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Archive for July, 2014

PS — Shore Leave schedule now up

The schedule’s now up at the Shore Leave site:

http://www.shore-leave.com/schedule/

And there are no evident changes from what I reported last night.

By the way, I’ve just realized: This will be my 10th Shore Leave. I first went to Shore Leave 27 in 2005, and I’ve gone every year since.

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Shore Leave 2014 tentative schedule

The official Shore Leave schedule hasn’t gone up on the site yet, but here’s a list of the panels I expect to be on:

FRIDAY 8/1

Comedy of Sci-Fi — 8 PM, Hunt Ballroom

I don’t know if I’m officially on this panel, but I’ve requested it as a chance to talk about my Hub series of comedy novelettes in Analog. Also featuring Aaron Rosenberg, Russ Colchamiro, Peter David, and Lorraine Anderson.

Tor Books : The Year Ahead — 9 PM, Hunt Ballroom

I don’t think I’ll actually be on this panel this time, since I don’t have anything new for Tor yet, but I figure I should mention it anyway, since I’ll at least be around for it. Tor editors Marco Palmieri and Greg Cox will give what’s become their regular preview of next year’s SF/fantasy slate from Tor, which I really wish I were on, but I’m not. Well, maybe next year.

Meet the Pros — 10 PM, Hunt/Valley Corridor

The annual 2-hour mass signing event where all the author guests will be available to autograph whatever you bring or buy.

SATURDAY 8/2

Star Trek Novels: Writing in the Movie Era — 10 AM, Derby Room

Pretty self-explanatory.  I’ll be the only one representing the post-TMP era of Ex Machina, The Darkness Drops Again, and Forgotten History, while the other panelists all represent the post-Final Frontier period: Dayton Ward (In the Name of Honor), Peter David (The Rift), and Greg Cox (the upcoming Foul Deeds Will Rise).

Sixty Years of Godzilla — 11 AM, Hunt Ballroom

Also self-explanatory, and also featuring Greg Cox and myself along with Jeffrey Lang, Andrew Gaska, Bob Greenberger, and Richard C. White. Greg, of course, wrote the novelization of the recent Godzilla movie, while Bob wrote a 2005 nonfiction book about the franchise. I’m there just because I’ve seen and reviewed most of the films within the past couple of years, as Written Worlds followers are aware.

Writing Action Scenes — 4 PM, Concierge Lounge

Something I have some experience with, particularly through Only Superhuman. With myself, Keith R.A. DeCandido, Kirsten Beyer, David Mack, Danielle Ackley-McPhail, and Eric Bakutis.

Series in the Sandbox — 5 PM, Derby Room

This one’s a little harder to explain. It’s basically devoted to single-author or single-team ongoing series in Trek and tie-in literature, with myself (representing Rise of the Federation), Kirsten Beyer (Voyager), the Vanguard/Seekers trio of David Mack, Dayton Ward, and Kevin Dilmore, and Stargate: SG-1/Atlantis novelist Jo Graham.

SUNDAY 8/3

Unfortunately, both the Sunday panels I wanted to be on are too late for me to attend, since I’m flying in and out this year for the first time, and I need to leave in mid-afternoon to get to the airport in time. So I probably won’t be on any panels on Sunday. But I’ll be generally around, and I’ll try to spend an hour in the Author Chimney at the book vendor’s table down below the escalators, so folks can drop by and find me.

And no, I’m not doing a personal Q&A panel this year. I don’t have enough going on this year to justify it, and the couple I did before were not well-attended. But I’ve tried to get on panels that will let me discuss my various works, so those would be the places to ask questions or just generally lavish praise upon me.

If any of this information is changed once the official schedule goes up, I’ll update this article. But there’s not much time to go!

This is my first Shore Leave with a smartphone, and I’m finding it useful for entering my schedule and important notes into. I’ve even entered my panels into the calendar app. It should also help me keep up with e-mail and Internet during the con, and to look up information if I need to (I’ve already got the Shore Leave page and the Baltimore Light Rail schedule bookmarked). And I’m remembering to bring my backup charger pack.

DAWN OF THE PLANET OF THE APES Review (Spoilers)

Three years ago, Rise of the Planet of the Apes showed us the dawn of a new species of intelligent ape. Now, Dawn of the Planet of the Apes shows us their rise to — wait, something’s not right there… Better start over.

Ahem. Well, I finally saw this movie, and it’s pretty awesome. The first thing I noted was how extraordinarily realistic the CGI was — that first close-up shot on Caesar’s face looked utterly real and convincing, and I was thinking, “Wow, we’ve really arrived now; there’s no longer any discernible difference between good CGI and reality.” But then the bear attacked and didn’t move like a convincing bear, and I realized that while the technology has fully arrived, it’s still only as good as the way it’s used. Don’t get me wrong, most of the CG work here was fantastic, but it occasionally had enough imperfections to remind us that it’s still a human creation. And maybe that’s for the best. Later on, during the no doubt digitally created shots of the abandoned, decaying San Francisco, I found myself idly missing the days when matte paintings were clearly identifiable as paintings — convincing enough that you were willing to buy into them, but still recognizably the work of talented human hands. Of course, the CG in this film was the work of many, many talented human hands, but not so recognizable as such, and not as easily credited to any one artist, like, say, an Albert Whitlock matte painting in a Hitchcock film would’ve been. (Or Emil Kosa, Jr.’s painting of the Statue of Liberty at the end of the original Planet of the Apes, for that matter.)

I found the apes far more convincing than the bear, though, and that owes a lot to the human performers underlying the animation (although it should be understood that the performances we saw were no doubt mediated heavily by the animators, as in all performance-capture work). One of the last things I noticed, but by far one of the most important things for the film industry as a whole, is that this is probably the first motion picture in which performance-captured actors whose faces never appeared on camera were assigned billing no differently than the on-camera actors were — meaning that Andy Serkis finally, finally got the honest-to-goodness no-kidding star billing that he should’ve gotten in the first film. And it’s not just Serkis’s clout that achieved this, since other ape actors like Toby Kebbel (Koba) and Nick Thurston (Blue Eyes) had their credits mixed in with the “human” actors like Jason Clarke, Gary Oldman, Keri Russell, and Kirk Acevedo. It was really good to see, because they really deserved it. This is at least as much the apes’ movie as the humans’. Come to think of it, the original series went through a similar progression; the first two movies, the ones with Charlton Heston, were from the perspective of human protagonists, but the later three elevated Roddy McDowall to the starring role; he was the viewpoint character, as both Cornelius and the original Caesar, and the humans were the exotic creatures he had to contend with, or the sticking point in a conflict between him and a rival ape faction. Whereas the previous film was a loose reworking of the premise of Conquest of the Planet of the Apes, this one has clear similarities to Battle for…, the final film in the original series.

But while Battle was probably the weakest installment in its series, this film is probably better than its predecessor, even though — or perhaps because — most of its running time is devoted to nonhuman leads who only occasionally speak aloud. The apes have a lot of personality and an interesting society, and I like the hybrid of natural ape behavior (like the outstretched hand as an appeasement gesture), taught sign language, and human cultural elements appropriated knowingly or accidentally. Caesar is the same intelligent, well-intentioned, but psychologically scarred character he was at the end of the first film, but more seasoned and tempered by being a family, err, ape  and a tribal leader/community alpha male. He’s brilliantly played by Serkis, although I profoundly doubt the Oscars will have the good sense to nominate Serkis for lead actor. Koba, Caesar’s main antagonist and the leading warmonger in the film, is something of a caricature, a bit one-note in his hatred and self-serving hunger for power, and unfortunately coded according to “ugly = evil” screen conventions (although his design is left over from the previous film), but he’s an engaging and cunning villain; I love the way he uses the facade of humor and friendliness to get his human foes off their guard. And Maurice (Karin Konoval), the orangutan Lawgiver (essentially), is a lot more charming than his, err, namesake Dr. Zaius (Maurice Evans, of course, from the original film) — a bit of a one-dimensional character, but still memorable.

I’m not sure I found the human cast quite as rich. There’s the friendly, understanding hero (Clarke) who’s pretty much explicitly described as a stand-in for James Franco from the first film. There’s his kind, compassionate wife (Russell) who wants to help, and the son (Kodi Smit-McPhee) who’s having trouble getting over his mother, and the hardass authority figure (Oldman) whose blind bigotry leads him to violence, and the hair-trigger angry guy (Kirk Acevedo) who’s a secondary source of conflict. Not much more than one dimension to any of these guys. And I couldn’t help being bothered that the story of human survival was carried almost entirely by white characters. There were a couple of black people, but they were just there to be supporting players, and the closest we got to an Asian face was Acevedo, who’s Puerto Rican/Chinese (although he’s never been cast as Asian) and was stuck playing an irrationally violent, cowardly, and doomed supporting character. Demographically speaking, that doesn’t make sense; assuming these survivors came from the San Francisco area, then maybe one in three should be Asian and only two in five should be non-Hispanic Caucasians. The first film did better in this regard, giving us Freida Pinto and David Oyelowo in key roles. (Oh, and if the intent was that white people were somehow more genetically predisposed to immunity, that’s disturbing in its own way — and hard to buy, given that the first two victims of the disease in the first film were both white.)

And while this was a potent and often tragic tale of how hate and intolerance lead to war, and while the battle scenes were effectively un-glamorous and brutal and un-sensationalized, I found myself taken out of the film by one thing: Bottomless Magazines. The way Koba and the others were firing those automatic rifles, they should’ve been out of bullets in five seconds. They clearly didn’t have the training to show any kind of firing discipline. Yet they were able to keep firing in full auto mode throughout the entire battle without ever running dry. Ditto for the humans at Fort Point who were “testing” the surviving artillery by blasting away endlessly. These supplies are finite and they have no idea how numerous the enemy is — should they be wasting so many bullets on “testing” that’s clearly more about macho self-indulgence? Well, I could buy that as the civilians not really knowing what they were doing when it came to firearms, but in the context of the endless ammo throughout the rest of the movie, it feels like part of the larger problem. (There’s also the fact that you can’t just pick up a gun and expect to be able to use it effectively in battle if you’ve never handled one before, if you don’t know how to clean or strip or prime or do whatever to the thing that you need to do. Look, I don’t know guns, I don’t ever want to be in the same room as one, but I read an article a while back debunking this particular myth and talking about how much training it takes to be able to use a firearm effectively and safely. Add on the fact that the guns were designed for human rather than chimpanzee or gorilla hands, and the apes should’ve been doing more damage to each other with those guns than to the humans.)

But those were the three main things I had issues with. Everything else worked well. Michael Giacchino’s score was excellent; he has a knack for evoking the sound and flavor of vintage scores from the ’60s or ’70s, and this score felt like it was a cousin of Jerry Goldsmith’s and Leonard Rosenman’s scores for the original films. (Oddly, Giacchino doesn’t seem to use that knack in his Star Trek film scores, which are the only scores of his that I don’t particularly enjoy.)

So that’s Dawn of the Planet of the Apes, which came after Rise of the Planet of the Apes. Come back in a few years for the third film, Prelude to the Planet of the Apes. Or something. It’s a madhouse! A madhouse!

Home page apparently fixed, and other stuff

I just checked my homepage, and it loaded without a malware warning, so I guess it’s clean now. I apologize for the delay, but apparently it takes a couple of days for a review to go through. Actually Google still has a caution up for the site on its search results, so the request must still be in process, but the site is accessible now and I’m pretty sure it’s safe. Although I’m a little concerned that this is the second time my site has been hacked in the past few months. The first time, it was just the main page and it was simple to upload a clean copy — so simple I didn’t think to report it or change my password. Hopefully the password change will protect it, but if this becomes a problem again, I may need to consider moving my site to a different host.

In other news, my jacket arrived intact. And I finished that plotline from Uncertain Logic, though I still have a way to go on the other main ones, and just over a month to deadline. The problem is that it turned out way too long, but now I’m going through and looking for stuff I don’t need, things I explained twice, etc. Unfortunately I’m under the weather today and haven’t been able to do as much work as I’d hoped. I’d also been planning to go see Dawn of the Planet of the Apes at last today, but I just wasn’t up to it.

Oh, and I decided to take one more look at air fares for flying to Shore Leave, and I’m glad I did, because I was able to find a decently priced flight to Baltimore that only goes a little bit out of the way (layover in Philadelphia) and works out reasonably well timing-wise. So for the first time, I’ll be flying to Shore Leave instead of going by bus or car. I’m so glad I don’t have to take another pair of really long drives, especially since it frees up an extra couple of days for writing. And I’ll get a chance to use my new smartphone’s “airplane mode.” (Which makes it sound like it should sprout wings and fly around. Heck, it can do almost everything else.)

Site malware update

Okay, the webmaster told me the site seems clean and instructed me on how to contact Google for a rescan of the site. I’ve done that, and also changed my password. It may take a day or so for Google to clear the warning, but I’m pretty sure the site is clean now, I hope.

Oh, these past few days… I’m into the climax of one of the main plotlines of Uncertain Logic, but things keep happening to distract me from writing. On Tuesday morning, the first chilly morning we’ve had in weeks, I discovered I couldn’t find my jacket and searched everywhere for it; it ultimately turned out I left it in Aunt Shirley’s hall closet in Detroit, so she’s mailing it back to me. Then my fridge light bulb burned out and I had to notify the apartment manager. Then I had an ophthalmologist appointment that afternoon and couldn’t see clearly enough to write until the evening. And then yesterday this malware thing happened and I’ve been dealing with that. I guess I should be proud of myself for maintaining enough focus to get any work done at all.

Caution: Possible malware issue on my home page

Folks, a fan just notified me of getting a malware warning when trying to access my home page. I found the files had been altered yesterday and uploaded clean copies from my computer, but I’m still getting the warnings on my laptop browsers, although I get through fine on my smartphone. I’ve contacted the webmaster to find out more, and I’ll keep you posted.

Categories: Uncategorized

TrekMovie posts blurb to UNCERTAIN LOGIC (and other upcoming Trek Lit)

TrekMovie.com has posted a bunch of blurbs for upcoming Star Trek novels scheduled over the next year, including my own Rise of the Federation: Uncertain Logic, the third volume in the ROTF series, due in April 2015. The article is here:

Preview Of Star Trek Novels and E-book Novellas For Rest of 2014 + 2015

And here’s the Blurb for ROTF:UL:

Years ago, Jonathan Archer and T’Pol helped unearth the true writings of Vulcan’s great philosopher Surak, bringing forth a new era of peaceful reform on Vulcan. But when their discovery is seemingly proven to be a fraud, the scandal threatens to undo a decade of progress and return power to the old, warlike regime. Admiral Archer, Captain T’Pol, and the crew of the U.S.S. Endeavour investigate with help from their Vulcan allies, but none of them suspect the identity of the real mastermind behind the conspiracy to reconquer Vulcan—or the price they will have to pay to discover the truth.

Meanwhile, when a long-forgotten technological threat re-emerges beyond the Federation’s borders, Captain Malcolm Reed of the U.S.S. Pioneer attempts to track down its origins with help from his old friend “Trip” Tucker. But they discover that other civilizations are eager to exploit this dangerous power for their own benefit, even if the Federation must pay the price!

No cover has been released yet, but I’ve been allowed a glimpse at the not-final solicitation cover, which I think is pretty interesting and hopefully will be released soon, though I have no idea if it’ll be anything like the final cover.

(And it occurs to me that “ROTF:UL” is kind of an unfortunate acronym. I assure you the book is not full of rot. Oh, well, at least I didn’t call it Rise of the Federation: Logic, Mayhem, and Outrage.)

Plenty of other interesting book blurbs are at the link!