Shards of Honor was an interesting read. In all honesty, I didn't get too far into it (about 60 to 70 pages if I remember correctly). When I say it was interesting I mean two things. The first being that it has the good sci-fi hook, I was interested in exploring these planets and unknown worlds, and found things like weapons that render people psychologically stunted pretty engaging as well. The second point of mine is more of a negative point of view. The political intrigue into a society I didn't feel connected to just came off way too strong. Parts that I was fond of (like burying the crew member by the light of glow-sticks while fighting off alien creatures) were good to me, but the whole Betan versus Barrayar felt like a big "so-what" to me. Perhaps I just didn't give it enough time. Not that it all wasn't done well, though.
I'm sure this science fiction universe is well established and as in-depth as good world building should be. I'm simply a bit picky for this sort of thing. This could be why I've never been a big fan of Star Wars. Space Opera is a bit too big of a scope for my taste. Not that it has to be simple, quite the opposite. I'm a fan of Warhammer 40k (a bit different from Star Wars, I know, but not any smaller of a universe by any means), but maybe that's because I can relate to something that originates from Earth. That little bit of familiarity can do a lot for a story when I trying to decide whether or not I'm interested in it.
Thursday, November 28, 2013
Wednesday, November 20, 2013
Ocean at the End of the Lane
This book was my introduction to Neil Gaiman's literature. The only extent of interaction I had with this author was seeing Coraline in theaters, the first 3D movie I subjected my eyeballs to. He also came to Ringling in the spring of 2012 with is wife, Amanda Palmer, and did some reading opposite of her playing a few songs on a ukulele. I knew that what he did would appeal to me, but I had not actually tried to prove that to myself before reading Ocean at the End of the Lane.
The emotion of this book was a bit disturbing to me. I say this first because it's what hit me so quickly. Going from the present into the past is nothing new in the beginning of a book; the narrator recollecting his childhood seemed pretty normal. I knew fantasy elements were going to present, to an extent, but the way in which Gaiman uses imagery and his style of prose is pretty mature in my opinion. I was prepared for a children's book, and what I read was a bit horror-inspired and not what I expected. A good example of what I wouldn't want a kid to read or experience is the part where the father repeatedly holds the boy underwater. And the general idea of a woman/demon coming in to replace one's mother is a pretty disturbing scenario. I was disgusted when the narrator remembered looking into the window when sneaking out, seeing his father hug Ursula from behind.
Gaiman's writing style is on point at times, then feels like stream of consciousness at other times. This style was pretty appealing to me, feeling pretty real in that I can space out and not miss extra details, and regain intense focus when the action is happening. My roommate is a big Neil Gaiman advocated, I plan on asking what books I should read next.
The emotion of this book was a bit disturbing to me. I say this first because it's what hit me so quickly. Going from the present into the past is nothing new in the beginning of a book; the narrator recollecting his childhood seemed pretty normal. I knew fantasy elements were going to present, to an extent, but the way in which Gaiman uses imagery and his style of prose is pretty mature in my opinion. I was prepared for a children's book, and what I read was a bit horror-inspired and not what I expected. A good example of what I wouldn't want a kid to read or experience is the part where the father repeatedly holds the boy underwater. And the general idea of a woman/demon coming in to replace one's mother is a pretty disturbing scenario. I was disgusted when the narrator remembered looking into the window when sneaking out, seeing his father hug Ursula from behind.
Gaiman's writing style is on point at times, then feels like stream of consciousness at other times. This style was pretty appealing to me, feeling pretty real in that I can space out and not miss extra details, and regain intense focus when the action is happening. My roommate is a big Neil Gaiman advocated, I plan on asking what books I should read next.
Friday, November 15, 2013
Night Circus
Night Circus was a pretty captivating read, to be honest. It was described as a more adult Harry Potter, a description I felt was appropriate from what I experienced. I had a feeling I would enjoy the book after seeing what Prospero said when first seeing his daughter dropped unexpectedly into his care: "Well, fuck."
Comparing it to Harry Potter, I can see why it would be labeled as a more adult version of wizardry. I mean, looking beyond the perverse bet that Prospero and Mr. A.H. set up, thematically speaking the label sticks. Harry Potter was engrossing to many children because it was relevant to what they wanted to experience. Their imaginations were captivated by magic, and they felt as if they were as good of friends with Ron and Hermoine as Harry was. My friends and I literally grew up with Harry Potter, both the books and the movies. They get darker and have a more mature feeling as the years at Hogwarts went on. Perhaps this is because the people who were children when Harry was were growing up?
Along the same lines as the H.P. tangent, the Night Circus has similar, more adult themes or ideas as the later books/films do in the H.P. setting. J.K. Rowling didn't really delve into romance whereas Celia and Marco develop their relationship and it's a central point of the book. They're bound to fight each other for their lives, a 'contract' they have no control over.
If Night Circus was written pre-J.K. Rowling, perhaps it wouldn't have been met with the reception it had received. Part of the world's most recent generation had grown up with magic, and having it introduced again in a not-so-foreign light seems pretty appropriate.
Comparing it to Harry Potter, I can see why it would be labeled as a more adult version of wizardry. I mean, looking beyond the perverse bet that Prospero and Mr. A.H. set up, thematically speaking the label sticks. Harry Potter was engrossing to many children because it was relevant to what they wanted to experience. Their imaginations were captivated by magic, and they felt as if they were as good of friends with Ron and Hermoine as Harry was. My friends and I literally grew up with Harry Potter, both the books and the movies. They get darker and have a more mature feeling as the years at Hogwarts went on. Perhaps this is because the people who were children when Harry was were growing up?
Along the same lines as the H.P. tangent, the Night Circus has similar, more adult themes or ideas as the later books/films do in the H.P. setting. J.K. Rowling didn't really delve into romance whereas Celia and Marco develop their relationship and it's a central point of the book. They're bound to fight each other for their lives, a 'contract' they have no control over.
If Night Circus was written pre-J.K. Rowling, perhaps it wouldn't have been met with the reception it had received. Part of the world's most recent generation had grown up with magic, and having it introduced again in a not-so-foreign light seems pretty appropriate.
Wednesday, November 6, 2013
Fantasy and Literature
The reading for fantasy was The Hobbit, a definitive classic in fantasy literature. I had never read this book before this class, and was surprised in a few ways by what I was reading. I haven't seen the movie, either, but have seen the Lord of the Rings movies and had a certain level of anticipation for the novel.
In my mind, I was set up for a pretty gritty and relatively dark fantasy world that I absorbed from the films. What I got from reading, though, was a bit more light hearted. Not childish, but less dark that I figured. I can see why it has captured the minds of thousands. A lot of artists that I follow cite it as a gigantic reason they're interested in the fantasy genre at all. Even having seen actors that portray the parts of the characters, I can imagine the black skinned Gollum with his light eyes, crouched in his cavern. A different design, a bit more appealing than what I saw in Lord of the Rings (which I was really surprised was different). The relatively short volume and quick pace of the book seemed like it left a lot open for my head to fill in details, or at least what I felt was necessary to imagine.
In my mind, I was set up for a pretty gritty and relatively dark fantasy world that I absorbed from the films. What I got from reading, though, was a bit more light hearted. Not childish, but less dark that I figured. I can see why it has captured the minds of thousands. A lot of artists that I follow cite it as a gigantic reason they're interested in the fantasy genre at all. Even having seen actors that portray the parts of the characters, I can imagine the black skinned Gollum with his light eyes, crouched in his cavern. A different design, a bit more appealing than what I saw in Lord of the Rings (which I was really surprised was different). The relatively short volume and quick pace of the book seemed like it left a lot open for my head to fill in details, or at least what I felt was necessary to imagine.
Monday, October 7, 2013
Witches!
Aunt Maria proved to be quite an evil woman. The book that draws its name from this woman, Black Maria, was a very good read. Slow to start, it seemed a bit shaky at first in that it gave a good bit of detail on setting and story (which is never a bad thing). The popular consensus is the class is that a slow build up is apparently something to dislike. That isn't a surprise when we live in a 'fastfood' kind of lifestyle, but I liked the slow pace of the start of the story.
That being said, though, once the book hit the interesting moments, I couldn't stop reading. I read the entire book in one night. I think the part that hooked me was when one of the women told Chris he looked like a jester, after having seen the ghost that was dressed as a jester. It made my eyes widen a bit, and I knew it would get good. And of course when Chris was turned into a wolf. The visual storytelling was great, I easily put myself in the space and witnessed it all happening.
That being said, though, once the book hit the interesting moments, I couldn't stop reading. I read the entire book in one night. I think the part that hooked me was when one of the women told Chris he looked like a jester, after having seen the ghost that was dressed as a jester. It made my eyes widen a bit, and I knew it would get good. And of course when Chris was turned into a wolf. The visual storytelling was great, I easily put myself in the space and witnessed it all happening.
Are witches making a slow come-back? Maybe. In my opinion, they've been relevant for a while, but in varying capacities. As far and I can remember, I've seen an interest in witches in popular culture. Many are interested in Wiccans and witchcraft, the history of Salem and the witch trials, and something a bit less dark like Harry Potter. One can at least argue that people have been interested in these sorts of things for the 15 or 20 years, if Harry Potter is the deciding factor.
Monday, September 30, 2013
What is weird?
What is weird? The typical answer to this may be "anything out of the ordinary", something that is perceived as "supernatural", or something uncanny. To be a bit more specific and define weird fiction, I believe that it is a blend of genres or themes that branch out a bit further than just the realm of horror. Scientific, religious, mythical or even psychological disturbance themes mixed with fantasy or sci-fi.
A work like King Rat is labeled as 'weird', but doesn't fit so easily under these definitions. Though it pulls a lot of folk-lore from the legend of The Pied Piper, it mixes this with a modern setting and the typical gothic 'family bloodline and destiny' theme. Weird is a good word for it, as these pretty different things are wound together to create a world that, to be frank, felt pretty weird.
What I'm more accustomed to as weird are stories by H.P. Lovecraft or Arthur Machen. These authors take classic horror conventions like mystery and murder and mix them with the mythic, psychological, and cosmic unknown. King Rat, although introducing a different 'weird' to me, does what I expect a 'weird' book to do. It broke the rules of the familiar, in a slightly uncanny way. As Lovecraft had said about the 'weird genre':
"The true weird tale has...more than secret murder, bloody bones, or a sheeted form clanking chains... A certain atmosphere...must be present; and there must be a hint...of that most terrible conception of the human brain--a malign and particular suspension or defeat of those fixed laws of Nature which are our only safeguard against the assaults of chaos and the daemons of unplumbed space."
Our interest in the weird keeps us sane. We look for an escape from reality, and what better to offer that than the unexplainable and completely unrealistic? It's true that elves and dwarves are not real, but even more far-fetched are themes pulled from the cosmic unknown. Or better yet a mix of what we know to be familiar, but slightly off. The uncanny, such as I encountered in King Rat, can sometimes be the weirdest of all. Take something we know, like a modern setting, and give it a twist. If we look in the mirror and don't recognize what we see, it'll interest us a hell of a lot.
A work like King Rat is labeled as 'weird', but doesn't fit so easily under these definitions. Though it pulls a lot of folk-lore from the legend of The Pied Piper, it mixes this with a modern setting and the typical gothic 'family bloodline and destiny' theme. Weird is a good word for it, as these pretty different things are wound together to create a world that, to be frank, felt pretty weird.
What I'm more accustomed to as weird are stories by H.P. Lovecraft or Arthur Machen. These authors take classic horror conventions like mystery and murder and mix them with the mythic, psychological, and cosmic unknown. King Rat, although introducing a different 'weird' to me, does what I expect a 'weird' book to do. It broke the rules of the familiar, in a slightly uncanny way. As Lovecraft had said about the 'weird genre':
"The true weird tale has...more than secret murder, bloody bones, or a sheeted form clanking chains... A certain atmosphere...must be present; and there must be a hint...of that most terrible conception of the human brain--a malign and particular suspension or defeat of those fixed laws of Nature which are our only safeguard against the assaults of chaos and the daemons of unplumbed space."
Our interest in the weird keeps us sane. We look for an escape from reality, and what better to offer that than the unexplainable and completely unrealistic? It's true that elves and dwarves are not real, but even more far-fetched are themes pulled from the cosmic unknown. Or better yet a mix of what we know to be familiar, but slightly off. The uncanny, such as I encountered in King Rat, can sometimes be the weirdest of all. Take something we know, like a modern setting, and give it a twist. If we look in the mirror and don't recognize what we see, it'll interest us a hell of a lot.
J-Horror
Japanese horror, as opposed to the Western horror I've grown accustomed to, focuses on the psychological and suspense building aspects of horror. Although not entirely unique to itself, these themes are the dominant use of horror. That alone represents a difference in cultural orientation. In Western culture, the formula may be a crazed axe-murderer that startles you with jump scares and loud orchestral stings, but J-horror builds tension relatively slowly and focuses on folk-lore, spirits, and themes from classic ghost stories.
A good example of cultural shift is in the movie Pulse. We noticed in this movie that there's an absence of romance. A typical role to fill in Western horror movies is the male and female couple. One can expect them to overcome the ordeal they're thrown into, proving their strength and love for each other. Another good thing to note was the scene with where the ghost of a young woman is walking up to the boy who unsealed the taped-up door. The music was increasing in volume, and being accustomed to Western horror I expected a loud crescendo and jump scare. That never happened, it just sort of cut abruptly. It left me with a completely different feeling. I felt anxious even after the scene ended because there was no conclusion to the scare that I really expected.
The existence of good and evil in Western culture is clearly defined. It seems that is there is something bad, it exists for the purpose of doing harm to whatever or whoever may defined as good by contrast. J-horror, though, seems much more circumstantial. The first film of the Kwaidan movie illustrates this example well. The man sort of fell into meeting with the spirit, eventually forgetting the promise he made. The spirit was not intent on doing harm to him, and even decided not to at the end. If this were a Western story or film, the man probably would have met his end the night he first met the spirit.
A good example of cultural shift is in the movie Pulse. We noticed in this movie that there's an absence of romance. A typical role to fill in Western horror movies is the male and female couple. One can expect them to overcome the ordeal they're thrown into, proving their strength and love for each other. Another good thing to note was the scene with where the ghost of a young woman is walking up to the boy who unsealed the taped-up door. The music was increasing in volume, and being accustomed to Western horror I expected a loud crescendo and jump scare. That never happened, it just sort of cut abruptly. It left me with a completely different feeling. I felt anxious even after the scene ended because there was no conclusion to the scare that I really expected.
The existence of good and evil in Western culture is clearly defined. It seems that is there is something bad, it exists for the purpose of doing harm to whatever or whoever may defined as good by contrast. J-horror, though, seems much more circumstantial. The first film of the Kwaidan movie illustrates this example well. The man sort of fell into meeting with the spirit, eventually forgetting the promise he made. The spirit was not intent on doing harm to him, and even decided not to at the end. If this were a Western story or film, the man probably would have met his end the night he first met the spirit.
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