Pandora’s Planet — Christopher Anvil

Cover of Pandora's Planet


Pandora’s Planet
Christopher Anvil
192 pages
published in 1972 (original in 1956)

Libertarianism has a well deserved bad reputation in science fiction, largely because so many writers who profess to be adherents also are godawful people who write jack off fantasies about how freedom requires there jackbooted thugs putting their boot in somebody else’s face, whether it’s Heinlein’s repeated wish to kill off all the lawyers or Kratman resurrecting the Waffen SS to deal with an alien invasion. But once upon a time there was a gentler, more humane sort of libertarianism, one that still catered to the prejudices of Analog notorious editor John Campbell Jr, but that hadn’t quite lost its humanity. H. Beam Piper was its best known representative, but there were others, like Christopher Anvil.

Anvil is one of those writers I only ever had heard about, but had never read simply because I’d never seen any of his work for sale, new or secondhand. He was never translated in Dutch as far as I know, one of those minor Analog writers who’d been reasonably popular in the sixties and seventies but was passed by when the genre moved on. From what I gather he specialised in stories in which clever humans put one over militaristic aliens and Pandora’s Planet is in that mold, gently cocking a snoot at authority in general in the process. It’s gentle and not very humourous satire, but much better than the modern libertarian habit of genociding every alien race that looks at Earth funny.

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Half Life — SL Huang

Cover of THalf Life


Half Life
SL Huang
150 pages
published in 2014

SL Huang’s first novel, Zero Sum Game was a tightly plotted, fast paced technothriller, which I only got to know about because I’d been following her blog. The sequel to it I got to read because SL Huang offered a review copy, which is always appreciated. It’s actually the first time that any author has done this, so it’s a bit of new terrain for me as a reviewer. What about ethics in science fiction reviewing? No matter; I would’ve bought this anyway and getting a free book is nice, but had I not liked Half Life I would’ve said so too.

Now when we met Zero Sum Game Cas Russell was an amoral math savant making her living doing …retrieval… work for anybody who could pay. Thanks to the events of that novel she went from being bad at ordinary relationships and not worrying about it to being still bad at them but working on them. In Half Life she goes further; it can be best summed up as “Cas learns the value of friendship through the medium of extreme violence”. It all starts when she gets a somewhat particular retrieval mission, to rescue the daughter of Noah Warren, an ex-engineer laid off from Arkacite Technologies, who claims that they hold her for experiments. Cas is weirdly possessive about kids and even though she immediately notices during the rescue mission that Liliana isn’t a real girl, but an extremely advanced robot, that doesn’t stop Cas from wanting to protect her.

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Resident Evil

Milla Jovovich/Alice waking up vulnerable

For some reason the Resident Evil movies have been repeated constantly on Dutch commercial television channels, the ultimate late night brainless action horror, ideal to watch when only paying attention intermittedly, when things get exciting again. I’ve been watching off and on when I catch them on telly, but Sunday was the first time I actually watched the first one all the way through. Starring Milla Jovovich, the perfect actress for these movies, especially here, where her blonde, model looks work well to give her a certain vulnerability and innocence,. A more stupid movie would’ve been more exploitatives, lingering more on her nudity, but here it’s mainly functional and quickly remedied.

closeup of Alice/Milla Jovovich

It’s more than eight minutes before Milla Jovovich/Alice, the heroine of the movie actually appears, waking up in a shower not knowning where she is, who she is or what she’s doing there. A lot of the first quarter or so of the movie, after her introduction is like here, focused on close ups of her face, her reactions to what’s happening around her. For an action movie, this in any case a movie that spends a lot of time lingering on people’s faces, the focus closed in on them.

Going into the hive

Which makes wider shots like this stand out even more. This is about twenty minutes into the movie, after Alice has been surprised by a tactical team attacking the house she woke up in. They seem to know her but she doesn’t know them. They’ve just opened the entrance to the underground city they need to investigate. Notice how Alice is the focus of the shot, even standing in the background, the angles providing a sense of menace with her in the middle of it. She also has the only colour here, everybody else dressed in black, with the exception of the civilian cop to the left of her, like her at this point an innocent dragged along into the maelstrom.

Alice going into action

Fifty minutes into Resident Evil and Alice finally moves from observer to participant, in a great sequence of escalating threats that takes only a few minutes to work themselves out. First she has to escape a zombie dog, then an attack by a zombie security guard sees her put her karate skills in action, followed by her emptying the gun she took of the guard into the rest of the zombie dog pack. What’s interesting here is how calm she remains throughout, indeed throughout the movie, as compared to the rest of the cast. Note how at this point she’s covered up, wearing a leather jacket over the skimy red dress she wore earlier.

in charge

Near the end of the movie and the jacket is gone again, but whereas first the flimsy dress made her look vulnerable, here she takes charge, leading rather than following. Alice is now in total control, knowing who she is and what she’s doing, having lost her vulnerability by going through the worst the Hive could throw at her and coming out the other end, unscathed.

That attitude remains in the epilogue, as the movie has turned full circle and has her again wake up to chaos, now in some sort of lab, which turns out to be located in the middle of Raccoon City. From the chaos she finds as she stumbles out, it’s clear that what happened in the Hive was child’s play compared to this, but even barefoot and dressed in a medical shift, she’s fully in control and ready to kick ass.

Sad puppies still not house trained

Brad Torgersen, in a move reminiscent of a Great War general deciding that this marching his men into the German machine gun fire will win him the battle, is calling on his fans to vote for a Sad Puppy slate again in the Hugos, cause that worked so well last time. Here’s a classic case of projection, courtesy of File 770, because no way I’m linking to Torgersen directly:

For those of you who don’t know what SAD PUPPIES is, it’s a (somewhat tongue in cheek) running effort to get stories, books, and people onto the Hugo ballot, who are entirely deserving, but who don’t usually get on the ballot. Largely because of the nomination and voting tendencies of World Science Fiction Convention, with its “fandom” community. In the last decade we’ve seen Hugo voting skew more and more toward literary (as opposed to entertainment) works. Some of these literary pieces barely have any science fictional or fantastic content in them. Likewise, we’ve seen the Hugo voting skew ideological, as Worldcon and fandom alike have tended to use the Hugos as an affirmative action award: giving Hugos because a writer or artist is (insert underrepresented minority or victim group here) or because a given work features (insert underrepresented minority or victim group here) characters.

So last year Torgersen and co got enough people to waste at least $50 on a supporting memberships to be able to get a lot of shite on the final ballot that otherwise would get nowhere near the Hugos, but came up with a big fat nothing when the awards were actually chosen, usually ending up last or second to last in their categories. Satisfying as that was, it did mean actually deserving books and stories got short shrifted as the Sad Puppies got on the ballot instead.

Now he wants to do it again, but it’s not him that makes the Hugos into an ideological purity test, oh no, it’s those nasty liberals. They force him into this sad spectacle, because of their constant nominating of inferior science fiction. Because honestly, you don’t actually think a writer of colour can be any good now can you? And you sure as hell don’t want to read about those people if you can read about manly men manly saving the universe for America. Again.

The truth is of course that all those socalled “affirmative action” nominations happened organically, because people actually liked the writers, books, stories and artists they nominated, actually like reading books not written by a white American writer doing the same old, same old done better three decades ago.

It’s a bitter pill to swallow and if there’s anything rightwingers are incapable off, it’s accepting bitter truths gracefully. Much better to throw a temper tantrum.

The Handmaid’s Tale — Margaret Atwood

Cover of The Handmaid's Tale


The Handmaid’s Tale
Margaret Atwood
308 pages
published in 1985

About a decade ago, when promoting her book Oryx and Crake, Margaret Atwood said some dumb things while distancing it and herself from science fiction, insising it was “speculative fiction” (ironically a term invented by that most hardcore of sf writers, Robert Heinlein when he tried to make sf respectable half a century before Atwood) and being dismissive about “talking squid in space”. Science fiction fandom has a long history for (imagined) sleights and while Atwood has long since walked back her remarks, sf fans tend to still be a bit grumpy about it. Yet Atwood does have a point that she isn’t writing for science fiction readers and therefore her books shouldn’t be judged by science fiction standards.

Which is fair enough. If you read the Handmaid’s Tale it soon becomes clear that though it is science fiction, it’s science fiction in the dystopian tradition of Orwell and Huxley rather than in the tradition of e.g. Heinlein’s If This Goes On…, another story of religious oppression in a future America. That has flying cars and blaster guns and other sfnal paraphernalia though no space squid, while Atwood’s story is set in what are still recognisable eighties suburbs.

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