Congrats to the 2019 Hugo Winners!

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Best Novel
The Calculating Stars, by Mary Robinette Kowal (Tor)
Record of a Spaceborn Few, by Becky Chambers (Hodder & Stoughton / Harper Voyager)
Revenant Gun, by Yoon Ha Lee (Solaris)
Space Opera, by Catherynne M. Valente (Saga)
Spinning Silver, by Naomi Novik (Del Rey / Macmillan)
Trail of Lightning, by Rebecca Roanhorse (Saga)

Best Novella
Artificial Condition, by Martha Wells (Tor.com publishing)
Beneath the Sugar Sky, by Seanan McGuire (Tor.com publishing)
Binti: The Night Masquerade, by Nnedi Okorafor (Tor.com publishing)
The Black God’s Drums, by P. Djèlí Clark (Tor.com publishing)
Gods, Monsters, and the Lucky Peach, by Kelly Robson (Tor.com publishing)
The Tea Master and the Detective, by Aliette de Bodard (Subterranean Press / JABberwocky Literary Agency)

Best Novelette
“If at First You Don’t Succeed, Try, Try Again,” by Zen Cho (B&N Sci-Fi and Fantasy Blog, 29 November 2018)
“The Last Banquet of Temporal Confections,” by Tina Connolly (Tor.com, 11 July 2018)
“Nine Last Days on Planet Earth,” by Daryl Gregory (Tor.com, 19 September 2018)
The Only Harmless Great Thing, by Brooke Bolander (Tor.com publishing)
“The Thing About Ghost Stories,” by Naomi Kritzer (Uncanny Magazine 25, November-December 2018)
“When We Were Starless,” by Simone Heller (Clarkesworld 145, October 2018)

Best Short Story
“A Witch’s Guide to Escape: A Practical Compendium of Portal Fantasies,” by Alix E. Harrow (Apex Magazine, February 2018)
“The Court Magician,” by Sarah Pinsker (Lightspeed, January 2018)
“The Rose MacGregor Drinking and Admiration Society,” by T. Kingfisher (Uncanny Magazine 25, November-December 2018)
“The Secret Lives of the Nine Negro Teeth of George Washington,” by P. Djèlí Clark (Fireside Magazine, February 2018)
“STET,” by Sarah Gailey (Fireside Magazine, October 2018)
“The Tale of the Three Beautiful Raptor Sisters, and the Prince Who Was Made of Meat,” by Brooke Bolander (Uncanny Magazine 23, July-August 2018)

Best Series
Wayfarers, by Becky Chambers (Hodder & Stoughton / Harper Voyager)
The Centenal Cycle, by Malka Older (Tor.com publishing)
The Laundry Files, by Charles Stross (most recently Tor.com publishing/Orbit)
Machineries of Empire, by Yoon Ha Lee (Solaris)
The October Daye Series, by Seanan McGuire (most recently DAW)
The Universe of Xuya, by Aliette de Bodard (most recently Subterranean Press)

Best Related Work
Archive of Our Own, a project of the Organization for Transformative Works
Astounding: John W. Campbell, Isaac Asimov, Robert A. Heinlein, L. Ron Hubbard, and the Golden Age of Science Fiction, by Alec Nevala-Lee (Dey Street Books)

The Hobbit Duology (documentary in three parts), written and edited by Lindsay Ellis and Angelina Meehan (YouTube)
An Informal History of the Hugos: A Personal Look Back at the Hugo Awards, 1953-2000, by Jo Walton (Tor)
http://www.mexicanxinitiative.com: The Mexicanx Initiative Experience at Worldcon 76 (Julia Rios, Libia Brenda, Pablo Defendini, John Picacio)
Ursula K. Le Guin: Conversations on Writing, by Ursula K. Le Guin with David Naimon (Tin House Books)

Best Graphic Story
Monstress, Volume 3: Haven, written by Marjorie Liu, art by Sana Takeda (Image Comics)
Abbott, written by Saladin Ahmed, art by Sami Kivelä, colours by Jason Wordie, letters by Jim Campbell (BOOM! Studios)
Black Panther: Long Live the King, written by Nnedi Okorafor and Aaron Covington, art by André Lima Araújo, Mario Del Pennino and Tana Ford (Marvel)
On a Sunbeam, by Tillie Walden (First Second)
Paper Girls, Volume 4, written by Brian K. Vaughan, art by Cliff Chiang, colours by Matt Wilson, letters by Jared K. Fletcher (Image Comics)
Saga, Volume 9, written by Brian K. Vaughan, art by Fiona Staples (Image Comics)

Best Dramatic Presentation, Long Form
Spider-Man: Into the Spider-Verse, screenplay by Phil Lord and Rodney Rothman, directed by Bob Persichetti, Peter Ramsey and Rodney Rothman (Sony)
Annihilation, directed and written for the screen by Alex Garland, based on the novel by Jeff VanderMeer (Paramount Pictures / Skydance)
Avengers: Infinity War, screenplay by Christopher Markus and Stephen McFeely, directed by Anthony Russo and Joe Russo (Marvel Studios)
Black Panther, written by Ryan Coogler and Joe Robert Cole, directed by Ryan Coogler (Marvel Studios)
A Quiet Place, screenplay by Scott Beck, John Krasinski and Bryan Woods, directed by John Krasinski (Platinum Dunes / Sunday Night)
Sorry to Bother You, written and directed by Boots Riley (Annapurna Pictures)

Best Dramatic Presentation, Short Form
The Good Place: “Janet(s),” written by Josh Siegal & Dylan Morgan, directed by Morgan Sackett (NBC)
The Expanse: “Abaddon’s Gate,” written by Daniel Abraham, Ty Franck and Naren Shankar, directed by Simon Cellan Jones (Penguin in a Parka / Alcon Entertainment)
Doctor Who: “Demons of the Punjab,” written by Vinay Patel, directed by Jamie Childs (BBC)
Dirty Computer, written by Janelle Monáe and Chuck Lightning, directed by Andrew Donoho and Chuck Lightning (Wondaland Arts Society / Bad Boy Records / Atlantic Records)
The Good Place: “Jeremy Bearimy,” written by Megan Amram, directed by Trent O’Donnell (NBC)
Doctor Who: “Rosa,” written by Malorie Blackman and Chris Chibnall, directed by Mark Tonderai (BBC)

Best Editor, Short Form
Gardner Dozois
Neil Clarke
Lee Harris
Julia Rios
Lynne M. Thomas and Michael Damian Thomas
E. Catherine Tobler

Best Editor, Long Form
Navah Wolfe
Sheila E. Gilbert
Anne Lesley Groell
Beth Meacham
Diana Pho
Gillian Redfearn

Best Professional Artist
Charles Vess
Galen Dara
Jaime Jones
Victo Ngai
John Picacio
Yuko Shimizu

Best Semiprozine
Uncanny Magazine, publishers/editors-in-chief Lynne M. Thomas and Michael Damian Thomas, managing editor Michi Trota, podcast producers Erika Ensign and Steven Schapansky, Disabled People Destroy Science Fiction Special Issue editors-in-chief Elsa Sjunneson-Henry and Dominik Parisien
Beneath Ceaseless Skies, editor-in-chief and publisher Scott H. Andrews
Fireside Magazine, edited by Julia Rios, managing editor Elsa Sjunneson-Henry, copyeditor Chelle Parker, social coordinator Meg Frank, special features editor Tanya DePass, founding editor Brian White, publisher and art director Pablo Defendini
FIYAH Magazine of Black Speculative Fiction, executive editors Troy L. Wiggins and DaVaun Sanders, editors L.D. Lewis, Brandon O’Brien, Kaleb Russell, Danny Lore, and Brent Lambert
Shimmer, publisher Beth Wodzinski, senior editor E. Catherine Tobler
Strange Horizons, edited by Jane Crowley, Kate Dollarhyde, Vanessa Rose Phin, Vajra Chandrasekera, Romie Stott, Maureen Kincaid Speller, and the Strange Horizons Staff

Best Fanzine
Lady Business, editors Ira, Jodie, KJ, Renay & Susan
Galactic Journey, founder Gideon Marcus, editor Janice Marcus
Journey Planet, edited by Team Journey Planet
nerds of a feather, flock together, editors Joe Sherry, Vance Kotrla and The G
Quick Sip Reviews, editor Charles Payseur
Rocket Stack Rank, editors Greg Hullender and Eric Wong

Best Fancast
Our Opinions Are Correct, hosted by Annalee Newitz and Charlie Jane Anders
Be the Serpent, presented by Alexandra Rowland, Freya Marske and Jennifer Mace
The Coode Street Podcast, presented by Jonathan Strahan and Gary K. Wolfe
Fangirl Happy Hour, hosted by Ana Grilo and Renay Williams
Galactic Suburbia, hosted by Alisa Krasnostein, Alexandra Pierce, and Tansy Rayner Roberts, produced by Andrew Finch
The Skiffy and Fanty Show, produced by Jen Zink and Shaun Duke, hosted by the Skiffy and Fanty Crew

Best Fan Writer
Foz Meadows
James Davis Nicoll
Charles Payseur
Elsa Sjunneson-Henry
Alasdair Stuart
Bogi Takács

Best Fan Artist
Likhain (Mia Sereno)
Sara Felix
Grace P. Fong
Meg Frank
Ariela Housman
Spring Schoenhuth

Best Art Book
The Books of Earthsea: The Complete Illustrated Edition, illustrated by Charles Vess, written by Ursula K. Le Guin (Saga Press /Gollancz)
Daydreamer’s Journey: The Art of Julie Dillon, by Julie Dillon (self-published)
Dungeons & Dragons Art & Arcana: A Visual History, by Michael Witwer, Kyle Newman, Jon Peterson, Sam Witwer (Ten Speed Press)
Spectrum 25: The Best in Contemporary Fantastic Art, ed. John Fleskes (Flesk Publications)
Spider-Man: Into the Spider-Verse – The Art of the Movie, by Ramin Zahed (Titan Books)
Tolkien: Maker of Middle-earth, ed. Catherine McIlwaine (Bodleian Library)
There are two other Awards administered by Worldcon 76 that are not Hugo Awards:

Lodestar Award for Best Young Adult Book
Children of Blood and Bone, by Tomi Adeyemi (Henry Holt / Macmillan Children’s Books)
The Belles, by Dhonielle Clayton (Freeform / Gollancz)
The Cruel Prince, by Holly Black (Little, Brown / Hot Key Books)
Dread Nation, by Justina Ireland (Balzer + Bray)
The Invasion, by Peadar O’Guilin (David Fickling Books / Scholastic)
Tess of the Road, by Rachel Hartman (Random House / Penguin Teen)

John W. Campbell Award for Best New Writer
Jeannette Ng
Katherine Arden
S.A. Chakraborty
R.F. Kuang
Vina Jie-Min Prasad
Rivers Solomon

And the 1944 retro Hugos:

Best Novel
Conjure Wife, by Fritz Leiber, Jr. (Unknown Worlds, April 1943)
Earth’s Last Citadel, by C.L. Moore and Henry Kuttner (Argosy, April 1943)
Gather, Darkness!, by Fritz Leiber, Jr. (Astounding Science-Fiction, May-July 1943)
Das Glasperlenspiel [The Glass Bead Game], by Hermann Hesse (Fretz & Wasmuth)
Perelandra, by C.S. Lewis (John Lane, The Bodley Head)
The Weapon Makers, by A.E. van Vogt (Astounding Science-Fiction, February-April 1943)

Best Novella
The Little Prince, by Antoine de Saint-Exupéry (Reynal & Hitchcock)
“Attitude,” by Hal Clement (Astounding Science-Fiction, September 1943)
“Clash by Night,” by Lawrence O’Donnell (Henry Kuttner & C.L. Moore) (Astounding Science-Fiction, March 1943)
“The Dream-Quest of Unknown Kadath,” by H.P. Lovecraft, (Beyond the Wall of Sleep, Arkham House)
The Magic Bed-Knob; or, How to Become a Witch in Ten Easy Lessons, by Mary Norton (Hyperion Press)
“We Print the Truth,” by Anthony Boucher (Astounding Science-Fiction, December 1943)

Best Novelette
“Mimsy Were the Borogoves,” by Lewis Padgett (C.L. Moore & Henry Kuttner) (Astounding Science-Fiction, February 1943)
“Citadel of Lost Ships,” by Leigh Brackett (Planet Stories, March 1943)
“The Halfling,” by Leigh Brackett (Astonishing Stories, February 1943)
“The Proud Robot,” by Lewis Padgett (Henry Kuttner) (Astounding Science-Fiction, October 1943)
“Symbiotica,” by Eric Frank Russell (Astounding Science-Fiction, October 1943)
“Thieves’ House,” by Fritz Leiber, Jr (Unknown Worlds, February 1943)

Best Short Story
“King of the Gray Spaces” (“R is for Rocket”), by Ray Bradbury (Famous Fantastic Mysteries, December 1943)
“Death Sentence,” by Isaac Asimov (Astounding Science Fiction, November 1943)
“Doorway into Time,” by C.L. Moore (Famous Fantastic Mysteries, September 1943)
“Exile,” by Edmond Hamilton (Super Science Stories, May 1943)
“Q.U.R.,” by H.H. Holmes (Anthony Boucher) (Astounding Science-Fiction, March 1943)
“Yours Truly – Jack the Ripper,” by Robert Bloch (Weird Tales, July 1943)

Best Graphic Story
Wonder Woman #5: Battle for Womanhood, written by William Moulton Marsden, art by Harry G. Peter (DC Comics)
Buck Rogers: Martians Invade Jupiter, by Philip Nowlan and Dick Calkins (National Newspaper Service)
Flash Gordon: Fiery Desert of Mongo, by Alex Raymond (King Features Syndicate)
Garth, by Steve Dowling (Daily Mirror)
Plastic Man #1: The Game of Death, by Jack Cole (Vital Publications)
Le Secret de la Licorne [The Secret of the Unicorn], by Hergé (Le Soir)

Best Dramatic Presentation, Long Form
Heaven Can Wait, written by Samson Raphaelson, directed by Ernst Lubitsch (20th Century Fox)
Batman, written by Victor McLeod, Leslie Swabacker and Harry L. Fraser, directed by Lambert Hillyer (Columbia Pictures)
Cabin in the Sky, written by Joseph Schrank, directed by Vincente Minnelli and Busby Berkeley (uncredited) (MGM)
A Guy Named Joe, written by Frederick Hazlitt Brennan and Dalton Trumbo, directed by Victor Fleming (MGM)
Münchhausen, written by Erich Kästner and Rudolph Erich Raspe, directed by Josef von Báky (UFA)
Phantom of the Opera, written by Eric Taylor, Samuel Hoffenstein and Hans Jacoby, directed by Arthur Lubin (Universal Pictures)

Best Dramatic Presentation, Short Form
Frankenstein Meets the Wolfman, written by Curt Siodmak, directed by Roy William Neill (Universal Pictures)
The Ape Man, written by Barney A. Sarecky, directed by William Beaudine (Banner Productions)
Der Fuehrer’s Face, story by Joe Grant and Dick Huemer, directed by Jack Kinney (Disney)
I Walked With a Zombie, written by Curt Siodmak and Ardel Wray, directed by Jacques Tourneur (RKO Radio Pictures)
The Seventh Victim, written by Charles O’Neal and DeWitt Bodeen, directed by Mark Robson (RKO Radio Pictures)
Super-Rabbit, written by Tedd Pierce, directed by Charles M. Jones (Warner Bros)

Best Editor, Short Form
John W. Campbell
Oscar J. Friend
Mary Gnaedinger
Dorothy McIlwraith
Raymond A. Palmer
Donald A. Wollheim

Best Professional Artist
Virgil Finlay
Hannes Bok
Margaret Brundage
Antoine de Saint-Exupéry
J. Allen St. John
William Timmins

Best Fanzine
Le Zombie, editor Wilson “Bob” Tucker
Fantasy News, editor William S. Sykora (striken from ballot July 21)
Futurian War Digest, editor J. Michael Rosenblum
Guteto, editor Morojo (Myrtle R. Douglas) (added to ballot July 21)
The Phantagraph, editor Donald A. Wollheim
Voice of the Imagi-Nation, editors Jack Erman (Forrest J Ackerman) & Morojo (Myrtle Douglas)
YHOS, editor Art Widner

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Review of Alita: Battle Angel

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This is a science-fiction action movie based on the 1990s Japanese manga series Battle Angel Alita by Yukito Kishiro. The film was released by 20th Century Fox in February 2019. It was directed by Robert Rodriguez, co-produced by James Cameron and written by James Cameron and Laeta Kalogridis. Weta Digital created the special effects. Rosa Salazar stars as the cyborg Alita, Keean Johnson as Hugo, and Christoph Waltz as Dyson Ido. I notice this is on the ballot for the Dragon Award.

Iron City is a noisy, industrial dystopia after The Fall. It’s full of decaying tech, dangerous street gangs and bounty hunters stalking their prey. Above it floats the pristine sky city of Zalem where the rich and powerful live. A dismembered cyborg falls from the sky city into a trash heap in Iron City and is found by Dr. Dyson Ido. He attaches her head and torso to a body he previously built for his daughter, and calls her Alita. When she wakes, she has no memory of who she is. Alita makes a best friend in Hugo and starts to explore her capabilities, which seem to be very physical. She competes in Motorball against other cyborgs and does well. When corrupt forces in the city suddenly come after her, she finds she has high-level fighting skills. Can she save herself and her friends?

The most unusual feature of this film is the protagonist Alita, a CGI animated character created with the aid of motion capture, while most of the other actors seem to be live-action. Alita has huge eyes and first appears as just a head and torso, which is later attached to different bodies. Unlike early efforts at placing animated characters into live-action films, Alita fits in well and has fairly natural movement, though she’s still clearly animation. The film doesn’t have much of a plot, but instead explores Iron City, presents Alita’s backstory through flashes of memory and introduces characters who are apparently emerging from her past. There’s plenty of action and fight-choreography, and an emotional climax when Hugo is at risk.

On the not so positive side, Alita’s character remains flat, regardless of emotional moments and pained facial expressions. This makes the sentiment seem forced. Clearly the film is aimed at an audience who is familiar with the manga, but if you’re not, the plot is confusing because the flashbacks aren’t enough to explain the full situation. There are some apparent cameos among the characters, which suggests the main purpose of this installment is to set up for sequels.

Two and a half stars.

Dragon Award Finalists 2019

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The Dragon Award final ballot is out, revealing the finalists. The awards will be presented the first week in September and there’s not much overlap with other awards. That means I won’t really be able to look at many of the finalists I’ve not already reviewed. I will try to review the fiction winners in September.

Interestingly, there does to be more intersection this year, which shows the fan groups that normally drive the Nebula and Hugo Awards are becoming more active in voting for the Dragon Awards. This is especially visible in the fantasy category. However, the Dragon still looks to be a heavily male-driven award.

Best Science Fiction Novel
Red Moon by Kim Stanley Robinson
Europe at Dawn by Dave Hutchinson
A Memory Called Empire by Arkady Martine
Record of a Spaceborn Few by Becky Chambers
A Star-Wheeled Sky by Brad R. Torgersen
Tiamat’s Wrath by James S.A. Corey

Best Fantasy Novel (Including Paranormal)
Lies Sleeping by Ben Aaronovitch
Deep Roots by Ruthanna Emrys
Spinning Silver by Naomi Novik
The Raven Tower by Ann Leckie
Foundryside by Robert Jackson Bennett
House of Assassins by Larry Correia

Best Young Adult / Middle Grade Novel
Sawkill Girls by Claire Legrand
Armageddon Girls by Aaron Michael Ritchey
The Pioneer by Bridget Tyler
Bloodwitch by Susan Dennard
Imposters by Scott Westerfeld
Archenemies by Marissa Meyer
The King’s Regret by Philip Ligon

Best Military Science Fiction or Fantasy Novel
Uncompromising Honor by David Weber
Order of the Centurion by Jason Anspach, Nick Cole
Marine by Joshua Dalzelle
The Light Brigade by Kameron Hurley
Sons of the Lion by Jason Cordova
A Pale Dawn by Chris Kennedy, Mark Wandrey

Best Alternate History Novel
Machines Like Me by Ian McEwan
Black Chamber by S.M. Stirling
The World Asunder by Kacey Ezell
Unholy Land by Lavie Tidhar
The Calculating Stars by Mary Robinette Kowal
The Iron Codex by David Mack

Best Media Tie-In Novel
Thrawn: Alliances by Timothy Zahn
Darkness on the Edge of Town by Adam Christopher
Big Damn Hero by James Lovegrove, Nancy Holder
Master & Apprentice by Claudia Gray
The Replicant War by Chris Kennedy
The Way to the Stars by Una McCormack

Best Horror Novel
We Sold Our Souls by Grady Hendrix
Little Darlings by Melanie Golding
Riddance by Shelley Jackson
100 Fathoms Below by Steven L. Kent, Nicholas Kaufmann
Zombie Airman by David Guenther
Cardinal Black by Robert McCammon

Best Comic Book
Black Hammer by Jeff Lemire, Dean Ormston, Dave Stewart
Saga by Brian K. Vaughan, Fiona Staples
Mister Miracle by Tom King, Tony S. Daniel
The Batman Who Laughs by Scott Snyder, Mark Simpson
Peter Parker: The Spectacular Spider-Man by Chip Zdarsky, Adam Kubert
Batman by Tom King, Tony S. Daniel

Best Graphic Novel
Berlin by Jason Lutes
On a Sunbeam by Tillie Walden
Hey, Kiddo by Jarret J. Krosoczka
X-Men: Grand Design – Second Genesis by Ed Piskor
I Am Young by M. Dean
Monstress Vol. 3 by Marjorie Liu, Sana Takeda

Best Science Fiction or Fantasy TV Series
Game of Thrones, HBO
Good Omens, Amazon Prime
The Umbrella Academy, Netflix
The Orville, Fox
Star Trek: Discovery, CBS All Access
Lucifer, Netflix

Best Science Fiction or Fantasy Movie
Spider-Man: Far From Home by Jon Watts
Alita: Battle Angel by Robert Rodriguez
Aquaman by James Wan
Avengers: Endgame by Anthony Russo, Joe Russo
Spider-Man: Into the Spider-verse by Bob Persichetti, Peter Ramsey, Rodney Rothman
Captain Marvel by Anna Boden, Ryan Fleck

Best Science Fiction or Fantasy PC / Console Game
Life is Strange 2 by Dontnod Entertainment
Apex Legends by Electronic Arts
World of Warcraft: Battle for Azeroth by Blizzard
Assassin’s Creed: Odysssey by Ubisoft
Red Dead Redemption 2 by Rockstar Games
Outer Wilds by Mobius Digital

Best Science Fiction or Fantasy Mobile Game
Reigns: Game of Thromes by Nerial
Elder Scrolls: Blades by Bethesda Softworks
Cyber Hunter by NetEase
Grimvalor by Direlight
Sega Heroes: Puzzle RPG Quest by SEGA
Harry Potter: Wizards Unite by Niantic, WB Games San Francisco

Best Science Fiction or Fantasy Board Game
Nemesis by Awaken Realms
Root by Leder Games
Cryptid by Osprey Games
Everdell by Starling Games (II)
Betrayal Legacy by Avalon Hill Games
Architects of the West Kingdom by Garphill Games

Best Science Fiction or Fantasy Miniatures / Collectible Card / Role-Playing Game
Fallout: Wasteland Warfare by Modiphius Entertainment
Magic: The Gathering War of The Spark by Wizards of the Coast
Keyforge: Call of the Archons by Fantasy Flight Games
Magic: The Gathering Ravnica Allegiance by Wizards of the Coast
Call of Cthulhu: Masks of Nyarlathotep Slipcase Set by Chaosium Inc.
Warhammer 40,000: Kill Team by Games Workshop

Review of Perihelion Summer by Greg Egan

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This is a hard science fiction novella published by Tor.com on April 16, 2019. It runs 216 pages. Egan is an Australian mathematician and programmer who has won multiple awards, including the John W. Campbell Memorial Award, the Hugo Award, and the Locus Award. This review contains spoilers.

Matt is the designer and operator of a self-sustaining aquaculture rig called the Mandjet. When the twin back hole Taraxippus passes the solar system, it pulls the Earth into a different orbit, increasing summer heat in the Southern hemisphere to life-threatening levels. Matt tries to get his family in Australia to join him on the rig, but they refuse. As the perihelion summer arrives, refugee populations migrate north and south, looking for livable temperatures. Matt finds Mandjet has become part of a flotilla aiming to settle in Antarctica. Meanwhile conditions are deteriorating in Australia. Can Matt rescue his family? Fight off pirates to get them to safety?

In case you’re wondering, Taraxippus is an ancient demon that frightens horses, and the black hole’s passing is a novel approach to climate change. The presentation here skips along in a shorthand version of what I’m sure could have been a lengthy novel. Egan spends some time on the black hole and how its passing might affect the solar system. He’s also clearly interested in the details of the aquaculture rig. After the climate change effects are clear, he turns to how this might affect his characters. People react in different ways, some clinging to their old concerns, with others realizing that life has changed forever. In classic hard SF methodology, Egan hits us with an emotional wallop at the end.

On the not so positive side, this was intellectually interesting, but didn’t quite click for me. There was a reasonable plot, but not much of an action line to develop it. The characters didn’t seem deep, and Egan seriously soft-pedals the kind of violence I’d expect from the sudden pressure on half the Earth’s population. There doesn’t seem to be much response from either local or world government to address the crisis—no intervention from the Northern hemisphere, for example, that would have come out of this disaster in reasonable condition, and nothing about the politics it should generate. Plus, this would have been way more enjoyable if Egan had scattered the kind of emotion we get at the end throughout the piece.

Three and a half stars.

Review of Time Was by Ian McDonald

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This is a time travel novella released by Tor.com in April of 2018. Print length is 144 pages. McDonald is an award-winning author, having won the Locus Award, the British Science Fiction Association Award and the John W. Campbell Memorial Award. This review contains spoilers.

Emmett Leigh is a sometimes poet and book dealer who specializes in the World War II era. At a bookstore closing, he finds a copy of a poetry book titled Time Was by E.L. Anonymous. Inside is a letter from Tom to his lover Ben. Emmett posts to Facebook, asking for any information on the principals, and is answered by Thorn Hildreth, who recognizes the names. She lives in Lincolnshire, inherited an archive of WWII memorabilia from her grandfather, and also has a photograph. Emmett’s friend, an Imperial War Museum archivist with a photographic memory, locates other photographs for him, but oddly, these are from different time periods. Emmett and Thorn are forced to the conclusion these two men may be immortals, but further research shows they may be time travelers instead, who use the poetry book as a way to leave messages for each other in different eras. Can Emmett unravel the mystery?

The narrative switches between Emmett’s research and the lovers’ encounters. The story comes together gradually as Emmett investigates, and we learn about the wartime research project that created the time stresses, still playing out, that left Ben and Tom lost in time. We also learn about Emmett’s personal associations as he researches. He strikes up a brief relationship with Thorn, which soon fails, and finds out interesting things about Tom’s mentor, the author of the little book of poetry. The big standout in this novella is the imagery, as the text is accompanied by magical, haunting, atmospheric descriptions of the surroundings, including visuals, sounds and scents.

On the not so positive side, there’s not much in the way of plot here. Emmett’s research unfolds, first revealing the mystery and then following it through. There’s not really much of a hook or action line, either, and I wasn’t really surprised by the revelations at the end. However, this is a great little love story, and definitely worth reading because of the lyrical quality of the prose. I was also glad to see some equal time for a gay male love story here, as SFF output seems to be trending lately to lesbian relationships.

Four stars.

Review of John Wick, Chapter III: Parabellum

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I’m not sure you’d class this as speculative fiction, but we’ll go with that. It’s a neo-noir flick about a nebulous underground organization and features a lot of fight scenes. This follows the films John Wick (2014) and John Wick: Chapter 2 (2017). It’s directed by Chad Stahelski, and written by Derek Kolstad, Chris Collins, Shay Hatten and Marc Abrams. It stars Keanu Reeves as John Wick, Halle Berry as Sofia, Laurence Fishburne as the Bowery King, plus Mark Dacascos, Asia Kate Dillon, Lance Reddick, Anjelica Huston, and Ian McShane. Visual effects are provided by Method Studios, Image Engine and Soho VFX. This review contains spoilers.

Ex-hitman John Wick is the run after he is “excommunicated” by the High Table and a $14 million contract is put on his head. He goes from place to place asking for help, and is followed by a non-binary Adjudicator for the High Table, who extracts the organization’s vengeance on anyone who appears to have helped him. Wick calls on Sofia in Casablanca and she takes him to the desert where he meets an Elder who offers him a chance for reinstatement if he will kill Winston, manager of the Continental Hotel in New York City. Wick at first agrees, but then balks and makes a stand at the hotel. He and Winston prevail and Winston shoots him as a show of faith to the Adjudicator. Wick falls from the roof and is rescued by the Bowery King, who wants to start a war against the High Table.

There are three stand outs in this movie. The first, of course, is the fight choreography, as this is pretty much what happens, only briefly interrupted by conversations. Keanu Reeves seems to do most of his own stunt work, and Halle Berry gives is a serious try, which adds a lot to the authenticity. The action line and intensity escalate to the climax, followed by a slight twist when Wick gets shot. The second stand out is the visual style. Production moves to different venues as Wick looks for help, and as background, we’re treated to pouring rain, dark warehouses, pulsing nightclubs, desert dunes, and even a brief, atmospheric ballet performance. This artistry serves as a foil for the brutal fight scenes, and makes sure we have something to look at when they’re not fighting. The last stand out is the dogs. The film features Belgian Malinois, Belgian Shepherds and, of course, Wick’s pitbull, which he leaves with a dog sitter when things get brutal.

On the not so positive side, there’s nothing much but fight scenes here. Otherwise it’s pretty empty. Wick presents a lot of desperation and clings to memories of his dead wife and her puppy, but that doesn’t bring much to the film. The fight choreography was pretty decent, but eventually you catch people waiting to get hit or shot.

Three stars.

Review of Spiderman: Far from Home

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This is a Marvel Cinematic Universe (MCU) film co-produced by Columbia Pictures and Marvel Studios, and distributed by Sony Pictures. It is the sequel to Spider-Man: Homecoming (2017), directed by Jon Watts, written by Chris McKenna and Erik Sommers, and staring Tom Holland as Peter Parker/Spider-Man, Samuel L. Jackson as Nick Fury, Zendaya as MJ, Jon Favreau as Happy Hogan, and Jake Gyllenhaal as Mysterio. This review contains spoilers.

Peter Parker was one of the population blipped out of existence for a while by Thanos, so he’s having to do extra school work to catch up. The high school has planned a summer tour in Europe to provide credits, and Peter is hoping to get closer to MJ on the trip. Meanwhile, a mysterious elemental has appeared in Mexico, along with Quentin Beck/Mysterio who says he is there to fight these interlopers. Nick Fury tries to recruit Peter to help against the elementals, but he ignores the calls. However, when the school trip is in Venice, a water elemental appears and Peter gets involved in the fight along with Mysterio. Peter then meets with Fury, who gives him a pair of glasses containing an AI that Stark meant for his successor. Peter doesn’t want the responsibility, so passes the glasses off to Mysterio, who turns out to be false—only a former employee of Stark Industries and his cronies who are faking the elementals with technology. Can Peter prevail against the empowered Beck? Can he work up the nerve to tell MJ how he feels about her? And is that really Nick Fury he’s been talking to?

This is a great plot in the time-honored Spiderman tradition. Peter is trying to concentrate on his personal life while Nick Fury wants him to step into Tony Stark’s shoes within the Avengers organization. Peter thinks this is ridiculous and makes distracted, half-assed decisions that leave him in trouble. Under pressure, of course, he regroups, gets it together and comes through with a solid performance. Were we expecting anything else? Things seem great for a little while. The tour is safely back home; he’s established a relationship with MJ—and then things go wrong again, leaving us with a couple of cliffhangers in the post-credit scenes. I also have to give special mention to the poor clueless teachers who were trying to chaperone this tour.

On the not so positive side, it seems a little bit of a stretch that Stark would have chosen the 16-year-old Parker to step into his leadership position. Maybe he saw the potential, and of course Peter does step up when the pressure is on. Also, the post credit scenes involving Nick Fury call the reality of what’s going on into serious question. This was also a very long movie, though it turned out to be worth the investment in time.

Great fun. Highly recommended.

Five stars.

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