A blue screened future

Future Visions: Original Science Fiction Stories Inspired by Microsoft features work by Elizabeth Bear, Greg Bear, David Brin, Nancy Kress, Ann Leckie, Jack McDevitt, Seanan McGuire and Robert J. Sawyer, “also includes a short graphic novel by Blue Delliquanti and Michele Rosenthal, and original illustrations by Joey Camacho” and is available for free from the usual ebook retailers.

An interesting sort of vanity project for Mickeysoft. I would be more excited about it if not for the authors involved, who with the exception of Elizabeth Bear, Ann Leckie and Seanan McGuire are not exactly exciting nor the first ones I think about if I want science fiction writers with a firm grasp of the future. Rather, collectively this group seems to have peaked somewhere around the introduction of Windows 3.11.

Gods cannot do wrong — Noragami

Noragami Aragoto: gods can do no wrong

Noragami Aragoto is the second season of the Noragami series, at first glance just your typical fantasy action anime, about a gods who armed with weapons created of restless spirits fight off demons and other supernatural menaces, loosely based on Japanese mythology/religion. What set it apart was the relationship between the three main characters: Yato, a god of war/misfortune, down on his luck and without any followers, his spirit weapon Yukine, a teenage boy turned restless spirit and Hiyori Iki, a normal school girl until an accident left her halfway between life and death and able to separate her soul from her body. The first season explored that relationship, the way each depended on the others, as well as Yato’s history as a god of misfortune and the way the gods worked in general. The second season just had its sixth episode, which concludes the first story arc, in which Yato’s past with Bishamon, a much more powerful and successful war god is used to manipulate the latter into self destruction.

Noragami Aragoto: humans can make mistakes

And at the climax, it echoes one of the key points of the previous season, something that annoyed me at the time: the idea that the gods cannot do wrong, that the very notion of right and wrong is a human concept inapplicable to them. At the time it was presented as a justification for some of Yato’s less savoury behaviour, a fairly typical defense of the idea that the gods are above such human concerns. Here however we get the other side of the coin: if gods cannot do wrong, humans are allowed to make mistakes. You learn by your mistakes and if you’re never allowed to be wrong, you cannot learn or grow. That’s a theme that’s been present in the background of the entire series, now finally stated out in the open as the most destructive and unnecessary conflict in the series comes to an end. Where Yato and Yukine almost had to destroy each other to grow last season, here it’s Bishamon’s self destruction, fed by the villain’s manuipulations that finally forces her to grow up.

It’s this sort of thing that makes Noragami Aragoto my second favourite anime of this season, after concrete Revolutio.

Who’d think the kids don’t read their Asimov

I really want to argue against Adam-Troy Castro’s argument here that

nobody discovers a lifelong love of science fiction through Asimov, Clarke, and Heinlein anymore, and directing newbies toward the work of those masters is a destructive thing, because the spark won’t happen. You might as well advise them to seek out Cordwainer Smith or Alan E. Nourse — fine tertiary avenues of investigation, even now, but not anything that’s going to set anybody’s heart afire, not from the standing start. Won’t happen.

By objecting that, actually, I so did discover a lifelong love of science fiction through Asimov, Clarke and even Nourse — The Mercy Men was one of the first sf novels I’ve ever read– but considering that happened a good thirty years ago, it’s hardly relevant to what actual young people would read. Even back then, something like I, Robot was several decades old and outdated in its technology and sociological attitudes both, but not so that I noticed as an eight year old reading it for the first time. Almost all children’s fiction I read was like that after all, set in some nebulous present that was clearly not mine: like the Bob Evers series, originally written in the fifties and early sixties. I read all that without caring or noticing much that these were old books, therefore I’m not sure that kids today can’t read in a similar way, even if there are no mobiles or computers in them.

On the other hand, there were a lot less opportunities to find science fiction thirty years ago. We only got cable tv in 1987 or so, our family’s first computer in the same year, no internet until the mid-nineties, etc. etc. There are just so many more ways in which you can get your first taste of science fiction today, that you certainly don’t need to seek out writers who’ve been dead longer than you’ve been alive. On the gripping hand however, some of the young adult stuff I read back then is still being sold today, with little problems though perhaps with some updates.

The rampant sexism and whitebread worldview of much socalled golden age science fiction might be more of a problem. Asimov might still be barely palatable due to his lack of female characters in general, though when they show up, they’re usually awful. The same goes for Clarke, though he was slightly better and few of his characters were well rounded humans anyway. Heinlein? Oy, Heinlein is very much a curate’s egg — parts are excellent, but some are hideous. At this point in time, I don’t think new readers will miss much skipping all these authors in favour of those like Dick, Delany, LeGuin or Russ which had slightly more to offer than just the strength of their ideas.

Concrete Revolutio was made for me

Concreto Revolutio

Really, everything from the zip-a-tone patterns in the background to Jirō’s jacket gives me pleasure. Every new episode brings new wonders; this is a series I watch for the world building rather than the plot. As i said before, this really is Astro City: the anime, mixing and matching half a century of anime tropes and archetypes and creating its own pastiche universe out of it, the sum greater than the parts. This is one of the few series in which a magic girl can stop a robot detective from blowing up a World War II vintage female android by transforming the rocket he’s firing into a flower…

Concreto Revolutio: flower power

Three episodes in the structure of the show has become much clearer. Though there are hints of an overarching plot, so far this has been more of a “monster of the week” type show, with a problem and resolution in the same episode. So the first episode showcased the magical girl, the next one had a shapeshifting ghost, while this one not only has two WWII androids, but also a robot detective with the memories of a murdered police inspector. I like this, I like that the series doesn’t feel the need to hurry with its plot but takes the time to flesh out its world. Luckily it has the time to do so, as this is a two cour series, meaning it will run for half a year and twentyfour episodes.

Concreto Revolutio: the superhuman mod squad

Concrete Revolutio is basically a superhero show, but because it makes uses of Japanese genre tropes rather than the more familiar American, it feels slightly odd. The characters don’t neatly fit into superhero niches. It reminds me of some of the attempts to force classic British comics heroes into the superhero mold. I’m not quite sure what to expect and I like that feeling.