Bowie Fiction

The Spectatorial

There was a time during the twentieth century when the position of the greatest science fiction author was officially split into three. The greatest authors were considered to be Robert A. Heinlein, Arthur C. Clark, and Isaac Asimov.

Of the three, the latter two came to an official accord on how to respond to questions of who was the better writer. While sharing a cab ride in New York, Asimov and Clarke drafted The Clarke-Asimov Treaty of Park Avenue.

This agreement stated that when asked who was best, Clarke was to refer to Asimov as the best science writer, and Asimov was to refer to Clarke as the best science fiction writer. Each was to claim to be second-best in the other’s field.

The only written evidence of this treaty appeared in the dedication of Clarke’s novel Report on Planet Three:

“In accordance with the terms of the Clarke-Asimov Treaty…

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The Ink-Stained-Wretch

It's hard to say where the expression Ink-Stained-Wretch originates. Though I have found almost no reliable sources, at least one researcher told me in passing that the phrase comes from Canadian novelist Hugh Garner. Kurt Vonnegut’s novel Deadeye Dick attributes it to Alexander Woollcott, but this is probably wrong as well. To great alarm, I … Continue reading The Ink-Stained-Wretch

Writing in the Digital Age

The wastepaper basket is a writer’s best friend. - Isaac Bashevis Singer These words were true when the Nobel Prize winner Mr. Singer said them and they are true today, with a few key alterations. Not long ago, I was asked what it’s like to write in the 21st century, and I thought it’s about … Continue reading Writing in the Digital Age

Nanowrimo, or how I learned to stop word-counting and love the bomb

Hello writers and readers. As this is written, it is the end of November. While most people know November as that month where basically nothing happens, other than American Thanksgiving, some of you know it as Nanowrimo! (For those not in the know, that’s National Novel Writing Month) This is the month where all around … Continue reading Nanowrimo, or how I learned to stop word-counting and love the bomb

The Overture

The Spectatorial

smSpoiler disclaimer: this post discusses certain events in The Sandman (although it doesn’t divulge the ending).

The Sandman, Neil Gaiman’s seminal dark fantasy graphic novel series, which ran 76 issues from January 1989 to March 1996, is finally over.

It might seem strange making that statement now, in 2015, but it isn’t. From 2013 until this past September, The Sandman had returned to us in the glorious form of The Sandman: Overture, a prequel to the original stories.

In the first issue back in 1989, Morpheus, the lord of dreams, was captured by humans. The story alluded to some great cosmic struggle that had weakened his powers and allowed for his capture, but the series never touched on the backstory more than that. This is the story that Overture endeavours to tell, and it does so with majesty.

The problem with prequels is that they usually have nothing…

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Hannibal: What do you see?

The Spectatorial

Sight is the key to appreciating the design behind Bryan Fuller’s three seasons of Hannibal. Television is first and foremost a visual medium, and no show makes better use of it.

The first two seasons of Hannibal take place before the events described in the famous novels by Thomas Harris, with the third season leading into an incredible adaption of his first Hannibal novel, Red Dragon. What starts off as a killer-of-the-week cop drama slowly becomes a bloody, insane, near supernaturally charged love story between its two lead characters. Hugh Dancy stars as Will Graham, a man who can empathize perfectly with anybody and whose sense of self and reality is shaky at the best of times. Opposite Will is his psychiatrist, Dr. Hannibal Lecter (Mads Mikkelsen), who enjoys philosophizing about God, eroding Will’s conception of the world, and elaborately cooking, serving, and eating people (in meals that…

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Ex_Machina – I am become Death

The Spectatorial

Somewhere in the wilderness of Alaska there is a house, and inside that house are four people. At least one of these people is not human, but a robot. Over the course of a single week, the occupants must determine if this robot is a living, thinking thing, or just an illusion of consciousness.

This is the barest plot description possible of Alex Garland’s Ex_Machina, a film with an incredibly tight cast including only four actors (only three of whom have speaking roles) who appear in only a single setting throughout the film. The film is not only entertaining, tense, intelligent, and beautifully shot, but it might also just be the best philosophical movie about robots since Blade Runner.

In the not so distant future, Caleb (Domhnall Gleeson) is an employee of Bluebook, the biggest and most powerful internet search engine in the world. When Caleb wins a…

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Jessica Jones: It’s Time to Learn Her Name

The Spectatorial

The_Pulse_Vol_1_11_page_00_Jessica_Jones_(Earth-616)

When Marvel announced that it would be putting out several series on Netflix about street-level heroes, they told us who we’d be getting: Daredevil, Luke Cage, Iron Fist, and Jessica Jones. And as I tried to force everyone I know to be just as excited as I was, whenever I reached the name Jessica Jones (to be played by Krysten Ritter), I was given a single overwhelming response:

“Who?”

With her thirteen-episode Netflix series by showrunner Melissa Rosenberg coming out in November, and my moral compulsion to tell people about good comics, I’ve decided, fine—I’ll tell you who Jessica Jones is.

In her short history of publication, a lot has happened to Jessica Jones. She gets married to Luke Cage (to be played by Mike Colter), they have a baby (who practically all the Avengers babysit), she and Luke run an Avengers team, and they fight off an alien invasion!…

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The Flash Season One: “Run, Barry, Run!”

The Spectatorial

the flash photo

“Life is locomotion… If you’re not moving, you’re not living.”

So begins the famous motto of the comic book hero the Flash, and when adopting the story of Barry Allen for the small screen, it’s clear that this motto was taken to heart. With apparently no fear that it will run out of stories, The Flash ran through its first season at breakneck speed.

When Barry Allen was a little boy in Central City, he saw his mother, Nora (Michelle Harrison), be murdered in a yellow ball of light, and his father Henry (John Wesley Shipp) was charged with her murder. Barry goes to live with his parent’s friend, police detective Joe West (the amazing Jesse L. Martin), and Joe’s daughter Iris West (Candice Patton).

Fifteen years later, a bunch of scientists at a place called S.T.A.R. Labs blow up something called a particle accelerator, Barry gets struck by lightning…

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Almost Human: Synthetic Soul

The Spectatorial

ah-poster-sized Image from yvrshoots.com

Created by J. H. Wyman and J. J. Abrahams, Almost Human was a science fiction television show that lasted only one season on Fox—because if there is one thing Fox knows how to do, it’s cancel great sci-fi hits before their time.

The premise is as follows: In 2048, the uncontrollable evolution of science and technology has caused crime rates to rise an astounding 400%. To combat this, the overwhelmed police force has implemented a new policy that pairs every human police officer with a combat-model android.

The series follows John Kennex (Karl Urban), a police detective who lost his leg in battle and who wakes up from a coma to a world where having a robot partner is now mandatory. Extremely distrustful of robotics, including his own cybernetic leg, Kennex is first partnered with a standard issue logic-based MX robot, but after it annoys him, he

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