do’s and don’ts of writing and enforcing codes of conduct, dealing with malicious actors in your social groups, and maintaining a healthy and welcoming community that is less vulnerable to abusive behavior.

Death and Funerary Practices in Science Fiction (mod); Marina 4, Sunday 1pm: discussing how genre fiction has dealt with (and failed to deal with) death, how this informs our understanding of the cultures inside those stories, and how our own culture has shaped death and funerary practices in our fiction.

Bringing Horror Into Other Genres (mod); Otis, Sunday 7pm: discussing what horror actually is, the effect of horror’s dread and frisson, what purposes horror may serve (both in horror and elsewhere), and how horror and its elements can expand and improve other genres.

The Hacker’s Guide to D&D; Marina 2, Sunday 8:30pm: discussing D&D 5th edition, how (un)important it is to use the rules as they’re written, and how we as storytellers can use rules and systems from elsewhere to create the experiences we want for our players inside the constraints of D&D’s 5th edition.

Three Parts Dead, by Max Gladstone

ThreePartsDead

I’ve seen Max Gladstone in person several times now, at Pandemonium Games and at Arisia, and I’ve enjoyed hearing him speak… and now I’ve finally read one of his books (besides the wonderful stuff he has on Serial Box). I’m glad to say that Continue reading

Castle in the Air, by Diana Wynne Jones

CastleintheAir

At least this cover doesn’t make me want to devote another 500 words to critiquing it.

You’d be forgiven for thinking that Diana Wynne Jones cribbed from Disney’s 1992 Aladdin, but Castle in the Air came out first (in 1990). Perhaps more strangely, I haven’t found anything about the making of Aladdin that confirms that they were inspired by Castle in the Air… but I wouldn’t be surprised if there was some cross pollination.

As with Howl’s Moving Castle, perhaps even more so, this is a book that I want Continue reading

Howl’s Moving Castle, by Diana Wynne Jones

 

HowlsMovingCastle

Howl’s Moving Castle is an excellent book. I’m indebted to my friend for recommending it to me; I knew the book existed, and I already loved the Miyazaki film, but it was her mention of it that finally pushed me over the edge.

Now that I’ve read it, I have to say that Diana Wynne Jones Continue reading

The Beast Player, by Nahoko Uehashi

TheBeastPlayer

To someone well-versed in American (and more generally, Western) narrative expectations, The Beast Player is a bit of an odd duck. It is, however, a good duck.

Some of this oddness can be chalked up to the fact that Continue reading