Saturday Morning Cartoons - Storytelling is back!

What I wanted to post about today is the glory that is the current crop of Saturday morning cartoons.  Four in specific: The Legend of Korra, Tron: Uprising, Green Lantern: The Animated Series, and Young Justice.  For years I've whined (offline) about the lameness of cartoons, from the meager pickings on networks on Saturdays -- which used to be a kid's paradise -- to the annoy-a-tron that is Cartoon Network.  There's still too much talk, too little art on CN (I can't even stand the ads for Adventure Time), but there's hope, in these four at least. Not only do all four have style, but they're telling intricate stories that don't expect an attention span of under ten minutes.

CN has created a one-hour block they call DC Nation, which includes Young Justice and Green Lantern: The Animated Series, and some short-short segments which are mostly pretty lame (although the anime-style Teen Titans and the Batgirl/Supergirl/Wonder Girl segments are pretty good).  GL is all CGI, and has some great character designs.  I'm not following any DC superhero comics these days, so I have no idea how closely it follows what's happening in the comics (except for the introduction of Red, Purple, etc. lanterns).  The plot is galaxy-spanning, and one of the keys is the design and characterization of Aya - the AI of their ship, doing a good Pinocchio process of turning her into a "real live girl."  I've got one major beef with this show, though: Of the four cartoons I'm watching, this is the most kids-oriented, yet almost all the female characters are extremely sexualized: wasp-waisted, sloe-eyed, and bikini-clad.  Sure, Hal Jordan is also an overly-male stereotype (ultra-wide shoulders, jutting chin) -- but no bulging package. For the audience this is aimed at, I'd have expected some restraint.

There's something to be said about the same issue in Disney Channel's (also CGI) Tron: Uprising, but if anything, they've toned down the hyper-sexualization of females in Tron: Legacy.  It's also aimed at an older audience (on Disney's XD block), and I'm more fond of the spindly-thin cell-shaded stylization of all the characters.  I've only seen two episodes (I think there's a third on the DVR), but they've put together a pretty rich world with more emphasis on the life-experiences of a basic program.  The main character is a mechanic leading the uprising against Clu, and has a slick little device for analyzing and modifying vehicles.  He's taking on the role of Tron, who for unknown reasons is taking a mostly offstage role (still voiced by Bruce Boxleitner) -- the most obvious reason is that he needs to hang back until the appropriate time in Tron: Legacy.  Style plays a big part here, between the character designs and the disc combat and lightcycle runs.  Happy to see it, have to see if the plot holds up over time.

Young Justice, also part of the DC Nation block, is in its second season, and to some degree, YJ is a continuation of some plotlines in the previous Justice League series' on CN (hey, why aren't those on Netflix?).  They definitely have strayed from DC canon (for example Beast Boy has his powers from an infusion of Miss Martian's blood), but in ways that drive the plots nicely.  Characters are pretty rich, and the plot is a long story arc that not only spanned the entire first season but carried over into the second -- with a five-year (story) gap in between! There's romance, intrigue, double-crosses, clever and stupid villains, basically everything you'd want in a superhero story.

But none of them hold a candle to Nickelodeon's The Legend of Korra. It's a 70-years-later sequel to Avatar: The Last Airbender, and I think it's the best-written show on TV right now. They advanced the civilization of A:TLA 70 years, going from early steam age tech to a somewhat jazz-age, deco-styled "Republic City." Lots of nods to the original series (Cabbage Industries' logo is the hapless cabbage vendor whose cart was repeatedly destroyed in the first series, sports teams named Fire Ferrets and Wolf Bats), and the world is one I'd want to live in: Pro Bending League is a spectator sport somewhere between fencing and team handball; metal-benders run the police force (swinging on balletic cables which can be controlled to coil around evil-doers); and a deep plot around Equalists, protesting the status of benders over ordinary people.  It's a little more grown up than A:TLA (more romance, the violence is a little harder-edged), but not as much as Tron: Uprising, and it's certainly funnier, more clever, and just plain great.

If you had to add only one cartoon to your DVR, I'd say add Korra. If you had to leave one of these out, probably Green Lantern.  But we've hit a renaissance in animation, folks: Story is king again.

Flat is right

Just got finished with Larry Niven's "Flatlander" -- four old stories of Gil "The Arm" Hamilton, plus one new one. I realize it's not new -- the book came out in '95, but I finally picked up a used copy. I'm not shelling out the $6.99 list price for one short story.

The old stories (originally found in "The Long Arm of Gil Hamilton" and an illustrated TPB called "The Patchwork Girl" -- no relation to same in the Oz pantheon) are still a delight. Terse prose, wry jokes, well crafted plot, a techie macguffin per story on top of the SF aspects of a detective with an imaginary arm.

The new story is what left me flat: "The Woman in Del Ray Crater" seems to pick up shortly after "Patchwork" but it's jarring: different language patter, no humor, awkward phrasing (everyone calls Gil by his rank: "Ubersleuth Hamilton" -- where did that come from?). The common thread in the other four stories of the organ bank crisis is dropped here, introducing a new 'impenetrable' device into the Known Space universe -- we already have skrith (Ringworld), Slaver stasis fields (World of Ptavvs and others), GP Hulls (Ringworld and others). It's barely even critical to the plot, and the motive makes most CSI episodes seem truly brilliant.

Niven was an author that used to be tops on my must read list: Ringworld Engineers is the first SF I bought new in hardcover. Mote in God's Eye (with Pournelle) is still one of the best hard SF stories written. But latter stuff just doesn't thrill. "The Gripping Hand" (sequel to Mote) was pathetic, and this new story shows he can't even keep it together for forty pages. I picked up "Crashlander" at the same time (the Beowulf Shaeffer stories) but I'm not putting it too high on my must-read list.

Note: I did find a previously unnoticed link in Flatlander to other stories: In "Patchwork Girl" there's a character named Marion Schaeffer, likely Beowulf's ancestor. But PG came out long after the other Gil the Arm stories, it's more of a retcon than history building.

Testify: REPO - The Genetic Opera

For over a month, my son has been raving about REPO. I figure Sarah Brightman, Anthony Stewart Head, Alexa Vega, Paris Hilton, director of Saw II-IV... what can go wrong? (OK, those last two it could be a lot). It's been compared to Rocky Horror Picture Show, but that's not even close: Camp isn't what it's about (well, maybe a little). Only a little goth lingerie ties them together. If you really want something similar, think Tommy -- child with health problems, very little spoken, awkward pacing, structurally flawed, and you're there.

First off: Paris Hilton didn't suck at all. You want to see Paris waste space, spin Veronica Mars up on your Netflix queue and get Season 2, Episode 18. Urgh. Poster child for vapid. Here, she was completely appropriate, sang OK, and looked sleazy as she was supposed to be. Perfectly appropriate stunt casting.

I wish the other casting was a little more on-target: Alexa Vega can hit the notes, but there was nothing behind it, no emotion, no acting. For the lead character, she was kind of whiny and weak. The Rotti brothers were awful.

The movie mostly comes down to a confrontation between Paul Sorvino's organ transplant firm CEO and Head's repo man, based on a 17-year grudge over a stolen love. There are some fantastic visuals, most of them around Sarah Brightman's character Blind Mag's replaced eyes which project as well as see.

The music is hit or miss: a few songs such as Zydrate Anatomy work well, but are a little bit on the Broadway hokey side, others are atonal and arrythmic, just moans and grumbles. The story is a bit hard to follow (who poisoned Shiloh?), and the story is held together with comic book panels drawn by the writer/composer/Graverobber (looks like influences by Mignola, and maybe Howard Chaykin's American Flagg!), that would be better with a song.

Will you love it? I didn't, but I don't want my time and money back (hello, "Sex and the City?" -- you've been beaten). See it now on the road show, or in one of the eight (Eight? When crap like Indy IV opened on like 3000?) screens around the US, with a live audience that'll cheer and boo.

Too long in the waste (of time) land -- Pandora's Star and Judas Unchained

2000+ pages...
Cast of thousands, no, billions...
A first-book non-ending that pissed the hell out of me...

How did I end up enjoying the ending of Peter F. Hamilton's weighty dualogy, "Pandora's Star" and "Judas Unchained"?

Well, I have to admire the sheer gall of a story with this kind of scope. I could call it a 300+ year tale, but only the prologue occurs in the 21st century, the rest more than 300 years later. The sheer number of characters and worlds created is pretty astounding too. There's a lot of irons in the fire, balls in the air, and a couple dozen other metaphors too.

But the seams show, way too much. Worldbuilding should be about what the author knows, to make the story better. It seems sometimes like Hamilton felt that because he put the work into it, he had to write it all down in the final story, there's just too much there. Upon introducing a person, we don't need to know what they're wearing, maybe just the class of dress. When we get to a planet, we don't need to know about the foliage, only that it's a jungle.

There are at least a half dozen alien intelligent lifeforms (counting an AI) in this story, that's a strength, that they fit (although I was hoping for one of them to have a bigger role in the finale). There are at least a half-dozen major narratives, including a mechanic disatisfied with his factory-world life, a murder mystery, a political thriller, a world-spanning adventure, a war story, and they interact only tangentially initially. In fact the first nearly 1000 pages of "Pandora's Star" really doesn't get very many of the characters together, and it ends in a literal cliffhanger, no major conflicts resolved at all.

Personally, I'd have rather seen three or so mostly-unrelated novels, with each story being told linearly, rather than taking 100-page vacations to hit the other threads. By the third or fourth books, it could all start coming together with a smash, finishing up at maybe 1400 pages total. It's really way, way too long. For instance: he tells us every single gosh-darned time that it's "enzyme-bonded concrete" -- whatever the hell that is. After the first time, call it "concrete" and I'll be pretty sure that's the enzyme-bonded stuff unless I'm told it's the "old-fashioned, not even enzyme-bonded" type. Same with "plyplastic" and "malmetal." There's just no need for that.

But he comes up with a solution to the story that works, and the characters find their proper place in the universe in a rather deft fashion. That's impressive. Is it enough to get me to start another over-500-page book by PFH? Not sure. A friend recommends "Neutronium Alchemist" but I need to read two other books before getting to those two.

I doubt he's getting paid by the word, so what he really needs is an editor. Remember Blaise Pascal:

“I have only made this letter longer because I have not had the time to make it shorter.”

(I had thought that quote from Mark Twain, the closest from him was “If you want me to give you a two-hour presentation, I am ready today. If you want only a five-minute speech, it will take me two weeks to prepare.”)

Local talent: Kristine Smith's "Code of Conduct"

I just got finished reading Kristine C. Smith's Code of Conduct, the first of her Jani Killian novels. They were originally recommended to me on John Scalzi's blog, and I've got to say, I'm fascinated.

Smith's a Chicago area SF writer, and her day job (pharmaceutical product development) crosses paths with mine (software for the pharma industry), so there's an interest there too (I'd thought perhaps I'd worked with her in the past, but no, different company).

Code of Conduct follows Jani Killian who's been hiding out for 18 years after nasty fallout of a political situation with an alien race, the Idomeni. They're prehaps not as fleshed out as some of CJ Cherryh's, but they are at least truly alien, and it's impressive. The main idomeni character, Tsecha, doesn't think like we do. He thinks in different idioms, struggles with "humanish" concepts (toward the end of the book, his aversion to bodily contact makes him uncomfortable when the prime minister says he's "pulling her leg"), and has goals and influences that cross the human characters' objectives, but at different angles.

The characters are interesting: broken, on edge, stressed to their limits (another similarity with Cherryh), and the fact that there are a couple more books leads me to hope I"ll learn a lot more about the idomeni. But it's not perfect. Smith gets a little obsessive with a few "futurisms" in the language such as "trash-zaps" in every room which dispose of waste, "dispos" which are disposable containers, and "skimmers" that cover everything from gurneys to coffee carts to cars and trucks in various sizes and shapes. I'm hopeful her writing matures -- there's more books I want to read. I'd also hoped for more biotech in the story given her day job -- I'd expected a bio-oriented resolution to the story which may yet come in a subsequent book. More reading to come -- book 2 is in my suitcase. That reminds me -- I need to write more about Len Deighton too.

Alone, In the Dark

Nope, nothing about the video game here. Musing on two books: The link goes to a Froogle search for Elizabeth Moon's The Speed of Dark, the 2002 Nebula winner, but I also want to talk about "Party of One: The Loner's Manifesto"

I don't remember where I first read about Party of One (called PO1 from now on or else I'd end up calling it POO, that's just not right). It's less of a manifesto than a rant in places, but it's an interesting read. I've always called myself a loner, but I'm not as far off the social path as Anneli Rufus, the author. I've belonged to clubs, a sports team (well, fencing is a solo sport, so I barely count that), and was an avid role-playing gamer, which requires social interaction (but see below). PO1 is adamant about the differences between Loners, who seek solitude, and Outcasts, who are thrown into solitude. Loners aren't the serial killers, terrorists, etc. -- they (we?) just don't care enough about other people to want to hurt them. It takes a broken social structure to cause that kind of pain. But I want to give this book to my mother, who keeps thinking that I need to be more social, that I need to change. Well, to paraphrase Ms Rufus, I no more need to be a social person than a bird needs lips.

Thinking about the role-playing: It's a social interaction that lets me be not myself, to interact with people in a way that doesn't reflect people's perceptions of me, but of my character. It's a way to be other than my loner self. A similar concept is often mentioned about the Japanese fascination with karaoke -- it permits a salaryman to socialize with a boss, to escape class and social structrure. Kinda nifty.

PO1 also talks a bit about autism - which translates to self-ism, of course. Which brings me back to The Speed of Dark, a novel following the life of an autistic man -- high functioning, near-genius, given the chance to change. Now I know I'm not autistic, or even Aspergers, but I'm enough of a loner, and sharing some characteristics of those classed as "gifted" to understand some of the situations: intolerant of noises, sometimes socially inappropriate, not liking changes in routine or being touched -- this character touched me. It's more than that, though, the book is outstanding. Unlike, say Flowers for Algernon, Lou, the main character, isn't mentally impaired. His viewpoint is quite different from mine (evoking such SF themes as C.J. Cherryh's alien minds or her vat-grown Azi), and his quite-different viewpoints of life and the universe are poetic in places.

It's a strange book, Lou's speech is stilted, the tech is uneven for an SF book (things such as "personality chips" for criminals are dropped in suddenly). But I have no doubt it's one of the best of its year, or the decade. There's a desperation to the character, to know himself, to try to understand the world that's full of metaphors that don't fit his mind. It's a book that sat on my shelf for quite a long timne, I'm glad I finally got around to it.

The title is the character's puzzle: Is dark faster than light, since darkness, ignorance, are always there first, before light gets there? It becomes a recurring theme in the book, explring what's out there:

The light rushes into the pupil of my eye, carrying with it the information
that is within range of my vision, carrying with it the world, but what I see
when I look at where the light goes in is blackness, deep and velvety.
Light goes in and darkness looks back at me. The image is in my eye and in my
brain, as well as in the mirror.

This gap between knowledge and un-knowing, light and dark, returns again and again, to a most satisfying conclusion I won't give away.

Daywatch

My wife and I caught Daywatch on Tueday night. The Tribune had an ad on Friday for a free screening if you send them an email with a description of what "superpower" you'd want -- as if this was a Heroes rip-off, and not a deathly cool Russian mythic Matrix, the sequel to 2004's Nightwatch. If you haven't seen Nightwatch, there's a 10-second recap, but really, go out and rent or buy the DVD (and watch it subtitled -- it's worth it for the animated titles).

As a sequel, it pays off very nicely, and wraps up the story started in Nightwatch -- which is strange in itself, since they're supposed to be making a third movie, in English, filmed in the US. While some of the Eastern European myth-feel is missing (Nightwatch's magic felt like folktales transported to grimy Moscow), the action and special effects are amped up, without losing a rich complex story with vibrant characters. The leaders of the Light and Dark, Gesser and Zevulon, are bitter enemies that most of the time behave like two guys that have been playing chess in the park together for 1000 years. The Dark is sometimes warmer and friendlier than the Light (and generally better dressed, Zevulon's fuzzy blue housecoat and track pants notwithstanding).
In this movie, Svetlana (or Sveta) and Yegor are being trained to be the next "Great Others" of the light and dark, respectively, meanwhile mysterious murders are occurring, killing a couple of Dark Others and framing the weary hero of both films, Anton. To hide him from prosecution by the Daywatch (the Dark Others that police the actions of the Light), he switches bodies with Olga (the woman who was trapped as an owl from the first flick). This provides a nice bit of humor, but ultimately doesn't contribute much to the plot (see below for how this relates to the original book). Meanwhile, there's an ongoing quest for the Chalk of Fate which Tamerlane used to rewrite any mistakes he made throughout his life.

The flim climaxes at a birthday party in the Kosmos Hotel, where Yegor's power comes into play destroying most of Moscow in some amazing effects work -- and I'm not giving much away here, because the resolution, while you can see it coming, is elegant and smoothly done.
That's not to say everything's smooth. It looks like some bits of script or film didn't make it to our eyes: a tearful character trying to bring back to life someone she barely knows makes no sense without what I'm guessing is an excised very steamy scene, and an aborted trip to Samarkand seems like the director didn't know where he wanted the story to go.
And what of that book I mentioned? This film covers much of the second half of the book called "Nightwatch" (although there is also a book for Daywatch, it covers further stories). The general plot of this movie is very different, mainly because of how the first film diverged. As I said before, the body switching was originally done to hide Anton, but the Dark Others see through that immediately in the flick. Other elements come through perfectly, such as mysterious murders with a wooden knife, training of the Great Others, second levels of Gloom... but this is a very separate story. The director and actors have put together a terrific film with deep characters you wouldn't expect from an action flick. Go see it.

Cyberpunk old and new

Just got finished reading the reprinted John Shirley's City Come a Walkin'.
The intro by William Gibson makes it sound like this is the germ of cyberpunk, the real deal, the font from which the whole Movement came.

I'm not buying it. I enjoyed the book, but to me, it read more like splatterpunk than cyberpunk. The cyber element is laughable -- it's an ATM network run by the mob. That's it. Oh, and it's got a character with mirrorshades. Truly, it's just a horror story with some SF elements (that ATM network making cash obsolete, autopiloted cars, and some out-of-nowhere telepathy).

It's definitely punk: one of the common features between Cyberpunk and Splatterpunk is violation of the self, transformation or transgressive action. We've certainly got that. And "angst rock" features strongly, another hallmark of the punk movements.

On the other hand, I read C.J. Cherryh's Hammerfall recently... and I think she got the point of Cyberpunk. Sure, it's a Cherryh book, with its tone and attitude, but it's got some truly cyberpunk elements: most of the main characters have a "tap" -- a nanotech implant to communicate directly mind to mind. The main character, Procyon, has the defining violation and transformation. Fashion plays a major role for a number of characters (there was a bit of fashion in Shirley's book too, mostly involving bare breasts). It was refreshing to read an author with a take on the cyber sub-genre, and quite a twist on its predecessor, Forge of God. I'm hoping there's a third book in this sequence, most likely hundreds of years later, just like this one was versus FoG.

Singularity Sky - Charles Stross

Wow, it's been a while since I've posted about what I've read.

Latest is Singularity Sky by Charles Stross. I've read a few things by him now (Accelerando, Glasshouse, The Family Trade) and he's got quite a range. Accelerando may be a bit of a tough read for some -- the wonky stuff comes fast and hard, but Singularity Sky is more approachable, its subversion hidden in a very Weber-ish mil-SF/space opera frame.

A couple of spies (working as a diplomat and an engineer) at not-cross purposes aboard a baroque starship en route to rescue a planet turned post-industrial overnight makes for a fun read. Art critics, Marxists, aged Admirals, and ultra-high tech crisscross nicely. Oh yeah, and a love story.

I wonder whether the space opera is homage or parody with his subversive streak (self-propelling luggage may be another homage to Pratchett, dunno).

So go read already... while I see if I can get a cheap copy of the sequel, Iron Sunrise.

Three Days to Never, Tim Powers

I've been a big fan of Powers' work for a long time (more than my wife -- she couldn't make it through Expiration Date), and I have to say with this book and especially Declare, his previous offering, Tim Powers owns the Supernatural Spy Thriller sub-genre. OK, there aren't a lot of other people writing in that niche, perhaps Brian Lumley's Necroscope series, although that's more horrific than just supernatural, and perhaps a few of Koontz's early works... hmm... pair this with Lightning, perhaps, for a reading double feature?

TDTN deals with a hidden legacy of Albert Einstein, Charlie Chaplin movies, a supernatural branch of Israel's Mossad, a talking head in a box, a blind woman who sees through others' eyes and a thoroughly engaging story.

But it seems he's gone back to the same well a couple too many times. A lot of this book seems to rehash things he's written before: the legacy of a scientist and encounters with ghosts (Expiration Date), the whole middle-eastern spy stuff (Declare), time travel (Anubis Gates). But this is good. Really good. It's just that Declare was magnificent. The weaving of demonic forces, spies, bits of now and bits of then just worked so much better there than here.

If I had to pick two Powers books, I'd say Declare and Last Call, the others are all worth reading too (although Epitaph in Rust and The Scies Discrowned are an expensive two-pack hardcover for what were originally -- though now rare -- cheap paperbacks).

OK, now *READ* Nightwatch Tonight

I finished the paperback of the translated Nightwatch by Sergei Lukyanenko, on which the movie (look down) was based. The link goes to Froogle by the way -- I don't shill for anyone.

The movie was a non-stop WOW -- heavy duty action, flash, and outright weirdness. The book is a little more mundane, more talky, but still full of wonder.
A big difference is that the book makes it pretty obvious the author is a role-playing game fan -- "levels" of sorcery, references to Jedi, and such, but that's not a problem, certainly.

The movie covers only the first part of the book, although there are some major differences in how things are set up, and the relationships between Anton (the lead), Egor (the young boy) and Svetlana (the woman under a curse) -- I won't spoil it, but the resolution in the movie is actually a little stronger, although it burns some of the later stories in the book. Some of the things are explained a little better: Licensing vampires to hunt has a balance -- the Light are permitted to heal, to help to cure. Everything is perfectly balanced in the Truce between light and dark. The morality of this -- why can't light just do good? -- is the primary struggle for Anton.

A few of the scenes from the movie are straight out of the book and make a bit more sense: Zabulon/Zavulon sitting in the apartment where the Light are trying to figure out what to do about Svetlana's curse is nearly letter-for-letter, and makes more sense when they describe that the Daywatch is always permitted to have an observer when the Nightwatch has a field operation. Anton's sad, exhausted mood is very well captured from book to movie.

It's an entertaining read, good beach/plane reading. I'm looking forward to the second volume (due translated in January), and the second movie (which has been out since the first of the year in Russia, no word on the subtitled version for us here).

Glasshouse, Charles Stross

So, another book review.

Darn good book. Set apparently in the same universe as Accelerando, but not so much as you'd have to read that first, it covers the life of Robin, recently recovering from memory editing and deciding to take place in a psychological experiment/LARP in a 'dark ages' (our time) simulation.

The book has suggestions of Phillip K Dick-ian "am I real?" psychoses (if your memory has been edited, how do you know what is real and what isn't), plus it gives a nice reflection of our Antivirus-dependent computing society (Consider it an update of the network situation of Vinge's A Fire Upon the Deep). There's some good laughs at what the future "us" thinks might have been going on in the century from 1950 forward (nuclear families, gender segregation of jobs and household), and some great tech concepts, such as: if you have instantaneous wormhole teleportation, a blaster can be nothing more than a gateway to a star's surface.

I've come lately into Stross' work (having read Accelerando free online), and he and John Scalzi (Old Man's War) got robbed at the Hugos this year. This book has a great chance at next year's Rocketship-shaped award, if Scalzi's Ghost Brigades don't beat him to it.

The Carpet Makers, Andreas Eschbach

My wife bought me this book on several reccommendations, including Orson Scot Card's introduction.

This is an interesting book, translated from the German, but not what I would call great SF. First off, the novel is a series of connected chapters, with no character appearing in more than two or three chapters, chasing down the mystery of the "hair carpets" across galaxies of a recently-fallen empire.

I can see how Card would enjoy it: it has a lot of the tragic irony for which Card is famous (particularly his earlier books such as Songmaster, Planet Called Treason, etc.).

But what I found this resonating with is Somtow Sucharichtul's High Inquestor series, especially The Utopia Hunters: A far-flung empire, amazing powers of longevity and technology, and a series of Kipling-like just-so stories.

Ultimately, the mystery is resolved (unlike pretty much anything by Robert Charles Wilson), but without characters in which we've invested anything in, the book feels cold and disconnected.

Luckily I've got a stack of books recently released to wade through: Dzur by Steven Brust, Night watch by Sergei Lukyanenko (the basis for the outstanding movie of the same name), Glasshouse by Charles Stross, and Three Days to Never by Tim Powers. So expect more reviews soon.

Books by John Scalzi: The Ghost Brigades

I didn't realize that I hadn't posted since the last Scalzi book I read. Of course I've read other stuff in between (it's been a good month: 3 Repairman Jack books, Varley's "Red Lightning" (meh)... I'm on a tear.

Anyway, "Ghost Brigades"...
Excellent follow-on to "Old Man's War" but you don't need to read one for the other. Some carryover characters, but no John Perry.
My only gripe is that he is a little too clear that he's standing on the shoulders of giants. OMW was described as a modern take on "Starship Troopers" and "Forever War" and that certainly fit.
In GB, he name-checks several SF writers, both in character names (a group of Ghost Brigade troops took names after writers), and in one character's research into artificial beings, from Frankenstein's monster on up through Asimov's robots and Heinlein's Friday. He specifically mentions "uplift" a concept coined by David Brin. It gets a little tiring to see things that obvious, but it's only his third novel... he'll get better and better.

GB talks a lot about the ethics of artificial beings and imposing memories on another head, but missed some of what I consider exemplars on the subject: Brin's "Kil'n People" -- those people are temporaries, and there's no compunction in killing off duplicates, as you can re-incorporate their knowledge. C.J. Cherry's Azi in the Alliance/Union stories, especially "Cyteen" are probably the closest equivalent: The Azi are generally interchangable slaves, tape-trained. Cyteen's main character has some of the same characteristics as Scalzi's Jared Dirac: designed to be -- or become -- someone else, where does one person's individuality and rights come from?

There are some nice unexplored concepts that could be part of another book, or just round-table discussion: Where do the Special Forces personalities come from? They are 'born' fully formed, with software serving as a crutch for developing conciousness and self. Some are lazy, some sarcastic, some enthusiastic about blowing stuff up... Is it genetic, or subtle interactions -- we're back to nature vs nurture. Some of the smae came up in another recent book whose name I've forgotten, where one of the major characters is of the "Russ" geneline, thousands of introverted expert security officers, with common genetics, but each raised from childhood individually (but at a Russ school).

One other cross-book concept: The "integration" of Special Forces soldiers, through their "BrainPal" computer links, brings back Haldeman: "Forever Peace" posited that if you get in anothers' head, you'll empathize enough that war is impossible. That's not the case in GB -- although integration is key to the function and efficiency of the Special Forces -- but it's interesting that the first in this series touched Haldeman's "War" and this touched "Peace".

Read "Ghost Brigades" then go read some more stuff.
Books by John Scalzi: The Ghost Brigades

Old Man's War

I just finished John Scalzi's Old Man's War, Hugo nominee, blah blah blah. Great book, buy it, read it. Now I gotta get a copy of the next book in the universe, "The Ghost Brigades."

There's a lot of interesting stuff there, ethics of war, cloning, fighting, etc.
Usually, it's compared to Heinlein's Starship Troopers but that's a simplistic view. Occasionally, Joe Haldeman's Forever War is invoked, but that's a bit of a stretch.

If you liked this book, please read:

• Cyteen, by C.J. Cherryh -- a long-term war, colonies against each other, and one side using cloned troops. OMW's cloning is different, and similar, and gives a nice alternate view. Cyteen is a core book in Cherry's Merchanter/Alliance universe, including great books such as Merchanter's Luck, 40,000 in Gehenna, and many more.
• The Retief books by Keith Laumer and the Uplift books by David Brin. Only in that they deal with lots of strange aliens who don't think like we do.
• On that note, Ender's Game and Speaker for the Dead by Orson Scott Card, for how we deal with aliens that we can not comprehend, what OSC calls the varelse.
• Childhood's End by Arthur C. Clarke. I'm not a big fan of Clarke's writing, which is long on travelogue, and short on plot, but this does a great job of showing us that our minds are not recognizable to our parents, and our children's are not recognizable to us. There's some great moments in OMW between John and Jane that made me think of this.

Scalzi's relatively new to fiction... let's hope he keeps up this level of quality.