Saturday, 23 September 2017

TV series roundup


TV – Being Human

This comedy/horror series was made for BBC3 and ran for five seasons, from 2009 to 2013, a total of 36 episodes. I missed it the first time around, but in December 2016 the entire series was made available on iPlayer, so I looked at it then. There was a pilot episode featuring some different actors but this was not included in the current "virtual box set". The Being Human series was also remade in the USA (with its own plot variations) and shown in four seasons (52 episodes) between 2011 and 2014.

The basic scenario is a now-familiar one in contemporary urban fantasy: creatures of fantasy (specifically, ghosts, vampires and werewolves) trying to exist alongside humans in the modern world. A vampire and a werewolf combine to share a flat, only to discover that it already has a resident ghost (invisible to anyone but them).  This isn't a must-watch series but it is nonetheless worth trying, mixing adult dilemmas with a fair amount of comedy.

TV – Outlander

A time-travelling adventure in which a young English woman, fresh from working as a nurse in WW2, is on holiday in Scotland with her husband when she is accidentally transported 200 years into the past – a time of intermittent warfare between the English and the Scots. The first episode is terrific, with much painstaking effort to reflect the realities of life in both periods (particularly grim and unpleasant in the distant past, of course). However, after that the action slows down and the focus changes to concentrate on relationships, feelings and emotions; from a healthy 50/50 split between plot and relationships, it shifts to more like 25/75. The tale acquires a distinctly "Mills & Boon" flavour and I lost interest after the third episode. 

TV – Cleverman

An Australian series set in an alternate present day in which the natives, instead of being aboriginies, are "hairymen" with unusual abilities (and lots of body hair). Intriguing, but too dark in all senses to be appealing.

TV – Occupied

A near-future Norwegian thriller inspired by crime writer Jo Nesbø with the basic premise that Norway elects a "green" government committed to shutting down their oil and gas industries to rely solely on renewable energy. The problem is that Norway exports a lot of oil and gas, and its customers are highly alarmed. So much so that when the Russians occupy the North Sea rigs in order to ensure that production is maintained, the EU takes no action. Russian involvement in Norwegian politics becomes ever more complex and a resistance movement springs up among the disaffected Norwegian military.

The principal character is a Norwegian security officer who stops an assassination attempt aimed at the Russian ambassador. He becomes trusted by the Russians, and with official encouragement he gets closer to them – but problems arise over the way he and his family are regarded by their fellow-countrymen. The plot becomes ever more convoluted as the tensions ramp up – with war being declared by Russia against Norway at the end of the first 10-episode season. The second season I haven't yet seen. Gripping, but rather grim.

TV – Valkyrien

Another Norwegian series with an interesting plot with elements of crime, medical drama and "preppers" concerned with preparing for their predicted collapse of society. It has been compared with Breaking Bad, but since I haven't seen that series I can't comment. 

A brilliant surgeon falls ill while working on a cure for a particular disease. Her husband, also a surgeon, tries to obtain approval to try an experimental treatment which they have been working on, but this is denied. He accordingly fakes her suicide as she slips into a coma, and while continuing her research, hides her in part of a network of abandoned tunnels underneath Oslo, with the help of Leif from the Civil Defence Agency who is responsible for the tunnels. He is a prepper (and the most interesting character in the series) obsessed with planning for doomsday, and has been involved in organising bank robberies in order to obtain the funds he needs.

An interesting aspect of the series is that Leif lists a dozen threats that could cause a collapse in society, and these are so realistic that the actor who plays Leif (Pal Sverre Hagen) was invited to address, in character,  a National Security Authority conference on the subject!


The series is intriguing, with the development of the complex plot far more difficult to predict than is usually the case. Worth watching.

Monday, 21 August 2017

Solar Express, by L. E. Modesitt Jr.


I was familiar with Modesitt's name, but couldn't offhand recall reading any of his books. Calling up his bibliography on the web, I was frankly staggered by his output: 73 novels to date, published between 1985 and 2015 (that's an average of one novel every five months), grouped into ten series (both SF and fantasy) with another ten stand-alone books. Plus a lot of short fiction. On checking my shelves I was surprised to find a couple of his novels: Of Tangible Ghosts, and The Ghost of the Revelator, and equally surprised to realise on reading the cover blurbs that I did not recall anything about them.

Solar Express is the latest to appear and is one of the stand-alone novels. The story is set in a future in which humanity is gradually spreading through the Solar System, having consolidated politically into a few major groups (after various conflicts, involving nuclear weapons): Noram (Canada and the USA); the Sinese Federation (China plus adjacent region); India; and various odds and ends like the European Community and the African Union. Tensions between the Sinese and Indians are rising and the threat of war increasing, with a particular focus on the banned militarisation of space. 

Into this tinderbox comes a visitor to the inner Solar System – an object at first thought to be a comet, then a large asteroid, then is finally realised to be an artificial construct of huge size. The story follows two tracks; that of Dr. Alayna Wong-Grant, a post-doc astrophysicist based at a Moon observatory who first spots the construct, and Chris Tavoian, a Noram space pilot who is sent on a solo mission to intercept it. The two know each other and are in frequent communication, their messages forming an important part of the story. They keep finding relevant quotes to exchange – here's a couple:

"Don't we all want some meaning in the universe? Meaning that transcends mechanics?" Tavoian snorted. He doubted that the universe had meaning. Structure, but not meaning. People had to create meaning. Whether it's there or not. Which continued to be the problem with true believers of every kind.

And:

The greatest of all faults in a politician, and in any leader, is the failure to recognize that charisma has nothing to do with ability, excellence or goodness. In fact, charisma enables far more the evils of the universe than great and worthy accomplishments. Give me pedestrian accomplishment over charisma any day.

The basic plot is obviously reminiscent of Arthur C. Clarke's classic Rendezvous with Rama, but it is handled in a very different way. Modesitt takes a lot of time in establishing the detailed background, including Alayna's mundane repair-and-maintenance tasks and Tavoian's repetitive duties in carrying out his rather frustrating step-by-step reconnaissance mission. While this is going on, they are also exchanging messages with relatives on Earth who are facing their own difficulties. This certainly provides a strong flavour of their different existences but there is an inevitable consequence - a leisurely pacing with the dramatic tension ticking along very gently for much of the book. There is little of the sense of excitement and awe that RwR generates. Nonetheless, I was never in danger of giving up on the book – the story is too intriguing for that.

The tension does gradually begin to rise as Sinese spacecraft arrive on the scene to begin their own research, while the enigmatic construct begins to show unpredicted behaviour and Chris finds that his time is running out. By this time, I was really gripped and read until the early hours to finish it.

I was increasingly impressed by this novel the more I read of it. The comparison with RwR is instructive as it shows the evolution of SF over the period: Solar Express has far more scientific and technical detail; the characters are much more fully developed; the plot is less straightforward and more sophisticated; and the book is more than twice the length. It demands more time and concentration from the reader, as the astrophysics gets rather dense, but is a rewarding read.

I am clearly going to have to pay more attention to Modesitt, starting with the books I found on my shelf!


Sunday, 23 July 2017

Brass Man, Polity Agent, and Line War, by Neal Asher


These are the third, fourth and fifth (and evidently last) books in the author's Agent Cormac series to be reviewed on this blog (Gridlinked and The Line of Polity being the other two) although the chronology of Asher's novels is more complex than this suggests. Of his nineteen novels so far, fifteen are set in his far-future Polity universe, which has similarities to Iain M Banks's Culture – including an IA-governed interstellar civilisation with vast, highly intelligent spaceships which give themselves idiosyncratic names. Only five of the fifteen novels feature Ian Cormac, the formidable agent of Earth Central Security. However, nine other novels are set in the Polity (plus several short stories) but without Cormac; two of these are set before the first Cormac story, the other seven are later, of which six form two trilogies (Spatterjay and Transformation). The order in which these were written bears no relationship to their Polity chronology or which series they belong to. So readers who enjoy debating whether such a collection of tales should be read in their order of writing or in accordance with their internal chronology are now faced with an additional pair of options: to read them one series at a time, and if so either in order of writing or by their internal chronology within each series (which is, on balance, my preference). I hope all is now clear!

With that settled, let's turn to Brass Man. This follows on directly from The Line of Polity, being essentially a continuation of the same story, so it is highly desirable to read them in order. The novel begins with various parallel plot threads as is usual for this author, but complicates matters considerably by also throwing in flashback scenes set at various times in the past. The structure of the book is therefore headachingly complex, leaving the reader to try to work out when as well as where each sequence fits into the story. Asher does provide some helpful props in the form of mini-infodumps scattered through the early part of the book, but they are really to refresh the memory of those who have already read the previous book; anyone who hasn't will be left floundering.

Another unusual aspect of this story is that Asher evidently liked some of his earlier bad-guy characters so much that he decided to bring them back to life after seemingly finishing them off in the previous book. I can't help a vague feeling that this is cheating in some way and if I were Ian Cormac I would be feeling rather exasperated. However, Cormac does have a lot of other things to worry about, in fact the author enjoys placing his heroes in seemingly impossible situations before arranging their escape – usually. It won't really be a spoiler to reveal that the redoubtable Cormac survives every misfortune, since he was obviously contractually obliged to appear in another two books.

Polity Agent follows immediately on from Brass Man, so as with my comment above, reading these books in the right order is essential. The author makes no concessions at all to readers who might pick up this volume as their visit visit to the Polity – they will be completely lost from start to finish. The structure this time is simpler, but the downside is that there is less variety in the drama. A new enemy is introduced – a rogue AI – and the emphasis is much more on military SF, in the space-opera tradition of grand starship fleets clashing; somewhat reminiscent of Jack Campbell. This extract will give something of the flavour of the descriptive writing: if you like it, you'll probably enjoy the book; if not, not:

Definitely one of the newest designs: attack-ship configuration with a state-of-the-art chameleonware hull which, as well as being able to bend low intensity EM radiation around it, could also, to some degree, deflect high-powered lasers and masers. The outer skin was a form of polymerized diamond, over layered composite laced with super-conductors. The ship's skeleton, composed of the usual laminated tungsten ceramal, shock-absorbing foamed alloys and woven diamond monofilament, in this case was cellular and more substantial than usual. Cormac also knew that its extra weapons nacelle contained gravtech armament in addition to the usual lethal complement housed in the other two nacelles.

From my viewpoint, rather more putdownable than the earlier books, but still an entertaining read, as long as you've enjoyed the earlier novels in the series.

The final book in this series, Line War, is more of the same and follows straight on; this series is effectively one 2,500+ page story. Cormac masters a new power, which he needs to survive the deadliest threat yet, and he also acquires some strange new allies – among them, those who had been enemies in the past. The story is intensely action-focused with a rather cinematic feel; the author is good at projecting images into the readers' minds. As usual, concentration is needed to keep up with everything that is going on, as the viewpoint constantly switches between several different characters. The ending is satisfying, wrapping everything up quite tidily.

In the first paragraph I compared the Polity and Culture universes; in a nutshell, Asher's writing style could be considered a rocket-boosted version of Banks's, with a faster action and less of the whimsical meandering. This is not a criticism of either – I enjoy the work of both authors who have produced good quality space opera – and which I prefer depends on the mood I'm in.


Sunday, 18 June 2017

Films: Arrival, X-Men Apocalypse, Robocop and Fantastic Beasts


Arrival (2016)

This is one I'd been looking forward to seeing, in view of the impressive reviews.  

Twelve lenticular ovoid alien spaceships appear suddenly in various places on Earth, hovering silently a few metres above the ground. Every eighteen hours, a door in the base opens, leading via a tunnel to a large space divided by a transparent wall. On the other side of this wall, wreathed in mist or smoke, aliens appear, emitting strange, untranslatable noises.

Louise Banks (Amy Adams), a noted linguist, is recruited to try to communicate with the aliens. After various attempts, she is able to build up a vocabulary of the circle-based symbols used by the aliens, which enables a rudimentary form of communication to be established. One of the messages appears to be a threat, bringing the various nations onto a war footing, ready to attack the ships. Only Louise has the power to stop the slide into war – but can she achieve it in time?

The plot is actually a lot more complex than this brief summary suggests, with Louise's personal history an integral part of it, but I can't say more about it without spoilers. I'll just say that this is a very good film, Adams doing an excellent job of conveying the initial terror at the situation and the difficulties she faces. The aliens are, well, suitably alien (definitely not humans squeezed into funny costumes!) and the soundtrack helps to generate a powerful atmosphere. Well worth watching.


**************************************

X-Men Apocalypse (2016)

Effectively a sequel to X-Men First Class (X-Men: Days of Future Past which emerged in between being somewhat out on its own), this one picks up a couple of decades after the original reboot finished. We are now in the 1980s, and the story this time focuses on the revival of the first mutant who had dominated ancient Egypt, En Sabah Nur. He had lived many lifetimes through having his mind magically transferred to another body when he aged. He always selected mutant hosts for these transfers, and acquired a wide range of powers in consequence. Even so, he was betrayed and trapped within the ruins of a collapsed tomb, only to be woken millennia later by members of a cult which worshipped him.

En Sabah Nur sets about re-establishing his rule, dividing the mutants between those who follow him and those who fight against him. Cue some spectacular battles interspersed with focusing on the developing characters of the mutants. An entertaining film, good but lacking the originality and inventive verve of First Class.

***************************

Robocop (2014)

I have only a vague recollection of the 1987 film of the same name, so approached this remake with an open mind. I was quite impressed: this is not the usual kind of all-action blockbuster – in fact the action didn't really get going until well into the  film. Instead, there is much initial focus on Alex Murphy, the crippled cop given the chance of survival as a human/cyborg hybrid, and the impact this has on himself and his family. In parallel with that there is a lot concerning the politics around the use of drones in combat and policing (a very topical addition), interleaved with satirical scenes featuring a highly biased news presenter for a decidedly right-wing channel (I wonder what they were thinking of?). Solid entertainment, worth a couple of hours to see.

***************************

Fantastic Beasts and Where to Find Them (2016)

A Harry Potter spin-off, set in the same world (although apart from a mention of Hogwarts there is no explicit connection in the film), FBAWTFT takes place in an an early-twentieth-century New York City. The existence of magic and wizards is not publicly acknowledged so the Magical Congress of the USA operates in secret. Into this world comes a British wizard and expert on magical beasts, Newt Scamander (Eddie Redmayne) with a magic suitcase containing its own little world, filled with the beasts he has collected. These escape into the city, causing mayhem until they can be recovered with the aid of some friends Newt has made: Tina and her sister Queenie, both young wizards, and (for comic effect) Jacob, a non-magical baker. The heroes are faced with opposition to them in the Magical Congress as well as a campaigning group preaching against the rumoured existence of magic.

The CGI is great, as we have come to expect from big-budget fantasy movies, but overall the film is disappointing. It consists of little more than a series of set-piece action sequences featuring various of the beasts, attached to a flimsy plot which doesn't really go anywhere.