separate hobbies

Jul. 21st, 2017 06:47 pm
mizkit: (Default)
[personal profile] mizkit

I saw a thing yesterday that said “Buying fabric and sewing fabric are TWO SEPARATE HOBBIES.”

I actually feel that I understand so much more about the world now.

I’m now up to 6 artist’s figurines (I need to write more reviews) and I was unable (or unwilling) to resist a set of 14 archival color pens, plus all the stuff I already own, but do I actually draw? No, hardly ever. (That said, I’ve done more this year than in many years.)

Anyway, point is I’m back to that “I want to draw some silly little story like Questionable Content only about, IDK, fat 40somethings instead of hipster robots” thing. Except I really don’t want to draw a story about fat 40somethings because ugh life. I want to do something cute and funny that I don’t have the skill set for but who cares I’ll do it anyway because it doesn’t matter. Or something. And I want just enough pressure to help me do maybe half an hour of art a day without having any real expectations.

Which of course is not much like my personality at all, because yes, I have met me. :p

Moop.

(x-posted from The Essential Kit)

Cool Stuff Friday

Jul. 21st, 2017 12:22 pm
jimhines: (Snoopy Writing)
[personal profile] jimhines

Friday still hasn’t seen the new Spider-Man movie 🙁

Mirrored from Jim C. Hines.

sartorias: Mei Changs (MC)
[personal profile] sartorias
In the next pair of episodes, as Mei Changsu begins his campaign to take down the corrupt court, we start getting to know a couple of very interesting women, both challenging.

And MC is walks into another emotional gutting.
Read more... )

Recent Reads: A WRINKLE IN TIME

Jul. 19th, 2017 03:09 pm
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[personal profile] mizkit

Having cried all over the WRINKLE IN TIME trailer, I thought I’d better re-read the book immediately to get a proper feeling for it again. It’d been at least twenty, possibly thirty, years since I’d read it, and…

…it’s kind of equally weirder and more mundane than I remember it.

I was prepared for, although somewhat exasperated by regardless, the Christian allusions; whenever I last re-read L’Engle, I was adult enough to notice her books are really laced with Christianity, so I knew that was going to be there. The story itself is actually a lot more straight-forward than I remember it being; possibly I’ve conflated the other books with it, or maybe it’s just that the weird bits are SO STRANGE that I thought the story structure had to be a lot more complicated than it really is.

It’s not, from a modern storytelling perspective, especially well told. It takes about four chapters to really get going, and it’s only a 12 chapter book. There’s a lot of telling, but not much in the way of showing in terms of…*why*. Meg is not, to the adult modern reader, particularly sympathetic: she doesn’t fit in at school, she’s angry in general and specifically very defensive about her father’s absence, and is apparently some particular kind of dumb that excludes being spectacularly good at math. That dumbness may be meant to indicate she’s socially inept, but although that certainly appears to be true, it doesn’t seem to be what’s really going on.

But that…dumbness…whatever it is…is crucial through the whole book. Meg doesn’t tesseract as well as the others. Meg is more vulnerable to the Darkness than the others. Meg won’t understand if you explain the thing…but I never understood why. (I’m not sure I understood as a kid, either, but it didn’t matter as much to me then.) And it’s apparently not something that came on simply because Mr Murry disappeared, because even he comments on it, and had done so before his disappearance, so you can’t lay her anger/ineptitude at the feet of her father’s disappearance.

And, just as much as Meg’s lack is not explained, neither are Calvin and Charles Wallace’s aptitude. Calvin communicates well; well, okay, that’s fine, but why does it make it easier for him to tesseract? Charles Wallace is, as far as I can tell, not even actually human, and Calvin, who does not come from the Murry family at all, is apparently More Like Charles than Meg is. But I don’t know what they are, or why they are, or why they’re the special ones and our heroine isn’t (well, that last one is institutionalized sexism, but let’s move past that). I remember *loving* Charles Wallace (and crushing terribly on Calvin), but I find him fairly creepy now, and that’s as the parent of an extremely self-assured little kid who, like Charles Wallace, is quite certain he’s able to Do It His Way without listening to the wisdom, or at least the experience, of his elders.

The one thing that maybe felt the most true to me in the whole book was Meg coming around to being the one who can save Charles Wallace. She wanted someone else–her father, specifically, but ANYBODY ELSE–to have to do the hard work. She was terrified and resentful of having to do it herself (and possibly that’s what the aforementioned “dumbness” is, since everybody keeps saying If you’d only apply yourself, Meg,, but that still doesn’t explain why she doesn’t tesseract as well, etc), and that seems very appropriate to a 13 year old to me. To people a lot older than 13, too, for that matter. But it comes in the 11th hourchapter, and her willingness to go on there is the only time in the book that she moves forward of her own volition. I’m not saying that isn’t fairly realistic, maybe, for a young teen, but in terms of making a dynamic book, it…doesn’t, really.

There are parts of the book that remain wonderful. The Mrs W are still splendid; Camazotz (which I always read, name-wise, as being what happens when Camelot goes terribly wrong) is still EXTREMELY CREEPY, and the thrumming presence of IT remains startlingly effective. Aunt Beast is wonderful. (So basically: the aliens work a lot better for me than the humans do.)

It doesn’t feel like a book that could get published now. It would need more depth; it felt shallow to me. A lot of its weirdness seems to me like it came very specifically out of the 50s and early 60s; I don’t think that book would, or perhaps *could*, be written now. It’s very internal in a lot of ways, and I’m really looking forward to seeing how the film adapts the weirdness and the internalness and Meg’s basic lack of agency into an accessible story. My *feeling* is that they’re going to do a magnificent job of it, that it’s going to be one of those cases like Frankenstein or Jeckell & Hyde where the book’s conceptual foundation proves more powerful in film than it does on the page. I hope so!

But you know what I really wanted to do when I finished reading A WRINKLE IN TIME? I wanted to re-read Diane Duane’s SO YOU WANT TO BE A WIZARD, because I felt like the Young Wizards books use A WRINKLE IN TIME as a conceptual springboard and dove off into something that worked a lot better as a *story*.

So I guess I know what’s up next (or soon, anyway) on the Catie’s Re-Reads list. :)

(x-posted from The Essential Kit)

NIF: Eps 5-6, Palace Dynamics

Jul. 18th, 2017 05:35 pm
sartorias: Mei Changs (MC)
[personal profile] sartorias
Episode 5

This and the next episode was the turning point for me: up until now I enjoyed the episodes, but didn’t feel much engaged. I know it’s different for different people, just as in anything else: one friend was hooked from the first episode at the sight of MC gliding in that flat boat as he played that compelling minor key melody on the flute. Another didn’t get hooked until a certain point in the story a few eps on, and then all of a sudden got hooked so hard that they had to mainline the entire thing until the end. And then promptly rewatch it all.

For me, it was the conviction that I got through this and the next episode, which I think of as a pair, that not only was Mei Changsu as brilliant as promised, but I was going to see proved, bit by bit. That intrigued me. And that intrigue began deepening slowly, until the emotional layers of friendship, loyalty, brotherhood, hidden and obvious—all the conflicting emotional currents—gripped me.
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jimhines: (Snoopy Writing)
[personal profile] jimhines

“There is a common poor attempt at a joke … that consists purely in stringing together a series of marginalized identities and calling attention to it … as if the mere existence of someone like that would be so absurd it could only be laughable.”

Invisible 3 CoverAlliah is one of the contributors to Invisible 3, which came out on June 27 and includes 18 essays and poems about representation in science fiction and fantasy. You can order the collection at:

Amazon | B&N | Kobo | iBooks | Smashwords | Google Play

Any profits from the sale of the collection go to Con or Bust, helping fans of color to attend SF/F conventions.

As with Invisible and Invisible 2, the contributors to this third volume have shared work that’s heartfelt, eye-opening, honest, thoughtful, and important…not to mention relevant to so much of what we see happening in the genre today.

#

Our Hyperdimensional Mesh of Identities

Growing up in the 90s and early 00s in the south-east of Brazil, all I saw in mainstream media were the same repetitive, harmful and offensive stereotypes about travestis in telenovelas and badly written comedy TV shows, and the effeminate gay men and macho lesbian women token characters whose non-conforming gender expression was grossly caricatured for cheap laughs.

As an openly queer young girl in school, I learned that I could be queer, but not too much, not too visibly. I’ve heard those laughs, and I internalized through bullying and ridicule that I should change how I presented myself to the world—which I did really fast by becoming the stock image of a non-threatening feminine girl, although I never hid my sexuality. My first awkward attempts at a masculine gender expression didn’t have time to blossom. I shoved it down some unreachable recess of my mind and avoided it for 10 years, which (along with compulsive heterosexuality and a binary cisnormative culture) is why it took me so long to understand my bisexuality and figure out my transmasculine non-binary gender identity.

Once I did, I uncovered a gender euphoria I’ve been cultivating ever since.

It took me years to understand the ways in which I inhabit my queer transmasculine genderfluid neuroatypical body, and my most powerful illumination came unexpectedly through the stories of a queer non-binary neuroatypical green witch: Elphaba Thropp, the Wicked Witch of the West.

Wicked: Cover ArtI first met her in the book series The Wicked Years by Gregory Maguire, where most aspects about her gender and sexuality were ambiguous or obscured between the lines, and later in fan fiction, where the depths of Elphaba’s intersectional identities (canon or not) could be explored to the fullest by writers that shared those same identities.

Despite being an avid reader of speculative fiction since childhood, it was only after these encounters with trans and non-binary characters in fan fiction during the first half of my twenties that I started researching these topics, that I found out where I belonged. I discovered a thriving community of authors from marginalized groups creating astonishing rebellious versions of every world I’ve ever dreamed of and countless others I couldn’t imagine would be paramount to my process of liberation.

I owe it mostly to the fictional characters and their creators that illuminated me—from early readings like Virginia Woolf’s Orlando to the most recent fan fiction stories about a non-binary autistic Elphaba, a genderfluid bisexual Korra (from The Legend of Korra), and an agender transhumanist Root (from Person of Interest). I wish I could’ve met them sooner. Along the way to self-discovery, I had to collect all sorts of missing pieces with jagged edges and weird fractal shapes, and figure out a way to put them together myself. I was lucky to stumble upon the stories that I did and then to be able to find the communities that I needed. That’s why representation is vital. You cannot search for something you don’t even know exists.

There is a common poor attempt at a joke (that I’ve seen in both Anglophone and Brazilian online spaces), often directed at dehumanizing non-binary people and mocking activists working at the multidimensional core of intersections, that consists purely in stringing together a series of marginalized identities and calling attention to it, using the accumulation of these identities as a joke in and of itself, as if the mere existence of someone like that would be so absurd it could only be laughable.

One of the things fantasy author Jim Anotsu and I wanted to acknowledge when we wrote the Manifesto Irradiativo—our call to diversity and representation in Brazilian speculative fiction—is that our lives cannot be reduced to an isolated shelf in a bookstore or a niche market, thus we cannot be constrained to discussing the realities of our identities in those compartmentalized terms. We’re so much more than single-issue stories, than the same old one-dimensional narratives constructed to serve the gaze of the oppressor without making them examine their privileges and dismantle their systems of violence.

Those single-issue stories exist and persist for several reasons concerning the maintenance of racial, economic, and social power, amongst them because there is a fear of “too much” diversity. As if a book about a bipolar asexual bigender Afro-Brazilian person, for example, would scare away or alienate the common reader—who is always presumed to be the neurotypical cis straight white default that can handle only one unit of diversity at a time, served lukewarm, unseasoned. But as Audre Lorde said in a 1982 speech at Harvard University: “There is no such thing as a single-issue struggle because we do not live single-issue lives.”

Stories matter. And we shouldn’t have the full extent of our existences cut, segregated, and dimmed in them. We deserve to live as a hyperdimensional mesh of identities when they want to flatten us, to be loud when they want to silence us, to occupy the spaces that have been negated to us, and to be wonderfully written and represented as such.

***

Alliah/Vic is a bisexual non-binary Brazilian writer and visual artist working in the realms of the weird and pop culture. They’re the author of Metanfetaedro and have various short stories published in themed collections and on the web. They’re currently building too many independent projects, working on their first novel, and haunting your internet cables. Find them tweeting at alliahverso and newslettering in Glitch Lung. Or buy them a coffee at ko-fi!

Mirrored from Jim C. Hines.

NIF: ep 4, rumbles of thunder

Jul. 17th, 2017 06:31 pm
sartorias: Mei Changs (MC)
[personal profile] sartorias
On my first viewing, I found Nirvana in Fire pleasant to look at—beautiful people, excellent costumes and sets, gorgeous martial arts, what’s not to like? It wasn’t until the next couple of eps that I began to get hooked, but on subsequent viewings, when I know the layers below every glance, every line, it’s too compelling to stop, and I keep turning away from what I should be doing to watch just a little more. [The constant heat and stickiness don't help.]

The complexity is there, and so brilliant, and this ep finishes setting up one sequence so that we will in the next actually see MC’s brilliance, step by step, unfold before our eyes. We’ve been told—and now we’ll be shown. It was then that I got hooked.

But first, episode four, which sets up not just that aspect, but a whole lot of important emotional beats: we’re beginning to get clues to what happened twelve years ago, that no one dares talk about.

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sartorias: Mei Changs (MC)
[personal profile] sartorias
This extraordinarily popular series is based on a novel written by a woman, and was first published online. She published it serially, and it became enormously popular, so much so that a film company contacted her and she wrote the screenplay for the series. She has also published at least two revised editions online that I know of — none of this being translated into English; I’ve found out this much by trolling through sites where people who and speak English have talked about it.

So, on to episode three.
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mizkit: (Default)
[personal profile] mizkit

Carrie Fisher. Robin Wright. Gal Gadot. Daisy Ridley. Melissa McCarthy & Leslie Jones & Kate McKinnon & Kristen Wigg.

Jodie Whittaker.

It shouldn’t matter. It shouldn’t matter, but it goddamn well does.

You know why I chose the women I did, up above? You know why I didn’t include Weaver & Hamilton & Theron on that list?

Because Ripley and Connor and Furiosa were given to us. They were put on the table by filmmakers who said either “it doesn’t matter if this character’s a woman or a man,” or who specifically chose a woman as the vehicle for the main story. Alien & Terminator were always ours. We didn’t have to ask, much less plead and beg, for Ellen Ripley and Sarah Connor. We weren’t looking for Furiosa, and Theron came out of nowhere the same way Weaver & Hamilton did.

But Carrie Fisher? Robin Wright? Yeah, Princess Leia & the Princess Bride were integral to their stories, but Buttercup was a pretty passive observer in her own story and Leia wasn’t there FOR GIRLS. She was there as the token female. The fact that she had an important role & agency is almost beside the point. I read something recently–maybe in Empire Magazine–where someone said something like “If you think about it, Star Wars is really Leia’s story,” and all I could think was WOULDN’T IT HAVE BEEN AMAZING IF IT HAD BEEN FILMED THAT WAY?

So General Antiope? General Organa? I feel like we *fought* for them. Diana? Rey? I feel like they’re from us saying “we want this so much, we deserve this, we hold up half the fucking sky, people.” An all-women Ghostbusters team? We kept saying “oh god please we want this this would be so awesome.” And so now, a female Doctor? It feels like another one we fought for.

And it shouldn’t have to. We shouldn’t have to be pleading for 1/13th of the pie (or less). We shouldn’t have to be THIS HAPPY to get it. And yet I am.

And I’m also SO ANGRY that it takes so little, such a crumb, to make me THIS HAPPY, when it shouldn’t even be a conversation.

And none of that even STARTS to touch on how 8 of the 9 (or 11/12, depending on how you wanna count it) women I’ve talked about are white ladies.

I don’t want white women to be the only ones gaining ground here. I don’t want increments. We don’t NEED increments. The actors are there. Storm Reid proves it. Zendaya proves it. Hannah John-Kamen & Frankie Adams prove it. And I want to see women of color in all these big amazing roles and films too. I don’t want this to just be a moment for white girls and indistinguishable blondes.

I want more, god damn it. I want it all, for all of us. #GirlPower

(x-posted from The Essential Kit)

NIF: Episode Two, we meet Prince Jing

Jul. 16th, 2017 11:43 am
sartorias: Mei Changs (MC)
[personal profile] sartorias
Every man in the capital city wants to marry a princess.
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still toxic

Jul. 16th, 2017 01:23 pm
mizkit: (Default)
[personal profile] mizkit

I’m somewhat better than I’ve been, but I’ve still got a cough and snotty nose. No, I haven’t gone to a doctor, but only because it turns out there’s a shortage of doctors in this town and nobody is taking new patients. We got signed up with a clinic in theory but we still haven’t gotten notification that we’re actually in their system, so…yeah. Anyway. At this point I think I’m going to have healed up before I’m in the system. Whee.

That said, all I want to do today is lie in a lump on the couch and watch Brooklyn Nine Nine all afternoon, but I’d have a 7 year old beside me saying, “What? What?” and fake-laughing at things, which wouldn’t really be much fun.

The Wrinkle in Time trailer dropped yesterday and made me cry. Twice. It looks amazing. (“Mommy,” Indy said incredulously, “are you *crying*?” Yes. Yes I was.) Anyway, I haven’t read the book in at least twenty, possibly thirty, years, and I immediately bought a new copy to read it. I didn’t think it would hold up, honestly, but I’ve read the first chapter and so far it’s still amazing.

I also re-read THE HERO AND THE CROWN a couple days ago and for the first time the acid trip battle with Agsded actually made sense to me. I’ve only read the book about forty times, so it’s nice that I eventually became able to really follow that scene.

Also I don’t remember crying through Talat’s rehabilitation before. *wipes eyes*

I made crabapple jelly with the last of LAST year’s crabapples, some cherry jam, pitted more cherries that Dad brought out, and bought some peaches that I need to process today and see if I’ve got enough for jam. I have frozen strawberries, too, and some many-berry mix frozen berries. Jam, glorious jam. :)

There are TWO kittens in the garden. We’re calling them Topsy and Turvy and are feeding them and their mama. I’m waiting for the local rescue people to have a capture cage available, so hopefully that’ll come through soon.

I turned a grant application in last week. I’ve got a book proposal just about ready to submit. I have copy edits to do and need to email my editor about line edits. And…I’d have to look at my to-do list to see what’s next. That’s plenty to get me through the week, though. :)

(x-posted from The Essential Kit)

sartorias: Mei Changs (MC)
[personal profile] sartorias

Last November, I posted about this series after my first watch. Some of the below is taken from that post, but I’ve expanded it.

 On the surface Nirvana in Fire (Lángyá Bǎng in Chinese)

is about revenge, but that’s far too simplistic. Justice is truer, and so is recovering the truth.

 I suspect, especially these days, if Hollywood had made this story, they would probably have climaxed it when the Big Bad was taken down, and ended with the heroes trotting off for celebratory whoopie.

 Don’t think the final sequence taking down the Big Bad isn’t nail-bitingly intense, because it most definitely is, but the true climax is even more powerful—everyone, especially our hero, risking absolutely everything to gain justice for people not just killed but whose reputations had been destroyed thirteen years ago.

 

And those who did the deed—who begin the story arc wielding imperial power—don’t cynically shrug off the past. They will do anything to keep their secrets, which—one picks up through the subtleties of phenomenal acting, because the subtitles are at best adequate—haunt them.

 

It’s tense, passionate, romantic, full of great battle and ninja action as well as complicated political gamesmanship and quiet, tender moments. It’s funny, tragic, more tense, and always, always visually stunning.

 

And here’s the other thing I love. The female actors don’t have to strip in order to convey sexual politics or relations. And we don’t have to see tons of graphic torture scenes (though there is one, and the perpetrator is not who you'd think) for those dungeon scenes to be breathtakingly, harrowingly intense.

Some background 

 

I don’t speak Chinese, I’ve only read a handful of Chinese novels translated into English, and while I’ve read some Chinese history, the emphasis is on the ‘some’—a tiny fraction of the hundreds of books I’ve read over sixty years about European history.

China has such a long, fascinating, complicated history, which furnishes an equally long-view historical outlook that we just don’t find much of in the USA.  

 

When I compare this to those bits of early episodes of Game of Thrones that I saw, with the generic faux-medieval design and actors who seemed uncomfortable in their tunics and gowns, while I understand there was some fudging-for-modern-audience about the design of Nirvana in Fire, the characters wear the clothes naturally, their interpersonal customs flow naturally, even when rigidly constrained into ritual. Everything feels authentic, to the tiny steps mandated in court to the way men and women played their fans, and held aside their sleeves when pouring tea.

 

But that’s window dressing. What compelled me was the paradigm. Reputation is important—and not just to the good guys—especially family reputation, for it lasts beyond death. Friendship is important. Loyalty is vitally important. There are some things worth dying for. Given the news lately, I find recourse to this series not just entertaining, but necessary for sanity.

The series apparently comes out of the
wuxia tradition— the word “wuxia” being a compound composed of the elements wu (lit. “martial”, “military”, or “armed”) and xia (lit. “honourable”, “chivalrous”, or “hero”). And this genre of story has been popular for at least two thousand years; Chinese literary tradition mentions a critic making fun of wuxia back in the third century B.C.

 

When comics and film came along, wuxia spread into those media, and flourished. During my lifetime, the USA has  important tons of low-budget Chinese martial arts films, most of which more or less fall under the wuxia umbrella. On the plus side, these include badass female warriors who whirl through the air like balletic chainsaws, gracefully wielding as much power as the males—though female non-warriors still represent the traditional submissive female, whose power is covertly expressed.

 

This seeming contradiction isn’t contradictory to the Chinese, who have grown up with the jianghu tradition, which runs parallel to wuxia in a way I would love to understand better, but it seems even older. My still-tentative take is that the jianghu world is the world of the outsider, always fascinating to a complicated, repressive cultural order.

The jianghu world exists amorphously within the rest of China, in some stories with actual lands (formidably defended by martial artists, as in this story), and in others existing as a type of roaming martial art outsider.

 

Jianghu warriors paid no attention to the various governments, and dealt with high and low without any distinction, except maybe a preference for the latter, which made them popular, especially when they adhered to a code of honor.  In most English translations, jianghu seems to be rendered into the somewhat quaint ‘pugilist’ as in Pugilistic World.

 

So Nirvana in Fire is set in a sort of alt-600s, during the time of the Wei and Liang dynasties, in the north and south respectively. It will help you get into the story to know that the pugilistic world when this story occurs is represented by the Jiang Zuo Alliance, with its headquarters high in an amazing place called Langya Hall, which was the Google/Wikipedia of the 600s.

 

People can climb the billion steps to ask any question by putting a slip of paper in any of a number of boxes in a wall, and within a period of time get an answer, while overhead pigeons are constantly bringing messages from all over the world, keeping otherwise isolated Langya Hall up to the minute on all happenings great and small.

 

Early on in Episode One, we only see the data archive for a short time, but it is mind-bogglingly awesome, establishing its presence so vigorously we absolutely believe in its power and reach through the entire series.

 

Before I get into Episode One, let me provide an insight that only occurred after I’d seen the rest of the serial once, then twice: and that is, every single line of that first episode is important. Every single line packs a live mine that is going to explode during the rest of the series.

 

But!

 

I strongly encourage the English-speaking viewer, who is going to be compounding with subtitles (not always grammatically correct, sigh) not to worry about that.

 

Don’t try to make sense of the story in the first episode. There are a lot of characters to introduce, and all of them have their motivations and goals. Let the colors, the expressions, the action, and the mood begin to build impressions. By the third and fourth episodes, you will discover yourself recognizing characters and beginning to understand the main goals well enough.

 

Okay, Episode One.

 

The first minute or two is horrific—a truly nasty battle sequence. What we are seeing is nightmarish memory, as our main character fights, looks around in bewilderment and despair as everyone around him is slaughtered, and then clings to his father’s hand. His father lets him go, yelling at him to survive as he falls into the abyss . . .

. .

 

And our main character wakes up. We pull back to see him sit up in bed, hair hanging in his face, then we see his bloodshot eyes, and after that he fingers a silver bracelet on his hand. All these signs are important: the nightmare. The bloodshot eyes. And the bracelet.

 

But we don’t need to remember them—we’ll see them all again, and what they mean, when it’s necessary. It’s that second viewing when you gasp and think OMG because you know what everything means.

 

We go directly to a pigeon flying to Langya Hall, which we see in all its spectacular beauty. We see information arrive and get brought to Lin Chen, the Master of Langya Hall. The info brought is important, but again, don’t worry about remembering it. It will be re-introduced when it matters.

 

Then we meet Prince Yu, sixth of the Emperor of Da Liang’s nine sons. We also meet the Emperor, getting a message that Prince Yu has completed his inspection of distant provinces, and as the emperor talks with his trusted Head Eunuch, the talk touches on the intense rivalry between Prince Yu and the Crown Prince, to whom we’re briefly introduced next as he asks for news.

 

Again, don’t worry about memorizing all these guys. Their distinctive personalities will emerge as events do. Just watch, as the Crown Prince’s assassins try to take out Prince Yu. He doesn’t fight—his bodyguard dispatches the assassin—but we see that Prince Yu is cold and assured even when the assassin’s blade gets close enough to slice his hand. And he knows who sent the assassins. But as he evaluates international news (remember that pigeon in the earlier scene; he has his own methods of obtaining intel) he decides that he needs to visit Langya Hall, too, if the world’s royal power brokers are advancing by asking advice of the Hall.

 

We then see Lin Chen do an exquisite kata on a soaring cliff, in wuxia style, with lots of martial air ballet. So we’re establishing that this man is Master of Google/Wikipedia/Head Warrior Honcho . . . and we will also find out that he is a very skilled doctor. (And he will nearly steal the show in the last five episodes.)

 

He gives orders about what data to hand off to Prince Yu, which incidentally is also being sent to the Crown Prince. Langya Hall is utterly neutral, totally detached from political struggles in governments. Their alliance is a free-wheeling one, their lands fiercely protected, as we’re about to find out.

 

Prince Yu gets home, and he opens his message at the same time as the Crown Prince does, both pondering the disconcerting news: whoever possesses the Divine Talent will hold the world. Of course they begin politicking, meanwhile mentioning a mysterious case of a Duke Qing who is in trouble for real estate fraud (called land grabbing). Don’t worry about this. You will never meet Duke Qing—it’s the fallout of this case that will unfold over several episodes.

 

But first, assassins dispatched to chase some innocent servants of the duke, and kill them before they can talk, manage to slide into the waters of the Pugilist World. Three ships full of fierce armed guys encounter a slim boat with our hero standing up in it, playing the flute. It’s the only time we will ever see him play that flute, so enjoy it.

 

Also enjoy how the sight of him scares the sweat out of said three ships of fierce warriors. As our hero calmly remonstrates with them, a teenage boy, Fei Liu, lands from the sky into the boat, bringing a beautiful cloak to put around the shoulders of our hero. (We will see all through the story friends and enemies alike making sure he is warm enough.)

 

When one of the warriors starts talking tough, Fei Liu launches high into the air, plucks the burly guy up, and tosses him overboard, then lands lightly in the little boat again. So right here we learn two things: Fei Liu, small as he is, is an incredible badass, and 2) the Jiang Zuo Alliance (the Pugilists) have a really scary rep when you cross into their territory. The ships about face and creep off, leaving the little boat to skim by apparently magical power in the other direction.

 

 

So, what is a Divine Talent? A super-smart military strategist and an elder statesman rolled up in one, an eminence grise, or Richelieu, to those who know Western history.

 

We switch back to the emperor, who laughs comfortably at the idea of a Divine Talent disrupting his empire. “My empire is something he cannot take so easily,” he says. Famous Last Words.

 

We switch back to Langya Hall for the last time, as we see Lin Chen and our hero sitting face to face in their gorgeous flowing robes and hair. Lin Chen is now in his doctor guise, trying to talk our hero out of leaving, but he knows it’s a lost cause. Our hero tells him that he’s been planning for ten years—and he pleads for two—to get his goal accomplished. Lin Chen gives him some heart pills for when he's in bad shape, and when they are gone, he will come.

 

It’s a fairly elliptical scene. Again, I’d say let it flow over you. Every word strikes very hard on the second viewing—every single word.

 

For now, let me just say that our hero is going to have three identities in this story, and we’ll get to why the third is necessary a bit later. Right now: the young warrior in the horrible battle was nineteen year old General Lin Shu, brilliant leader and son of Lin Xie (last name first in Chinese), head of the Chiyan Army. But now he is Mei Changsu, head of the Jiang Zuo Alliance, even though he is unable to do martial arts: we get the sense that he is extremely ill. But that does not affect his mental abilities. Mei Changsu is the Divine Talent, first on one of Langya Hall’s Lists—each year they rate scholars and warriors according to ability, and other things besides.

 

Mei Changsu is heading for the capital city, which he has not seen since before that terrible battle. He will be going accompanied by two sprightly young men, Jingrui and Yuzin, who we meet shopping, when they are distracted by the arrival of some grim warriors. They comment on these guys, who have not dared come around for over ten years, and again, that will only make sense later. Just look and listen now.

 

We will be learning lots more about the boys, too—but right now they seem to be happy-go-lucky young guys in their early twenties, rich, well trained. Jingrui a Pugilist, trained by his adoptive brother (and we’ll be finding out a lot more about that relationship, hoo boy).

 

Jingrui’s father is the Marquis Xie—the sinister eminence grise behind the Crown Prince, though everyone else thinks he’s politically neutral.  Mei Changsu is going to be staying in his guest house.

 

The young guys Yuzin and Jingrui (sometimes called Xiao-Jingrui, Xiao being an honorary title that will pop up a lot for various young male characters; the female equivalent is jiejie, or jie) and their guest in his covered cart approach the capital, and we see Mei Changsu’s face as he looks up at the walls again. There is so much repressed emotion there.

 

But first the boys encounter another party, led by Princess Mu Nihuang of Yunnan. She attacks Jingrui and his buddy Yan Yujin, and defeats both, but compliments them on their learning. She wants to know who is inside the closed carriage with them, and they explain that it’s a sick friend coming to town to recover. She glances curiously, but inside, Mei Changsu/ Lin Shu listens with an expression of yearning, and we wonder if he and this gorgeous fighting princess have a history. In fact you just know they have a history.

 

Before they get to the fortified mansion belonging to the Marquis Xie, Mei Changsu asks the boys to introduce him as Su Zhe, a sickly traveling scholar. You’re thinking really? Three names, two of them disguises?

 

The thing you begin to pick up is that the Su Zhe guise doesn’t fool anyone long, but it forces everyone who wants to possess, bribe, threaten, or annex Mei Changsu to deal with the scholar fiction, if they want to save face. This fiction keeps a kind of polite balance, and it persists pretty much through the entire series, more or less.

 

Sometimes less, with dramatic results.

 

But that’s way later.

 

So Mei Changsu comes in behind the oblivious boys who are chattering, and the Marquis is about to ream Jingrui when he notices they have a guest. Meanwhile Mei Changsu (MC) experiences a few second flashback that is quite startling. It is so fast that I didn’t notice it the first time through. But on the second, I realize just how much he is masking his emotions as he greets Xie, and the men exchange polite bows.

 

The boys are oblivious to any undercurrents.

 

Then we switch back to the emperor, who tells the princess that it’s time for her to have a suitor. Now, on first watching, this doesn’t mean much, but I think it will help viewers to know that she is not at all up for this. She was engaged to Lin Shu (we find that out soon enough) and has stayed loyal to his memory all this time. What we don’t know in these early episodes is how extremely dangerous it would be to let the emperor get any hint of that.

 

Instead, she insists that there be not only a martial contest, but a scholarly one. She will consider the top ten winners . . . but if she beats any of them in martial arts, all bets are off. And she is on the Langya List, so we know she’s a badass.

 

Her best friend Xia Dong, an officer of the Xuanjing Bureau (FBI/secret police), arrives. The emperor assigns Xia Dong the Duke Qing case. The women leave together and talk, and we find out that Nihuang still feels loyal to Lin Shu, and that Xia Dong hates Lin Shu because of all the evidence provided by her own bureau that the Lin family was responsible for the death of her husband. So the women agree to disagree on that front. They are still friends . . . and the second-time viewer is shaking their head thinking, oh wow, Xia Dong, have you got some eye-openers ahead of you.

 

So that is episode one. So far,  we have:

 

Mei Changsu/Lin Shu, wearing the scholarly mask of Su Zhe.

 

Princess Nihuan, badass of Mu.

 

Prince Yu and the Crown Prince, rivals for the throne. (Crown Prince isn’t fixed. Far from it.)

 

The super-snakey Marquis Xie—whose house MC is staying at.

 

Jingrui and Yuzin, delightful young friends of MC.

 

The Emperor, his Empress and Consort Yue (briefly met), adoptive mother of Prince Yu and mother of Crown Prince respectively.

 

We will learn a lot more about them all, and meet our second hero, in the next episode.

 

Until it reaches the USA market in a professional form, you can find it at Viki.com here:

And at YouTube, Here:  but beware—some episodes in, the YouTube subtitles begin at the start of the title roll, and so are two minutes or so off.

 

I do recommend the German subtitles at Viki.com if you can read German—they are better than the English (definitely better grammar and spelling), but the English are okay. Watch the characters, whose acting is brilliant, and you can sift out  the emotional subtleties.

Mazes and Monsters: The LiveTweeting

Jul. 15th, 2017 08:29 pm
jimhines: (Snoopy Writing)
[personal profile] jimhines

A couple of weeks ago, I asked people to share an announcement about Invisible 3, saying that if we got at least 100 retweets, I’d do a livetweeting of the 1982 made-for-TV film Mazes and Monsters.

Mazes and Monsters movie posterThe film is based on the novel of the same name, by Rona Jaffe, and warns of the dangers of fantasy role-playing games. It’s based at least in part on rumors and legends of students sneaking into the Michigan State University steam tunnels to play Dungeons and Dragons and disappearing.

Most of this background is, as you might imagine, complete bugbear twaddle.

On the other hand, this was a chance to see Tom Hanks in his first starring role for film.

You’ve got Robbie (Hanks), a troubled kid whose brother vanished years ago. He comes to a new school after failing out of the last one for playing too much Mazes & Monsters. He tries to avoid M&M’s siren song, but because he’s “Level Nine,” Kate, Daniel, and JJ really need him to join their game.

When Robbie and Kate hook up, JJ gets depressed and talks about suicide, but instead decides to run a live-action version of M&M in the local caverns. Robbie promptly has some sort of mental break and “becomes” his character, on a quest that takes him to New York City to find the Two Towers.

All four kids seem to come from rich families (I’m not 100% sure about Kate), because the film is so much more powerful if it shows that even rich white kids can be broken and destroyed by the evils of role-playing game.

Invisible 3 CoverThere’s also a bird, a lot of hats, a mother who likes to redecorate her son’s room, and a skeleton having inappropriate relations with a flashlight.

I’m embedding the Storify of my tweets below. If any of this makes you laugh, or if you just want to show your support or sympathy, please consider checking out Invisible 3 and/or leaving a review. Thanks!

And now I’m off to try to recover some of my SAN points…

###

Read the rest of this entry » )

Mirrored from Jim C. Hines.

Another extravaganza, or not

Jul. 15th, 2017 01:44 pm
sartorias: (Default)
[personal profile] sartorias
I've been reading plenty, but all along I've felt that itch for the grand and powerful, as I felt when rereading Lord of the Rings. So I began a rewatch of Nirvana in Fire, which is even better, exponentially better, once one knows the story.

So my question is, should I live-blog it, or is no one but me interested?

Unsucking the Classics

Jul. 15th, 2017 07:12 am
sartorias: (Default)
[personal profile] sartorias
Which assigned stinkers and snores of days of yore have you reread that turned out to be pretty good?

Do you think kids should be exposed to the classics? And if so, how?

Arthritis? Thanks, Mom…

Jul. 13th, 2017 04:14 pm
jimhines: (Snoopy Writing)
[personal profile] jimhines

You know those autoplay ads that sometimes run before an online video? Here’s the text version. Libriomancer is still on sale for $1.99 at Amazon, B&N, etc! (I believe this is limited to North America, though.) No idea how much longer this will last, so if you’ve been thinking about checking out one of my books, now’s a great time.

#

Anyway, I had a checkup with my doctor this afternoon, which confirmed something I’d suspected for a few months now. I’m starting to develop arthritis in the middle knuckles of my index fingers.

For the moment, this is a minimal annoyance. It doesn’t interfere with my writing. I notice it mostly when I’m trying to make a tight fist for karate. Or when I bump one of the knuckles against something. But it’s the first sign of what’s likely to be a progressive problem.

(Please note that I’m not asking for medical advice, thanks!)

I mentioned this to my father, and he was happy to tell me I inherited this particular problem from my mother. Which seems fair, considering the diabetes comes from his genes.

Mostly right now, it’s a worry for the future. I mean, I’m a writer. I spend way too much time typing at a keyboard. I know dictation is an option, but for the moment, I rely on my hands. And between some tendons tightening up in my hands (Dupuytren’s contracture) and now this, I’m not sure what’s going to happen as I get older.

Hopefully I’ll just get some bionic hands or something. Maybe I’ll be able to moonlight as a superhero. I could write a noir-style bestseller about my first case: The Hand Job.

Okay, maybe not…

In the meantime, I guess the best thing to do is write as many stories as I can. Just in case 😉

Mirrored from Jim C. Hines.

Hummer in the kitchen window

Jul. 12th, 2017 02:57 pm
sartorias: (Default)
[personal profile] sartorias
If you click the image, you might be able to see the tiny bird among the pine needles. You have to look directly above the pink rose on the bush against the patio wall.

This hummer and a red-throated one have been vying for territory, both fleeing a big yellow bird.

Hummer in kitchen window

Post-Vacation To Do List

Jul. 11th, 2017 04:59 pm
jimhines: (Snoopy Writing)
[personal profile] jimhines

✔ Unpack.

✔ Process ALL THE PHOTOS!

✔ Page proofs for Death of All Things story.

✔ Page proofs for Unidentified Funny Objects 6 story.

✔ Groceries.

✖ Clean the gutters.

✔ Pet ALL THE ANIMALS! (With the exception of the fish and my son’s frog.)

✖ Page proofs for Terminal Alliance.

✖ Dedication and Author’s Note for Terminal Alliance.

✖ Plan and write Terminal Uprising.

Catch up on email.

✖ Livetweet Mazes & Monsters viewing as part of Invisible 3 promo.

✖ Figure out what to do with secret 15K-word novelette, finished last week.

✔ Write blog post to procrastinate working on those incomplete items…

Mirrored from Jim C. Hines.

Dance . . .

Jul. 10th, 2017 03:33 pm
sartorias: (Default)
[personal profile] sartorias
It was so hot in here last night my brain was melting. I couldn't even read as my glasses kept fogging up from the humidity just enough to make my head throb, so I watched TV instead, specifically The Band Wagon, a 1953 flick starring Cyd Charisse and an aging, sarcastic Fred Astaire.

The styles are hideous fifties, (I remember being knocked off my pins as a toddler by those horrible stiff skirts), the storyline painfully forgettable, but the real treat is watching Astaire, who could do nothing ungracefully, and Charisse. I loved Fred's acerbic lines about his age. The story does insist on pairing him off with Charisse--you had to have romance in musicals--but it's lightly done, the inevitable kiss coming ten seconds before the end.

Once we get past Cyd Charisse's horrible "ballet" solo, she is able to come out with her real strength when she dances with Fred. Those are lovely, though I think Fred was physically not quite up to her dynamic presence. I don't think it's his age so much as that he's a little on the thin and frail side. But their "Girl Hunt" dance is full of humor, and calls to mind the utterly terrific dance she did with Gene Kelly in Singing in the Rain--she wears this terrific green dress, and the two of them have such chemistry and humor. I wish Kelly and Charisse had made as many films together as Fred and Ginger.

Oh, I looked up the film, and stumbled over the fact that Cyd was born with the jaw-droppingly awful moniker Tula Finklea. There was a klunky middle name in there, too. She had way too much style for that!

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