Mirror Shards 2 TOC

Over at Black Moon Books’ website, editor Thomas K. Carpenter has posted the table of contents for Mirror Shards 2, which features my short story, “An Apocalypse of Her Own, One Day.” It looks like another very awesome book of stories, with fellow Mirror Shards original volume contributor Annie Bellet opening the book and fellow Writers of the Future Forums member Marina J. Lostetter closing it out, as well as returning contributors Terry Edge and Amy L. Herring:

  • “Ghosts in the Mist” by Annie Bellet
  • “Facial Recognition” by Michele Lang
  • “An Apocalypse of Her Own, One Day” Alex J. Kane
  • “The Pressure of Esctacy” by Terry Edge
  • “The Mirrored Ends of Whitechapel Market” by Tomar Volk
  • “The Open Source Woman” by J. Daniel Sawyer
  • “This Secular Technology” by Bogi Takács
  • “Tijuana, Massachusetts” by Robert T. Jeschonek
  • “The Lorieme Job” by Thomas K. Carpenter
  • “Bloodhound” by Amy L. Herring
  • “Interstices” by Samantha Murray
  • “A Splash of Color” by William T. Vandemark
  • “Rats Will Run” by Marina J. Lostetter

In completely unrelated news, S.C. Wade just posted a guest blog I wrote for his “Be Inspired” feature. I basically tell the story of my first sale at SFWA-standard professional rates, and try to urge folks not to quit when things seem hopeless. Enjoy!

Jack Ketchum’s Talking Scars

Despite the description I went with for the blog’s header, I’m really as much a horror writer as I am a science fiction writer. I just don’t have quite as much personal material to draw from as inspiration for horror fiction as I’d like. I suppose that’s a good thing, but it’s frustrating at times.

Anyway, I decided that despite finals week, my senior thesis, and a whole host of obligatory end-of-the-semester crap, I really ought to take Jack Ketchum’s online writing class, Talking Scars, over at LitReactor.

So even though I said I was shelving my original novel project in favor something fresh, well, forget about that. It’s too new and shiny to trust just yet. I’ve had Doomster percolating in my noggin since maybe before Halloween, so for roughly six months. That’s plenty of time, I think, to at least get started on a discovery draft of the manuscript.

I’ve got an aborted first chapter and some scene fragments to work with, some new ideas, and now I’m going to be digging into my own personal darkness to craft some new short horror stories . . . to be critiqued by Jack Ketchum, whom Stephen King calls “the scariest guy in America,” and who received mentoring in his youth from none other than Robert Bloch.

I’m very rightfully stoked about it, and hope that some decent new fiction will come out of the experience. Maybe I’ll even learn something from the master of visceral, realistic horror; judging by the first lecture and the accompanying assignment (a 1,200- to 3,000-word story, due Thursday night), I’ll at the very least be working my ass off to get better acquainted with the genre.

It’s always been more or less at the forefront of my reading, but I struggle with ideas because far too often I limit myself to supernatural horror, somehow always thoughtlessly dismissing more realistic or psycho-killer style plots. I realized a while back that this was precisely the problem with my story for Doomster: It didn’t need to be supernatural, but for some reason I kept trying to force it into that box. Now that I’m aware I can just do my thing, and let it be what it needs to, well . . . maybe I’ll get somewhere with it. Gonna make that my summer goal: to have a somewhat finished first draft done by the time Chicon rolls around.

Meantime, I’ve got a 20-page thesis due Tuesday, which still needs some polish; a six- to eight-page Shakespeare paper due Wednesday, which I’ll probably have to finish tomorrow and Tuesday night; and a seven-or-so-page research paper due Tuesday, May 15th. I guess there are some finals in there as well, but I’m not gonna let myself get stressed about them.

Fortunately I have all of Thursday free to get my first Ketchum story finished. I’m hoping he’ll have some interesting things to point out about the weaknesses in my writing, or even my style and approach to the craft. The key will be coming up with a real-life incident from my life involving fear that I can adapt into a story for the first assignment. Stress has crippled my brain, including my memory, and so coming up with something from my past is gonna require a bit of luck.

Maybe others’ incidents will help me recall a similar one of my own. I dunno. So far all I’ve got is an allergic reaction, an incident involving my first car and an icy road, and a handful of awful nightmares I’ve had over the years — none of which is particularly inspiring at the moment, but who knows. I’ll make it work, come up with something. I knew it would be a challenge wrapping up school and taking a month-long fiction writing intensive simultaneously, but I need a boot in the ass to get me working again. I’ve been horribly depressed and just as unmotivated.

An Insider’s View: Brad R. Torgersen on Military Science Fiction, Finding the Courage to Hope, and the Magic of Storytelling

Brad R. Torgersen

Brad R. Torgersen is a healthcare computer geek by day, a U.S. Army Reserve Chief Warrant Officer on the weekend, and a science fiction and fantasy writer by night. He has contributed stories to multiple professional publications, including Analog Science Fiction and Fact, Orson Scott Card’s InterGalactic Medicine Show, Russia’s Esli, Poland’s Nowa Fantastyka, and several anthologies.

Brad’s novelette “Exanastasis” was a winner in the international Writers of the Future contest, and his story “Outbound” later won the AnLab Readers’ Choice Award in its category, for the publishing year 2010. “Outbound” was also included in the Dell Magazines ten-year Analog retrospective anthology, Into the New Millennium: Trailblazing Tales from Analog Science Fiction and Fact, 2000-2010.

Ray of Light,” also published in Analog, is currently nominated for both the World Science Fiction Society’s Hugo Award and the Science Fiction & Fantasy Writers of America’s Nebula Award in its category, for the publishing year 2011. As of Spring 2012, Brad is also nominated for the John W. Campbell Award for Best New Writer in Professional Science Fiction and Fantasy, with stories forthcoming in Analog, Phil Athans’s collaborative project Tales from the Fathomless Abyss, Ian Watson’s The Mammoth Book of SF Wars, as well as the Flying Pen Press military SF anthology, Space Battles. Brad lives in northern Utah with his wife and daughter.

First of all, congratulations on the three latest award nominations — the Hugo, the Nebula, and the John W. Campbell. That’s quite the reception!

It’s boggling when you consider the fact I was an unpublished nobody barely two years ago. If someone had come to me in April 2010 and told me I’d be on the three biggest award ballots in science fiction by May 2012, I’d have said they were nuts. Yet, here I am. I can only thank all the readers who have generously supported my writing since I had my double-debut in Writers of the Future 26 and the November 2010 issue of Analog Science Fiction and Fact. I like to think my stories speak for themselves. And win or lose, I hope to continue to produce the kinds of stories my readers have told me they both like and enjoy.

One of the things about your work that strikes me as both fresh and very satisfying is the way you drag your protagonists into the darkest places imaginable, or at least to a point of near-hopelessness — and then, through faith and perseverance, they manage to conquer whatever adverse situation you’ve put in their way. How much of your own personal faith would you say informs this kind of pattern? Or do you see it as a pattern at all?

Oh, it’s definitely a pattern. Semi-deliberate, I suppose. To quote Captain James T. Kirk, I don’t believe in the no-win scenario. Yet all of us face hopelessness and tragedy in our lives. It is an inescapable part of existence. Some writers discover this truth and they come to dwell on it as if hopelessness and despair are the sum of all things. For me, I think hopelessness and despair are the beginning, not the end. And yes, my personal faith — I am a member of the Church of Jesus Christ of Latter-Day Saints — informs my view a great deal.

Life is difficult. Almost all of us will encounter various life crises which will seem insurmountable. The question then becomes: do we give up and let the problems win, or do we reach deep down into ourselves and discover resources and fortitude we never knew we had? It takes courage to have hope, especially in the face of seemingly impossible obstacles. It takes even more courage to translate that hope into actions which can make a real, positive difference. My faith has infused me with this sensibility, so it blends into my stories.

Of course, the story I have in mind is “Ray of Light,” but really, “Outbound” and “The Chaplain’s Assistant” deal with similar struggles. One of the ideas in political philosophy I find compelling is that society often needs the “prophecy” element of religion — that is, a prophet – in order to make social progress and solve problems. Is that a theme you try to convey in your work, or is it something more complex?

Hmmmm, if I understand you correctly, you’re saying we need leaders who can speak to us on not just a practical level, but an emotional and spiritual level as well? I can’t say I’ve deliberately set out to create such people in my stories. Almost always, I begin with commoners. Men and women who are otherwise average and unremarkable. Then I thrust them into remarkable situations, and I see how they react. Often this is an organic process, and with my short fiction at least, I never know where the characters are going to go until they get up off the page and assume a life of their own. At least in my mind, anyway.

When I look at history, many of the heroes we admire were just ordinary people, prior to whatever events transpired in their lives to bring them to greatness. I look at the Congressional Medal of Honor winners from World War II or Vietnam and it’s plain to me that most of them never determined to be heroes. Life just stuck them into difficult or deadly situations, and they found ways to win. Not always survive, mind you. But still win. In the history of my own church, there are numerous stories and instances of common men and women surviving and thriving, sometimes against terrible odds and under the clouds of immense tragedy and despair. I think all of this informs my writing to one degree or another. Because I admire these real-life instances of ordinary people becoming extraordinary in the face of danger, challenge, and hardship.

The other major strength of your fiction, I think, is the application of theoretical science in original or fresh ways. What kind of research do you do to get that sort of thing right? What nonfiction do you tend to read?

Blame it on Carl Sagan. I first watched his excellent Cosmos series on PBS in the early 1980s when I was perhaps six or seven years old. A lot of the science contained in that program was over my head, but Cosmos really turned me on to science. Especially the space sciences, as well as space technology. I’d already been attracted to science fiction in televised form — the original Battlestar Galactica being a good example. But Cosmos exposed me to theories and ideas which might actually be put into practice, if not now, then perhaps in the future. From there, a great deal of my curiosity about science and engineering blossomed, and though I am purely lay-educated on these disciplines, I have a strong enough grasp to survive Stanley Schmidt’s scrutiny.

I think the key thing that I try to remember when I sit down to do some of my science fiction, is the fact that Larry Niven — whom I have read extensively and whom I admire very much — was very gifted at taking interesting or even esoteric science and physics ideas, and wrapping compelling human stories around them.

That’s the tricky part. And the research is largely an exercise in osmosis. Every time I watch a science series on TV, or read an article, or see something on the internet, my brain is storing details for later use. Even if I don’t realize it. The conceit of “Ray of Light,” which is up for the Hugo and the Nebula, came from an article I read two years ago. Just one article. But it was a fascinating article, and I remembered it when I had to sit down and write a story about the end of the world. The research was not planned.

You’ve often voiced your admiration for Larry Niven, calling him your number one influence as a writer. Who are some of the other authors you read regularly or particularly admire?

Larry Niven is the man who taught me to love short science fiction pieces with rigorous “hard” science in them. I have read the vast majority of his books and most of his stories, and I am fortunate in that this year I am collaborating on a project with him for Arc Manor books. The other authors I read or admire? I always have to name Allan Cole and his (late) writing buddy Chris Bunch. They did a spectacular, sprawling series called the Sten series, which came out from Del Rey Books in the 80s. Sten is now available for download as e-books, and Orbit is doing a magnificent set of hardcopy Sten omnibus editions, the first of which, Battlecry, is already out, and the second of which, Juggernaut, is due out this November. Cole and Bunch are Pulitzer-nominated writers who did a great deal of work in Hollywood, at the same time they wrote excellent war and science fiction.

I could also point to my several mentors who have been actively helping me since I broke into the field: Dave Wolverton (a.k.a. David Farland), Kevin J. Anderson, Dean Wesley Smith, Kristine Kathryn Rusch, and Mike Resnick, just to name a few. I’ve been very blessed to have Resnick especially as my “Writer Dad,” and it’s been a pleasure working on several stories with him, one of which, “Peacekeeper,” is out soon in Ian Watson’s compilation titled, The Mammoth Book of SF Wars. Mike and I have another story out, “Guard Dog,” in Space Battles from Flying Pen Press, and a story called “The Ascent,” in Phil Athans’s The Fathomless Abyss shared-universe project. Mike’s not only the most-nominated man in science fiction history, for Hugo awards, he’s won a bunch of them too, plus virtually every other award in existence. And he’s a hell of a nice guy. I couldn’t ask for a better teacher, who has also become a good friend.

Something we have in common, I gather, is that we both come from a background of reading media tie-ins prior to discovering more traditional science fiction. For me, it’s always been Star Wars – I still pick up the occasional Expanded Universe novel, because they make for an entertaining read. If you could write a novelization or tie-in novel, would you go with Star Trek, or Tron?

I’d have to say Star Trek above all. Even though one of the first actual novels I ever read was Brian Daley’s book Han Solo’s Revenge, which may or may not still be regarded as canon in the Expanded Universe that Lucas has created since the ’80s. Something about the future history of Star Trek still fascinates me, and when I was a teenager I devoured dozens of the Pocketbooks Star Trek novels, in addition to watching and re-watching the television series as well as the movies.

At one point my writerly aspiration was strictly to find a way to write the “in-between” years, featuring Captain Sulu and the U.S.S. Excelsior, as well as Chekov and his (presumed) starship command. It obviously never happened, but because I loved and adored these media fiction tie-ins so much during my genesis (no pun intended) I have a soft spot in my heart for them to this day. Tron? Tron would also be a dream project, though given the revelations of the second movie, I am not quite sure where I’d go with it. I am more curious now to see where Disney goes with it.

Speaking of storytelling outside of original fiction . . . do you have any other films or television series that you consider a major influence on your work?

The original Battlestar Galactica, definitely. As well as the kitbashed anime series that was known in the United States as Robotech. From the big screen there is, of course, Tron, and the Indiana Jones movies, and some of Ridley Scott’s work, such as Blade Runner. James Cameron’s done some classics, such as the first two Terminator films and Aliens. Really, I am not much for “small” movies. When I look at cinema, I want story as well as spectacle. I thought the three Lord of the Rings movies were some of the absolute best Big Picture storytelling done in the last twenty years, bar none. I also liked the movie version of 300, which was adapted from the Frank Miller graphic novel.

In all of these things, I am looking for the same elements I like in my favorite books: sweep, panorama, big stakes, tremendous heroes, and a certain degree of ethical and moral assertion. I greatly dislike the deliberately ambiguous ending, or the deliberately ambiguous protagonist. These are trendy, and will probably remain trendy. But our motion pictures are our modern version of campfire stories. They are twentieth and twenty-first century legends. They should have a lot of legendary qualities to them. Star Wars – the first three movies — succeeds admirably in this way.

Do you have a favorite band or musician?

Oh gosh, that’s a tangent ninety degrees to movies. I am not sure I can name just one. I am hugely fond of electronic music in most forms, though I enjoy many other types of music too. About the only music I can’t say I like much is country western, or rap. Beyond that, it’s all good.

I will say there are certain specific musicians and artists I believe were very key to my personal development; my “soundtrack of life,” if you will: Kraftwerk, Depeche Mode, The Art of Noise, Vangelis, Harold Budd & Brian Eno, and so forth. Among recent finds — thank goodness for MP3 direct download from Amazon.com! — I really like the groups Helios and Hammock. As well as Royksopp, out of Norway. In most of these instances, it’s instrumental music. Almost all of it electronic or semi-electronic in nature. I also like composer James Horner’s movie work.

How has your military career had an impact on your writing? Do you see yourself bringing more military science fiction elements into your work?

I think my ten-year (so far) career in the Army Reserve has obviously given me an insider’s view, when I sit down to write a piece of military-oriented science fiction. More deeply, however, I think my military experience has taught me a lot about what it takes as a person to not quit, to not give up, and to outlast difficult situations. Here again I will point back to something I said earlier: Difficulty is the beginning, not the end. I am not sure I understood this before I joined up, but I definitely became intimately familiar with this after I enlisted.

There are things I’ve done in my military life which still make the civilian, full-time side of me sit up and say, “Man, we are so crazy for doing that!” And yes, I see myself working to bring a lot more of this to my fiction. Especially with books, where I can tell a much bigger kind of story and incorporate more characters with larger backgrounds, and more to gain and/or lose.

You’ve hinted that we may see a Brad R. Torgersen novel on shelves in the imminent future. Anything you can disclose on that front yet? If not, what sort of books do you hope to publish?

Yes, at this point it seems inevitable. Though I won’t disclose specifics, simply because so much is in flux right now. I don’t want to bait and switch. Like I said with the last question, books are a bigger canvas than short fiction. You can do more with them, and there is a wider — and more lucrative — audience. But I’ve discovered that some of the key skills I developed for successfully selling short fiction, don’t necessarily work when I am doing book-length work.

So I have had to go back to the drawing board a lot and invent new skills for myself, often with the help of teachers. I mentioned Dave Wolverton earlier. He does some phenomenal workshops on novels and writing outlines for them. He definitely has his finger on the pulse of what can take a good idea or character, and turn them into a book that’s not just good, but which also has the potential to be a bestseller. Many of his students are current superstars. Stephenie Meyer. Brandon Sanderson. Just to name two. I am hoping to bring a little bit of that to my books, though again I won’t give details because a lot is in flux.

I recall you mentioning something about one of your goals as a novelist being to build the kind of audience rapport that Orson Scott Card managed with his universally acclaimed novel Ender’s Game. Is that still something you’re aiming for?

Absolutely. Some writers aim for narrow audiences with niche or critical appeal. I think this is a recipe for a silent career. I’d rather go the opposite direction. The so-called “Enderverse” is one of the most widely-read science fiction epics of all time. It’s second probably only to Dune, in terms of its audience appeal across generations, and now that it’s going to be on the big screen, with presumably a big budget and some big stars, I expect the Ender’s Game saga to explode all over again.

This is the kind of thing I sort of think all writers should aim for: timeless appeal to generations of people. Not all of us will have it. Probably most of us won’t trip across that specific series of ideas, or characters, or that combination of factors which take a good novel or a very-good novel, or novel series, and elevate them to the status of timeless, commercially-successful, and widely-read classics.

Tolkien did it with The Hobbit and The Lord of the Rings. Herbert (and his son, with Kevin J. Anderson) have done it with the Dune books. Orson Scott Card did it with Ender’s Game. Rowling clearly did it with Harry Potter. I fully expect the Potter books and movies to be going strong in twenty years. Maybe even fifty years? That’s the sort of longevity that keeps an author alive in the minds of the public long after he or she is dead. That’s impact!

Any inkling as to what makes that book at once so fun and so resonant?

It’s the story of an underdog who goes on to be the big hero, and it’s set in a near-magical future where the hero gets to journey far from home and engage in fantastic battles, both real and virtual. These are exciting to most people during that crucial period between eight and perhaps twenty-five years of age, when our tastes in music and books and motion pictures and television solidify. Everyone knows about how hard it is growing up. Many of us know what it’s like to be bullied, or even to be the bully. Each of us longs for the chance to shine, to show our quality, as the fictional Faramir once remarked.

Andrew “Ender” Wiggin is the runt who, through his skill and brains, overcomes multiple social and practical obstacles, and ultimately leads humanity to an impossible victory over the Bugger threat. And because the setting is very much current with emerging entertainment technologies which are 3-D and virtual in nature, the Battle School seems as plausible today as it did when Ender’s Game first came out. I could go on, but I think I have covered the main gist of it. I think the Harry Potter books do a lot of the same things, only they were told with magic, not technology. Assuming the motion picture version of Ender’s Game does well, I expect the Enderverse to thrive on the big screen just as much as Potter, or The Hunger Games.

Well, I certainly hope that we get to see a novel from you soon, and as always I look forward to your next appearance in Analog. Thanks again for dropping by to answer some questions, Brad. Best of luck at the Hugo Awards ceremony. I’ll be there in Chicago rooting for you!

Thanks a lot, I appreciate the opportunity to write about this stuff. As for Analog, I know of at least two stories coming in the not-too-distant future. “Strobe Effect” was written with my friend and fellow Analog MAFIA member, Alastair Mayer. And there is the solo stand-alone story, “The Exchange Officers,” which is a military science fiction piece; which makes it a rarity, as Stan Schmidt sets rather high standards for anything military in flavor that comes across his desk.

Prometheus Speculation (Spoilers?)

Okay, so let’s talk about Ridley Scott’s Prometheus. I don’t normally put this much thought into needless speculation, but I can’t recall ever being this excited about a film, other than maybe Revenge of the Sith. Some of my earliest memories are of watching Scott’s Alien for the first time, and then Cameron’s 1986 sequel. (My folks were pretty lenient about what I could watch, and I’m thankful as hell for that. Imagine if I’d been limited to watching children’s programming; probably I wouldn’t be doing what I’m doing today. Besides, nightmares ain’t so bad.)

Anyway, I’ve had my theories for a while about what might happen in the flick, based mostly on watching the trailer ten or so times. I watched the 2003 Director’s Cut of Alien on Blu-ray just last week, and today I watched the original ’79 theatrical version with Scott’s 1999 DVD commentary track. Between the two viewings, I’ve noticed quite a few things that lead me to some conclusions about what Prometheus might entail.

The first viewing, years after I’d last seen the film, I noticed that the xenomorphs’, or Giger creatures’, eggs are veiled not only in an atmospheric “mist,” as Kane calls it, but also by a kind of barrier. Then the action that triggers the first facehugger’s actual hatching is when Kane physically touches the top of the egg.

After listening to the ’99 commentary track by Scott, he seems to confirm my conclusion, which is this: the eggs are in a containment field — or, as Scott calls it, a kind of “placenta” — that has kept them preserved and sustained for quite some time.

Furthermore, Scott offers his basic explanation of the relationship between the xenomorph eggs, the Space Jockey, and the Derelict. He feels that the Space Jockey must be one of a once larger crew who have obviously been dead for a long time, but jokes that he has no idea what happened to the others (this, I think, was probably the creative impetus for doing this pseudo-prequel in the first place, but I digress). The eggs, then, must have been — according to Scott’s explanation — weaponized creatures on board as military cargo.

So: While I don’t think we will get to actually see any Giger aliens on-screen in Prometheus, I certainly think we’ll see a facehugger or two, or at least the eggs themselves. If I recall correctly, there is a hole in the deck of the Derelict’s bridge, which looks to have been eaten away by acid prior to the Nostromo crew’s arrival; that suggests that someone in Prometheus will probably get attacked by a facehugger. My partly unfounded estimate, though, is that no one in the film will actually get a xenomorph embryo successfully implanted inside them.

Scott has said that the film contains a scene comparable in effect to the infamous chest-birthing scene from the original film, and elsewhere mentions something about a character performing a C-section on herself. This doesn’t sound like something that would work for ridding oneself of a xenomorph, since it hatches from the chest, rather than the uterus.

My theory, purely speculative, is that the Space Jockey is . . . either Charlize Therone’s character, who we see little of in the trailer, or David, the android played by Michael Fassbender. His character feels ominous and morally ambiguous in the various viral campaign videos that have cropped up online, and moreover, the trailer seems to suggest that the antagonist in this film will be born from a sticky green goo of sorts, which might lead to a kind of Invasion of the Body Snatchers-style symbiosis, which in the arena of science-fiction cinema could radically alter a character’s appearance.

If David’s body is composed of Gigeresque “biomechanical” components, or even synthetic DNA, then it doesn’t seem too much of a stretch to think that the Space Jockey might be the result of alien DNA meshing with humankind’s synthetic biotech work. (Plus, I think it would be cool to watch an android merge with an alien symbiote and then rebel against its human creators.)

I imagine Fassbender serving as a stand-in for the similar Ash character, or even the villainous “Archos” from Daniel H. Wilson’s Robopocalypse, who remarks:

You humans are biological machines designed to create ever more intelligent tools. You have reached the pinnacle of your species. All your ancestors’ lives, the rise and fall of your nations, every pink and squirming baby — they have all led you here, to this moment, where you have fulfilled the destiny of humankind and created your successor. You have expired. You have accomplished what you were designed to do.

Chilling, right? Almost as chilling as Fassbender’s one-liner, “Big things have small beginnings.” Again . . . I don’t think I’m stretching this too far. Besides, the original Scott film begins with the Nostromo answering a distress signal of unknown origin, which leads them to the Derelict, where they conclude that it was sent by the Space Jockey itself. I could see Scott ending the film with an android-alien abomination dying, perhaps at the hands of a facehugger or one of the main protagonists, sending one last cry for help across the stars, toward Earth and humanity — who send the crew of the Nostromo and Ash, years later, on a suicide mission to bring home an unstoppable militarized alien . . .

I know that it’s maybe more logical on the surface that the Space Jockey is the intended pilot of the Derelict, but I don’t think so. That the film takes place on LV-223 instead of LV-426 suggests the Derelict may originate underground in LV-223 and later get commandeered by either a protagonist or David-in-Space-Jockey-form. Talk in the trailer implies that the sticky green goo invited humankind to LV-223, so I’m thinking the goo needed a biological host in which to rise again. David, unfeeling for humankind, would probably be more than willing to show them the way home — to Earth.

Anything else is either too obvious to mention or too nebulous to back up with anything resembling even the flimsiest of evidence. What y’all think? Is this movie gonna kick ass or what?

Sci-Fi Short Story: “El Mirador”

“El Mirador” appears in the augmented-reality fiction anthology Mirror Shards: Extending the Edges of Augmented Reality, Vol. 1. The story is reproduced below in its entirety, in observance of International Pixel-Stained Technopeasant Day.

El Mirador
by Alex J. Kane

You wake to find yourself in a cramped, foul-smelling capsule spacious enough for one. After coughing up congealed phlegm and bronchial surfactant, you stretch your arms and legs, roll your neck, and glimpse the artificial world beyond the escape pod’s porthole.

The Niven habitat El Mirador stretches out before you: a pearlescent band filled with verdant earth and vast oceans, its distant pinnacle arcing sunward to the point of near-invisibility.

A ping flashes in the corner of your eye; then highlights your destination, and marks it with realtime ETA and proximity data.

Two blinks, in rapid succession.

The pupil-centric indicator in your field of vision hovers to CONTINUE ON PRESENT ENTRY VECTOR, and winks green.

You rub the coarse sleep from your eyes, and wonder just how long it’s been since you were put into cryo. Has it really been twelve years? Thirteen? Does the mission still stand, after all this wakeless time?

Pulling up the contract shows it was last synced with Astralum Corporation’s database just over a month ago.

Valid. Incomplete.

You’re still their dog, still on the hunt.

Just a highly intelligent, highly dangerous animal, as far as the suits on Earth and the inner colonies are concerned.

The Lagrange points, they probably snicker from a coward’s safe distance, befit an engineered killing machine like you.

All that wild emptiness.

The megastructure outside the pod draws nearer, but no red fireball licks at the pod. Not yet.

You catch sight of the flaring solar mirrors that regulate temperature and sunlight. The telescopes and lasercomm relays that speckle the vacuum all about the station like a swarm of winged insects, each pointing toward its own
assigned in-system colony.

Memories come flooding back like the vague recurrence of some long-forgotten dream.

A name: Tzitzi.

Something about irony, flowers, and a dead language on some plague-ravaged precolonial continent. Life prior to that of the mercenary huntress. Prior to purpose.

Untold debt, still waiting to be paid. Ah, you think. That’s what this bounty was all about. Yeah. Getting that shit paid off so I can buy my freedom. Clear my fugitive status, maybe even have fifty or sixty thousand credits leftover.

Except that you know this one gig won’t be enough. There will have to be more. You might go to sleep for months, or years, but debtorship doesn’t ever freeze. It just expands.

You think, Someday.

Inside the ring’s atmosphere, now — beneath the kilometers-high outer walls. A glow of rushing heat and fire. The rattle of air resistance.

Another name: Sol Mendoza. Your mark.

You pull the ripcord overhead; a practiced, reflexive action. This isn’t the first time you’ve had to crash-land one of these half-assed excuses for a spacecraft.

Drag fins snap out into the air behind the pod, reverse thrusters firing their explosive single-use rockets in a quick blast. The pod lurches sickeningly, and you stiffen in spite of yourself.

The ground below grows closer, closer . . .

Optical sensors overlay topographical data upon the visible terrain, and the craft’s autopilot compensates for a level impact. To minimize damage; to the pod, to you.

A flash of forested green, and then the world falls dark.

— — —

Semiconscious and howling in agony, a good twenty-four hours or so pass. Meantime, a calculated spectrum of probiotics and autonomous nanobots in your bloodstream work diligently to seal the breaches in your dermis, nourish your hungry cells, and replenish the fractured regions of your reinforced skeleton.

Fueled by adrenaline, you manage to hurl the canopy open and gaze out at the world that encircles you. You reach for the edges of the ruined capsule, and pull at your own weight to heft yourself upright. Wincing, straining –

You’re still far too weak to stand.

Try as you might to fight it, another blackout seizes you.

— — —

The nearby village settlement of Faribault sits low at the riverside. Concrete walls skirt along its borders, to keep the inhabited region from flooding. Scattered houses dot the rocky hills in the distance. Smoke and industrial filth curls skyward from the mess of belching factories on the edge of town opposite the river.

Wind turbines face upstream, their dizzying spiral dance supplementing the hydroelectric generators that jut from the floodgates. Churning, whining, tossing foamy spray.

This limitless data clouds your vision like so much eye-pollution, so much noise. Your cerebrospinal implant interfaces with the colonists’ own network, and suddenly everything you’d ever care to know — more knowledge than any individual could possibly retain — is made accessible.

Is made your own.

No possessions, no citizenship on this world or any other, and yet even the impoverished exile can reap her fair share of the intellectual commonwealth.

“Okay, Sol,” you whisper to yourself. “Where are you hiding?”

You strike out walking, headed for the settlement.

A tap of the touchpad tattooed along the inside of your wrist summons a list of recent queries. With an affirmative blink, the OmniWare device nestled in your brain stem seeks out any available intel on Mendoza’s whereabouts via the town’s surprisingly vast remote databank.

His identification sphere spawns in the air in front of you, immaterial but manipulable.

You spin it this way and that, perusing his personal history with a few flicks of your index finger.

This data is all public, but it beats the hell out of strolling into the pub and questioning the locals. This way, it’s probably reliable.

Date and place of origin, last logged pass through customs, phenotypic profile, blood type, neural uplink make and serial number.

Last known location: UNAVAILABLE.

You pull the luminous sphere open, and examine the slivered facets of its interior.

All around you, folks are stepping outdoors from their rickety wooden homes to take a look at the outsider who’s just wandered into town. Unbidden, untrustworthy. Fingering at the air like some insane mystic.

Offworlder, they silently sneer.

Save for some of the men, of course; some of them are craning their necks to ogle you with lusty eyes despite your alienness. Beneath your leather duster, the bulge of your breasts is still partially visible. Doubtless you’re immensely welcome in Faribault, if these men have anything to say about it.

Striding on, pretending not to notice the curious eyes all about you, you head straight for the regional law office.

Inside the ID sphere, a single document catches your attention. You scan it hastily, and simultaneously pull your hair back into a messy bun.

You think, Now this is interesting.

— — —

AstraCorp Headquarters. El Mirador Outpost.

The young man at the receptionist’s desk is hunched forward, nose-deep in a tattered paper book. He doesn’t notice you looming over him, not until you draw a breath and clear your throat.

My name is JARYN, his name tag reads.

You simply ignore the phantom cloud of information that hovers next to his head.

“Oh, sorry,” Jaryn gasps. “Hello. How can we help you, Miss — ?” The boy slaps the book closed, sets it aside, and taps at the glass panel on his desk.

A hologram flowers to life in the space between you, and his expression betrays supreme confusion when your face registers zero matches in the system.

“Tzitzi. Doesn’t matter.” You say, “I’m looking for a Solomon Mendoza. Goes by Sol. Heard of him?”

“Mendoza,” the boy mutters. “Mendoza . . .” His dull eyes focus on nothing in particular as he seems to consider the name. Then he calls up a population master list, waves his way through thousands of names before pausing to ask, “He the guy who went missing?”

You sigh. Then, “What?”

“Yeah, hate to be the one to tell you, but if this is the same Mendoza, I heard something a few years back about an incident quite a ways upstream from here. Guy broke into a company storehouse and sabotaged a bunch of expensive farming machinery, maybe stole some too. Had help, I think, but he was the one in charge of the whole ordeal. Heard someone pissed him off, but clearly it was uncalled-for.”

“And then . . . ?”

“Then he supposedly just fell off the grid. Must’ve tossed his tablet in the river and took off. Something.”

Speech analysis indicates he’s telling the truth.

Meaning, of course, that Sol doesn’t have a wetware implant installed any longer. He’s all flesh. Which suits a barbarous outcast like him, you think to yourself.

In the pockets of your coat, your hands curl into tight fists. The boy, Jaryn, appears not to notice that you’re shaking with fury.

The idea strikes you that this maybe isn’t the best place to whip out a pair of submachine guns. Effective stimulus or not, they can’t make Mendoza materialize right in front of you.

“Any other incidents involving him?” you ask, slowly leaning over the counter.

“I don’t believe so.”

Again, truthful. The kid’s got no idea that on at least one in-system habitat, Mendoza is suspected — undoubtedly guilty — of murder; that the bastard routinely displays alarming sociopathic tendencies, as the AstraCorp network puts it.

With a flourish you stride back out into the warmth of El Mirador’s reflected sunlight, en route to the wilderness that sprawls for kilometers upstream.

— — —

Waypoints mark concentrations of human presence in your path, which are few and far between. Trees like the mythic redwoods of old Earth tower all about, forming a canopy that drowns the soil underfoot in shadows. A cool wind follows you. There’s the occasional cawing of a bird, but relatively little animal life to be spotted for hours at a time.

You come to realize that those winking green triangles off in the distance are your only beacon of hope.

They mark your progress, of which you’d have not even the vaguest sense otherwise.

They give you the drive to keep on, even as your stomach aches with hunger and your bones grow weary of the pseudo-gravity pulling you down.

— — —

Along the way, you access Mendoza’s ID sphere for further study. Holovids of his last known public dealings, three-dimensional renderings of his face, and even full body scans. Local police logs of his habitual patterns.

The only reason you’re on this backwater station is to track down Sol and spray him with a lethal dose of smoking bullets laced with paralyzing neurotoxins. And all the while, the smug bastard’s walking right alongside you, a ghost of his past reality committed to digital memory just so he can taunt his pursuer.

Unkempt salt-and-pepper hair thinning to a high widow’s peak. Cold green eyes, skin tanned dark by a working man’s hours spent in the sun.

A wide, toothy grin as he swipes his credit chip, mouths “Thanks, asshole,” and nods a solemn goodbye to the cashier at a general store somewhere in the territory. This one’s a nonevent.

In another, this time a police surveillance record, Sol is leaning toward a young woman sitting beside him at a diner. They’re finished eating, knocking back a couple of drinks, and he goes in fast for a kiss. His questing hand slips out of sight beneath the table. She backs away and wrinkles her nose at him in disgust.

He slaps her, hard.

She reaches up to touch her cheek with trembling fingertips, disbelieving. Tears glisten in her eyes as she slips out of the booth and flees, visibly mortified.

Doesn’t take long before you decide this is all you need to know about the man whose life you’re hoping to end, and wave the shattered AR sphere and its contents away.

— — —

Nightfall.

Nothing to hear but the wind in the trees, now. The river must be a day’s trek away. The darkness carries with it an autumn chill. No solar mirrors visible up in the sky; only the faint light of the stars.

An indicator flashes, pointing toward something new it’s just detected.

Following the blinking yellow marker, you come upon an abandoned camp site. A kindling burns in the center, putting off the lovely aroma of burning wood. Its embers have died down to a dim orange-red glow, but the heat it emits is a welcome surprise. You sit down on a large log beside the fire, and soak in the warmth.

Your implant brings up an optional chemical analysis of the burn, and you blink affirmatively.

The fire’s only a couple hours old; at least since its flames were last fed firewood.

Curls of smoke waft heavenward from another fiery glow: the tip of a cigar at your feet.

You pick it up, sniff at it. Put it to your mouth and take a deep drag. The smoke burns your lungs and steals your breath. You cough, heave the tasteless puff back up, and hawk a wad of smoky mucus into the dirt.

You think, Well, that’s fucking gross.

— — —

A quick search of the station’s all-encompassing network confirms that the cigar is your mark’s brand of choice. He’s a tobacco smoker, all right. Before coming to El Mirador, he bought them by the crate, like the military does.

Traces of ammonia in the air form a trail leading toward Mendoza’s safe house in your field of vision each time you force yourself to inhale the pungent byproduct of his cigar. You’re just following his stench; chasing his filth through the woods while his own digital ghost leads the way.

I’ll take that AR with the scope, Sol says to some faceless gun merchant. Four boxes of ammunition, if you’ve got em.

Countless sales receipts: for sidearms, signal flares, an inflatable mattress, pieces of attire warm enough for living outdoors.

An order for credit line termination, per colonial law.

So you know he’s well-armed.

Hell, any moment now a bullet might pierce your skull. Game over. But you’ve got a debt to pay, a life to buy back.

Meantime, this lawless bastard Sol owes the authorities his freedom, at minimum; ideally his life.

Like so many, he isn’t worthy of the air in his chest.

— — —

The next town you hit, where Mendoza’s cigar smoke trail vanishes, is little more than a way station. A stop along the wheel that just keeps turning, pouring its infinite river on downstream.

Dawn breaks on the horizon, its golden light halved by the glittering band of El Mirador stretching skyward all around you.

A large unpainted vehicle trundles by on two sets of thundering treads, headed out of town. The sudden squawk of a bird on a rooftop overhead startles you, but you stifle your reaction and keep walking.

“Hello,” says a little girl standing in the road. She grins, toothless, her ocean-blue irises gleaming in the sunlight.

“Hi there,” you say. Then, “Do me a favor: Go inside and stay there, kiddo. Something bad’s about to happen out here.” You press a finger to your lips and make a shushing sound.

She does as instructed, and you let go a held breath. Relieved.

At the sound of her slamming the front door, you start back toward the center of the village, where several horses are tied in wooden stalls outside the general store and the handful of automobiles in sight all have the Astralum Corporation logo emblazoned on their sides in flaking, rust-scarred paint.

Then another sound, a metallic crack, stops you where you stand, and with a pivot of the heel you’re facing back at the house where the young girl entered.

The long barrel of an assault rifle is aimed right at your face.

From behind its large infrared scope, a fat old man leans forward to get a good look at you. Gray hair, thinning to a high widow’s peak. Dull, icy green eyes. Leathery dark skin.

Sol Mendoza.

Aged, but not enough to declare him nonthreatening.

A jagged scar runs down his cheek, starting at the corner of his left eyelid and disappearing into the shadow beneath his stubbly chin. His old eyes glint with a quiet intensity.

Fear.

“Sol,” you say, only it’s not a question.

The child appears again, clutching his pant leg from behind. He shakes her off, tells her to go back inside; she obeys.

“My little niece says you scared her, offworlder,” Sol says.

And you say, “Did I? Just wanted to make sure she didn’t see anything that might haunt her the rest of her life, like me killing you. Like seeing me throw your limp body into a burn pile.”

“This old man?” He cackles.

You say, “Oh yes, Sol. Proper payment for your crimes is long past due. You want peace, you shouldn’t go around murdering AstraCorp employees and destroying their equipment.”

You say, “You’ve jeopardized this colony enough times. Now it’s your turn to fall face-first in the dirt. Sorry.” You offer a shrug of mock sympathy.

There’s that grin: wide, toothy. A few teeth are missing, but the devilish lines in his cheeks and the crook in his brow haven’t fled. Only deepened.

“Pardon me, stranger, but you seem to forget which one of us is staring at a rifle pointed right between her eyes.” Another insane cackle, and he wipes a hand across his mouth.

“The people in this town appreciate you jabbing that thing at anybody who happens to walk by?”

He grunts. “Girl, the people in this town know to mind their own affairs, to keep their noses out. They know better than to cross me. You ought to take heed of their example, you want to get out of this place alive.”

You smile, satisfied to be getting a rise out the old man. “I think you’ll find I don’t need your advice to survive. You always underestimate your enemies, Sol?”

“Not this time, I’d wager.” Mendoza bares his yellowed teeth. “This time, I think I’ve found me just another loyal dog come all the way up here to die. For some damned corporation, don’t give a damn about its own save for what they can exploit. Yeah, I’d say so. Another loyal dog.”

You dive sidelong for the copper soil, reaching into the folds of your duster and pulling out the pair of Xing-Barron submachine guns you keep holstered below your underarms. After a momentous roll, you rise to your feet.

With a deliberate squeeze of the triggers, a spray of gunfire erupts from both muzzles.

The explosive cacophony of all those tiny sonic booms.

You keep your head low, strafing as you fire.

The light of a hundred flaring bullets as they burst free into the air, riddling Mendoza’s ragged flesh and tossing up ribbons of blood in their wake.

He doesn’t even get a chance to aim his rifle.

Instead, the life is flowing out of him like so much wasted potentiality, drowning the earth in an obscene pool of shining crimson as he slumps to his knees, and then collapses backward. He’s heaving labored breaths, coughing up blood that streaks his face and drips to further soak the dirt.

You holster your weapons, and cross your arms.

Sol’s young niece pushes the front door open, and a middle-aged man, probably Mendoza’s much younger brother, steps out behind her. There are tears in the child’s eyes as she hobbles down the stairs toward her uncle’s motionless body.

When the father on the porch gives no sign of confrontation, you give him a grave look, then turn and stride on.

In the nothingness before you, you summon the command interface of El Mirador’s impressive lasercomm array with a few practiced strokes of your index finger. A rough 3-D rendering of the Niven habitat fills the space in front of you, and you prepare a voice recording to send out with the beacon.

The transmission will take months to reach the security contractors who sent you here, and a great deal longer than that before they arrive on-station to extract you. Until then, there will be plenty of time for exploring the luxuries of false liberty: whiskey, campfires in the wilderness, fishing for sport. Home-cooked meals, if you’re lucky. Learning to smoke cigars the proper way, if you’re feeling extraordinarily bold.

All this just to kill the time, and maybe even learn what it feels like to be human.

Before once more you wake to find yourself in a cramped, foul-smelling capsule spacious enough for one. Falling toward a new world; seeking out a new target.

Before you’re unleashed to hunt again.

Sale: “An Apocalypse of Her Own, One Day” to Mirror Shards, Vol. 2

I just received the contract for my eighth short story sale, notwithstanding the three that got cancelled when a broke publisher folded. Thomas K. Carpenter bought my story “El Mirador” last year for his first Mirror Shards anthology, so I was doubly pleased when he told me that my short story “An Apocalypse of Her Own, One Day” — a flash fiction piece, really — would appear in the second volume of his augmented-reality anthology series. The story has received very positive personalized rejections from places like Shimmer and Goldfish Grimm’s Spicy Fiction Sushi, so I’m thrilled that it’s going to finally see the light of day.

I wrote it in the space of a single sitting, two or three hours at most, one afternoon this past summer. I’d been to a wedding outside of Chicago a couple days before with my girlfriend, Ashleigh, and on the boring car ride home – in the midst of unending road construction and those goddam tollways — the premise struck me all at once, like an image out of a nightmare. Only I’d been researching AR technology and other, more theoretical science, and casually studying the tenets of Buddhism . . . so the pieces actually fell into place quite nicely. Big thanks to Tom, as well as to my good writer-friend Grayson Morris, whose comments were invaluable in shaping the final draft of the piece.

The Cabin in the Woods, Cont.

Over on his own blog, horror writer Wayne Goodchild weighs in with his thoughts on both my review of The Cabin in the Woods and the film itself:

Alex makes note of the comedy aspect outweighing the horror, which I am inclined to agree with. At one point near the beginning, I found the characters almost unbearably interchangeable and unrealistic - they’re ALL swapping witty banter and uttering snappy one liners, and it felt terribly forced. Thankfully, as the film progresses, their roles become more refined/defined - I am aware this may have been the point, but I still don’t think starting a film with unlikeable characters is a smart move.

I also completely agree with Alex’s point that what we don’t see is scarier than what we do. I love a lot of older fiction by writers such as Algernon Blackwood et al and that way of thinking has been a gold standard for horror writers for years. However, I am also a huge fan of in-your-face monster stories/nature-runs-amok/giant creatures, so I’m equally happy to watch some terrible creature go nuts in full view. If the point of a film/story is one thing, but it does the other, I’m disappointed, but I don’t think CABIN is one of these. It’s cheeky in its intent at points, but I was never convinced it’d be one more than the other. That’s not to say it is either of these things. Or maybe it is.

[...]

I think this (and things mentioned in Alex’s post) shows that different people have different perceptions of reality. That could be the start to a particularly deep and philosophical debate, but let’s leave that sort of thing for people with an entire alphabet after their name. CABIN asks questions of reality, which is perhaps the aspect I enjoyed the most about it. It’s clearly not set in ours, but then, maybe it is. I suppose it depends on how ‘fantastic’ you’re willing to let things get. Go see CABIN and decide for yourself.

As I mentioned in the comments section of the previous Cabin discussion, I definitely think the film works on the level of why-we-need-horror-stories — offering up violence and examining it in grotesque detail to appease the demon that lurks within the human subconscious — but I think it could have been done in a manner that did double-duty as a horror film, as well. Maybe I’m asking for too much, especially given the Cabin’s superiority to the majority of films labelled “horror” these days . . . but I would’ve liked to see some of the spectacle left to the imagination, and the comedy dialed back just a notch. Other than that, it was definitely an entertaining work and far better than 98% of what gets passed off as horror these days. (Take my opinion with a grain of salt, though, because I prefer the plausibility of a film like Straw Dogs or Duel or Psycho over ghoulies and vampires any day. It’s definitely a matter of preference.)

Kubrick’s 2001: A Space Odyssey

Almost four years ago, now, I read a book that changed my life: Arthur C. Clarke’s 2001: Space Odyssey. Up until that point, I’d read a handful of SF classics, like Dune, The War of the Worlds, and so forth — but mostly I was a reader of, well . . . arguably lesser books. Things like Star Wars tie-ins (more than I can count, but most of them entirely forgettable), ho-hum film novelizations, and what have you.

I also read a lot of mid- to late-career Stephen King, like The Green Mile, Different Seasons, et cetera. No criticism there; I still read and love King shamelessly. He’s a master of the craft, whom growing storytellers should study with earnest.

(And, of course, there was that sparse, strange little holy-shit-this-is-fucking-awesome book called Fight Club. Ahem.)

But my freshman year of community college, long before I transferred to my present alma mater in my hometown of Monmouth, Illinois, I was assigned a Composition II paper in which I was to examine a novel of my choosing, from a list provided by the professor. There was one science fiction novel on the list, so I went with that one.

Clarke’s 2001 is nothing short of a treasure. It doesn’t get quite the level of acclaim that Rama or Childhood’s End gets, but I think it’s a damn fine read. The kind of book you never forget, and to which you always sort of aspire. As long as I’m alive, writing science fiction and pushing myself to get better at it, I think 2001 will be the book whose level of wonder, stimulation, and adventure I inevitably compare my work to. That’s not to say that there aren’t better-written, or more interesting books . . . but simply that the impression of that first transformative read will be hard to beat.

It’s like the maybe-arguable-fact that Kubrick’s 2001: A Space Odyssey film and Spielberg’s Minority Report are better films from a creative standpoint than The Empire Strikes Back and Ridley Scott’s Alien: Though it may be true, or have at least partial merit, my early experiences at the ages of seven (Empire) and, I think, eight years old (Alien) will remain forever crystallized as defining moments in my upbringing.

Which is why, perhaps unfairly, it’s always been hard for me to consider the possibility that Kubrick’s 2001 is even worth my time. I almost universally prefer original books to their film adaptations — Fincher’s brilliant but inferior Fight Club adaptation among them, admittedly — and so with a book like Clarke’s beloved novel, I thought that disappointment with the film was guaranteed.

Recently, though, I read a Facebook discussion led by author Robert J. Sawyer, who argues that the differences between the film and the novel are sufficient to view them as two entirely separate works, each with its own set of thematic concerns and moral subtext. More specifically, he views the Kubrick film as dealing with the evolution of humankind from its present, organic state to the level of artificial intelligence — therefore concluding that HAL-9000, or “Hal,” is the most important component of the mission.

This deviates significantly from the novel, I think, which seems to concern itself more so with the evolution of humankind from the level of sapience to, well, omnipotence. A level of intellect and influence unknowable, and incomprehensible, to the reader. (I watched the film 2010 several years after reading Clarke’s 2001, but have never read the three sequel novels. Perhaps Bowman’s transformation is explained differently than in the two film adaptations; I can’t say whether it is or not.)

Anyway, I finally took the time to watch the Kubrick film from start to finish — this morning, in fact — and found it enormously awesome. A stunning, enthralling work of cinema, with at least two or three killer scenes: the arrival of Heywood Floyd and the discovery of the lunar monolith; Hal’s death sequence, which I thought had some chilling dialogue; and certainly the haunting, almost silent simulacrum in which Bowman becomes the enigmatic Star-Child. It was solid enough to stand on its own, but ambiguous enough to demand that after four years of literary infidelity, I finally make a return to the fiction of Clarke, to whom I owe my appreciation of the genre as I know it today.

So, the to-read list continues to grow. I’m still swamped with my senior thesis and other obligatory slog work, but making my way slowly through Haldeman’s The Forever War and Vernor Vinge’s A Fire Upon the Deep. After I finish those, it may be on to Leviathan Wakes by James S. A. Corey, or Childhood’s End. Maybe 2001 itself, or Rama. Who knows? I’m so sick of all this schoolwork that once graduation’s over, it’s gonna be reading, writing, exercising, and Xbox-ing. Oh, how I miss Xbox-ing. And exercising. I get plenty of reading and writing done for school, but damn . . . I like the kind you do for fun much, much better.

The Cabin in the Woods

I’ll try and keep this spoiler-free, because I think it goes without saying that spoilers are the film buff’s bane, but I will need to at least hint at a few aspects of the story in order to properly criticize it in the manner I intend to. Which is to say, I didn’t really enjoy the film all that much on an artistic or intellectual level. Reception and others’ opinions had set my expectations high, and in the beginning of the film I felt that the script was poised to deliver . . . but things fell apart pretty quickly.

Maybe I’m too jaded, or even a liar masking his own jealousy or insecurities as a creative individual, but I feel like a lot of these high-concept, chain-o’-surprises films feel a little soulless. They lack the grit and believability that are the requisite of true, visceral terror — something that the horror genre, particularly in film, is especially lacking these days.

It’s not that The Cabin in the Woods doesn’t have its smart or entertaining moments. There is a certain moderate tension that persists throughout the film, holding the audience’s attention, but it can’t ever make up its mind whether it is a comedy or a horror film. It succeeds only, I’m afraid, as a comedy. That’s what I find most disappointing.

And so much of the plot relies on, well, me not revealing the big spoilers that would utterly ruin the entire thing for you. It’s all one massive curtain . . . which, by the way, you can see straight through the minute the film starts.

Hell, the first time you see the trailer, if you’ve a keen eye and a rudimentary understanding of the genre and the metatheatrical/metafictional obsession that has grown to dominate the imaginations of horror cinema’s once-great masters. Like that bloody but disgraceful mess Scream 4, The Cabin in the Woods suffers from the reality that the well-meaning audience member is constantly thumped over the head with reminders that she is in fact seated in a movie theater, sipping a six-dollar Coke and comfortably distanced from even the slightest whiff of danger or alarm. Munchin’ on that Buncha Crunch.

I dunno. Maybe this is a phase, in which I’m not allowed to enjoy contemporary horror films with quite the same kind of –

Wait, no. Fuck that. I watched Ridley Scott’s 1979 film Alien last Thursday night, and damn, that’s a movie, folks. Thirty-three years ago, and the H. R. Giger creature is scarier than anything Hollywood has managed to dream up since.

Like I said to my little brother on the way outta the theater, what audiences know — have known for decades — hasn’t quite reached filmmakers’ ears: It ain’t what you show that’s scary; it’s what you don’t show. It’s what the audience thinks it saw, what it imagined.

Hence the phenomenal effectiveness, and deserved success, of a film like Alien.

So please, enough with the gimmicks. To hell with the no-holds-barred-anything-fucking-goes expansion of scope, realism, and so-called “artistic freedom.” Set some boundaries. As the film’s stoner-cum-hero says, you gotta draw a line in the sand somewhere. Keep a touch of harsh reality, just a dash of subtlety. Rules and mystery, silence and things left unsaid, leaving that curtain down . . . these things will keep the illusion alive.

Richard Jenkins’ character, well, he won’t. Nor will the colossal meta-narrative technique of “The Director” and holograms and wagers with the boogeymen of other nations. And don’t even get me started on the imagery in the opening credits and constant bludgeoning of the audience with obvious one-liners and allusions that give away the big “surprise ending” as early on as the opening scene, for chrissakes.

Sorry to rant, but I’m so tired of being disappointed by a genre that is so dear to my heart, that is so fucking full of potential. I wish we could put the cliches and meta qualities to rest in favor of originality, atmosphere, and believable, human characters. Trust me: Romero and Lovecraft won’t mind if we leave the zombies and elder gods behind in favor of artistic invention. They’ll thank us for not killing the genre.

“Headcase” Illustration

Headcase

Artist Nick Gucker turned in this illustration for my story “Headcase” yesterday, and in my totally biased opinion, I think he did a helluva job. The story will be published in Matt Edginton’s forthcoming anthology The Glass Parachute, alongside another of my Lachiga stories, “Touching from a Distance,” which will also be illustrated, albeit by another artist. Needless to say, I’m really excited to get my hands on this one. It’s also worth mentioning that this is the first time one of my works has been adapted into a visual medium, and I couldn’t be happier with the result. Gucker really captured the post-cyberpunk aesthetic of my Lachiga universe and the intensity I hoped to convey in this particular piece. You can see more of Nick’s work at nickthehat.com.