Ray Bradbury Award Review 2016

written by David Steffen

The Ray Bradbury Award is given out every year with the Nebula Awards but is not a Nebula Award in itself.  Like the Nebula Awards, the final ballot and the eventual winner are decided by votes from members of SFWA, the Science Fiction and Fantasy Writers of America (which despite the name has an international membership).

I like to use the award every year as a sampler of well-loved science fiction and fantasy movies from the previous year.  I have been very happy with this tactic, and this year is no exception.

Not included in this list, because I don’t usually seek out individual episodes of TV shows that are nominated is the episode of WestWorld titled “The Bicameral Mind”.

 

1. Arrival, Directed by Denis Villeneuve, Screenplay by Eric Heisserer, 21 Laps Entertainment/FilmNation Entertainment/Lava Bear Films/Xenolinguistics

I reviewed this movie here on Diabolical Plots in December.

Arrival is a science fiction first contact story starring Amy Adams as Louise Banks, one of the linguists recruited by the US government to learn how to communicate with the aliens dwelling inside one of the twelve giant ships that have suddenly appeared all over the world–this one in Montana.  Why are the aliens here?  What do they want?  The world trembles on the brink of war from the tension of not knowing, and it is up to Louise and her team to find out the truth.

This movie is tense and compelling with compelling characters and cool SFnal ideas based around the classic challenge of first contact.  It is based on a story written by Ted Chiang, one of my favorite short fiction authors, and is well worth seeing.

 

2. Zootopia, Directed by Byron Howard, Rich Moore, & Jared Bush, Screenplay by Jared Bush & Phil Johnston; Walt Disney Pictures/Walt Disney Animation Studios

Zootopia is an animated buddy-cop movie that takes place in the city of Zootopia where predators and prey have learned to live peacefully side by side.  Or is it so peacefully?  Judy Hopps (Ginnifer Goodwin) has fulfilled her lifelong dream of becoming the first rabbit on the Zootopia police force, but no one respects her because rabbits have a reputation for being timid and stupid.  She sets out to prove herself and she ends up being assigned to look into a case of a missing otter, one of twelve predators that has disappeared without a trace in recent days, and she has an ultimatum to resign if she doesn’t solve the case.  She recruits fox con man Nick (Jason Bateman) to help her.

Zootopia is one of those children’s movies that works well for all ages.  Looking past the childish elements, it is quite a good buddy-cop movie at its core with interesting puzzles to solve that are unique to the predator-prey-living-in-harmony situation.  Highly recommended, fun and interesting with lots of celebrity voices.

3. Doctor Strange, Directed by Scott Derrickson, Screenplay by Scott Derrickson & C. Robert Cargill, Marvel Studios/Walt Disney Studio Motion Pictures

Steven Strange (Benedict Cumberbatch) is a world-renowned surgeon, the best of his profession.  Arrogant and aloof, he wants nothing more than to immortalize his name forever in the field of medical science.  After a violent car accident that damages his hands, he desperately seeks out any way to heal his broken hands–starting with every available experimental medical procedure and eventually moving on to the mystical healing arts.  Following the trail from a man who had fully recovered from a paralyzing spinal injury, he finds Kamar-Taj, a temple of the mystic arts led by the Ancient One (Tilda Swinton). There he is mentored by the sorceror Mordo (Chiwetel Ejiofor) to begin his training.  Strange takes to the training quickly, and soon needs every ounce of skill he has acquired to fight against Kaecilius (Mads Mikkelsen), a former sorceror of Kamar-Taj who left the temple after refusing to accept the limits on their studies placed by the Ancient One.

I was surprised at how much I liked this movie–it seemed like it was a character and story that would be hard to make it feel modern without it being corny but they pulled it off reasonably well.  My favorite parts were the depictions of the Mirror World, a reflection of the real world that is infinitely malleable to manipulation, and is often used as dueling grounds for sorcerors since the destruction there does not touch the real world–they turn ordinary surroundings into treacherous fighting arenas filled with traps made of everyday things.  Dr. Strange had a quite decent character arc throughout the story, so arrogant at the beginning and finally finding some humility as he fights on.  I thought the method Strange used for the final boss was particularly clever, not one I expected.

4. Kubo and the Two Strings, Directed by Travis Knight, Screenplay by Mark Haimes & Chris Butler; Laika Entertainment

Kubo (Art Parkinson) is a young boy who makes his money begging in the town during the day while his mother suffers from a strange affliction where she is in a trance from sunrise to sunset, and she demands that he always keep his monkey charm near him and never go out at night for his own safety, so that his aunts and grandfather the Moon King will not come and steal Kubo’s one remaining eye.  He tells stories of the warrior Hanzo, who is Kubo’s missing father, and plays out the performances with origami which he animates magically with a musical stringed instrument of his mother’s.  One day he hears of a festival where the townspeople are once a year allowed to speak to the souls of their dead loved ones and Kubo breaks his mother’s rule in the hopes that he will be able to speak to his missing father.  But he soon learns that his mother’s rule is not just fantasy, when his aunts do come and find him and he flees and is only saved at the last moment by his mother rushing to his rescue, magically sending him far far away.  His monkey charm has come to life (Charlize Theron) and they set out to escape the Moon King’s pursuit and continue Hanzo’s quest to defeat the Moon King.

Action packed, fun, and more than a little scary in parts–this story has a lot of fun and a lot of emotional moments.  The aunts in particular are super super creepy, especially when they first arrive as floating masked apparitions who always speak in unison in a creepy singsong voice.  Each step of their journey is a major trial that Kubo’s father had failed before him, and the odds are against him but he has some of his powers inherited from his mother as well as the help of his animated monkey charm.

5. Rogue One: A Star Wars Story, Directed by Gareth Edwards, Written by Chris Weitz & Tony Gilroy; Lucusfilm/ Walt Disney Studio Motion Pictures

The newest in the Star Wars movies, albeit not one of the main numbered sequence.  This story takes place just before Star Wars: New Hope (the original movie).  Galen Orso (Mads Mikkelsen), former scientists for the Galactic Empire, has been living in seclusion for some time, but he is abducted and brought back to work on his grandest project yet–the weapon that will come to be known as the Death Star.  When he is taken, his young daughter Jyn (Felicity Jones) escapes and is taken in by extremist rebel Saw Gerrera (Forrest Whitaker).  Fifteen years later, the Death Star is nearly complete and Imperial pilot Bodhi Rook (Riz Ahmed) has defected from the Empire with plans for the weapons to give to the rebels, but the pilot falls into the hands of Gerrera, who is just as violent against other rebels as against the Empire.  Jyn is captured and recruited to communicate with Gerrera to try to recover the plans.

It was exciting and fun to get to see this important piece of Star Wars lore that we only heard about the results of in passing.  The main complaint I heard about the movie before it came out was that the cast was so large that you never really got to know anyone, and I think there’s some truth to that, although I did have a great deal of affection for the protagonist Jyn, and also for spiritual warrior Chirrut (Donnie Yen) and the mercenary Baze Malbus (Wen Jiang) who were weird and quirky.  Unfortunately because of the nature of the movie, and the fact that none of these characters were in the original trilogy, you can probably guess how they end up, and you also know that they succeeded since that’s what made the ending of A New Hope possible.  But it’s still a fun movie worth watching, even if the characters aren’t as well developed and the ending is already known.

 

DP Fiction #26A: “O Stone, Be Not So” by José Pablo Iriarte

We had no idea what to think the day Otto started living backward. We might have had a clue if we’d noticed he woke up all cranky and sleepy when he’d always been a morning person. It’s hard to spot subtle things like that, though, when your bright, happy ten-year-old wakes up unable to form a coherent sentence and unable to understand anything you say. I thought he was having a seizure, or had developed some god-awful disorder. I had Aidan call for an ambulance while I ran around the apartment like a madwoman: grabbing a change of clothes, our insurance cards, and a couple of Otto’s favorite toys.

The doctors could find no physical cause for his sudden incoherence and no indication his life was in danger, so they sent us to a local neurologist. I’m the one who actually figured out what was going on, though. Or really Otto did, but I helped him express it.

He listened to the doctor’s questions, his eyes wide and flipping back and forth between Aidan and me, his head shaking with incomprehension, his answers incoherent. As at the emergency room, his answers were all gibberish. I suspected he’d suffered an injury to the part of the brain responsible for speech, but might be otherwise able to communicate—he seemed too alert, too aware of what was going on. So I pulled a pen and an old receipt from my handbag. He grabbed the pen with no sign of any particular cognitive difficulty, positioned the tip against the paper, and pressed down fruitlessly. His father went and found a pencil, but somehow it wouldn’t write either. The point was freshly sharpened and I wrote with no difficulty, but in Otto’s hand, nothing.

Giving up, I reached for the pencil, but before I took it he flipped it over and started erasing a blank area of the sheet. The skin up and down my back and neck tingled as letters began to appear: first what looked like an ‘i’ on the right side of the page, drawn upside-down for my benefit, since I was kneeling across from him. Then he erased some more and I realized it was an exclamation point, followed by a ‘D,’ and then another letter and another, until he had un-erased the message, “I’M BACKWARD!”

He met my eyes and then, seeing that I’d read the message, proceeded to trace over it from right to left. As the tip of the pencil touched each letter, it disappeared.

We got better at communicating as we learned to deal with this thing, but whenever we reached an impasse, out came the pencil and notepad–and a pack of fresh erasers.

Some things don’t change a great deal when your boy is living backward. Hugs are still pretty much the same. Kisses feel a little funny, but they still work.

We only went to a couple appointments with the neurologist before we figured she didn’t know any more than we did. We didn’t want to end up like those families in bad sci-fi movies, having our boy taken away to be experimented on and never seeing him again, so we stopped going to her office.

School was out of the question, so we tried homeschooling. I had to quit my job, but we tightened our belts and made do.

We had our challenges, of course. I won’t pretend otherwise. Mealtime was pretty gross. And it was unsettling having your kid get cleaner and cleaner throughout the day, right up until bath time, after which he came out dirty and sweaty.

Basically what I’m saying is we tried to make our peace with this. Something crazy happens in your life, like you lose a limb or your hearing starts to go, you learn to accommodate, to live around it. This didn’t change how much we loved our beautiful boy. We still played, even if our play was filled with constant little moments of weird.

But then during our homeschooling sessions, I started to realize he was losing skills, facts–his reasoning itself became more basic before my eyes. His father and I would think back and say, “Oh yeah, that’s about how old he was when he learned long division,” or we’d remember how old he was when he . . . when he . . . I’m sorry. How old he was when he learned to read.

That’s when we grasped where this was headed.

Do you realize that when he cries, the tears roll up his face and get sucked into his eyes, like some kind of poison? I dab at them to no effect; it’s like I’m squeezing the moisture onto his face myself.

In the end, fear forward and fear backward are more or less indistinguishable.

His father couldn’t handle the inevitable. “Let’s let the scientists have him,” he said. “They might be able to figure something out.”

“Absolutely not,” I replied. “Of course they can’t ‘figure something out.’ Have you ever heard of anything like this? All they will do is take away what little time we have left.”

When he couldn’t convince me, he tried another tack. “Nadia, we can’t take care of him,” he said. “We should find a facility to deal with him, so we can have our lives back.”

He wanted his life back, so I let him have it. I didn’t want my life back. Still don’t. I want every moment with my boy that I can get.

Going out with Otto is easier now. Nobody points or asks if he is retarded. If you don’t get too close, babies act about the same forward as they do in reverse.

I’m not sure what’s going to . . . how this will work . . . at the end. I don’t expect miracles. I don’t count on having more than a few more months with him.

I try to look on the bright side, because what else can I do? I’m not the first mother to lose a child, but other parents don’t know when the end is coming. Perhaps they spend years regretting a harsh word or a moment of inattentiveness on that fateful last day. Or they spend their last few months watching a beloved child suffer in anguish. I don’t think Otto can even remember being a big boy anymore. He doesn’t seem to be suffering.

“It’s okay,” I say as I wiggle him playfully on my lap. “Mommy has her sweet baby boy back. Isn’t that right, Otto?”

He smiles toothlessly and reaches up a hand toward my face, babbling.

He said his last word three months ago.

It was “Mom.”

© 2017 by José Pablo Iriarte

 

Author’s Note: This story was originally written for a short fiction contest for the Codex Writers Group. The prompt was to write about two people who could no longer communicate through the means that had previously worked for them. I seized upon the idea of somebody suddenly switched into living backward, and had fun playing with the notion of symmetry in life and in language. Before long, though, I started to be intrigued by the other ramifications of having a child who was living backward, and by the parallels between this concept and having a child with a terminal illness.

 

jose-iriarteJosé Iriarte is a Cuban-American writer and high school math teacher living in EPCOT with his wife Lisa and their two teenage kids. His fiction has appeared in Strange Horizons, Fireside Fiction, Daily Science Fiction, and other venues. Learn more at his website: http://www.labyrinthrat.com.

 

 

 

 

 

 

 

 

 

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BOOK REVIEW: Gravity Falls Journal 3 by Alex Hirsch and Rob Renzetti

written by David Steffen

20161231_163401Have you seen the Disney XD show Gravity Falls, created by Alex Hirsch?  If you haven’t, you should!  And you should probably do it before you read this book, because it’s a tie-in that will have major spoilers for the show–I think it will generally work better watching the show first, and then reading the book.  Here’s a review of the show.

OK, so now you’ve caught up on the show, right?  So this is that journal, the one that Dipper discovers and uses a guide to the town of Gravity Falls through the duration of the series, and the author of which is a major mystery of the show.

20161231_163308I don’t usually talk much about book design in the reviews, but this book is really really nice.  Usually I’m kindof ambivalent about book jackets, because I’m honestly not sure what purpose they serve.  But in this case, the book jacket includes all the stuff that you would expect to see on a book cover–the title on the cover, the title on the spine, the blurbs on the backet, the bar code.  But if you remove the book jacket, the book cover matches quite closely to the appearance of the journal on the show–no title on the spine, no blurbs or barcode, and the cover is just a six-fingered golden hand with a number “3” drawn on it.  It’s very eye-catching and consistent with the show which is cool.  AND, the inside of the book jacket has extra illustrations–blueprints of science fictional contraptions from the series, images which don’t appear anywhere else.  The book also comes with one of those nice attached-to-the-binding silky bookmarks that I’m used to only seeing in hymnals at church–very nice touch.

20161231_163450Inside the book there are three distinct sections.  The first is the contents of the journal before Dipper finds it in episode 1 of the series.  You see these pages in the show, but usually only briefly and you can only make out the titles and major illustrations.  The book contains all of those, as well as some that I don’t think ever appear in the show, so this part is my favorite part of the journal, because you are reading what Dipper read on his own.  The second part happens DURING the show, and is Dipper writing new pages into the journal.  I love the show, but I found this the weakest section because I had already seen the episodes, so it felt redundant, and each episode covered in the book only covered a couple pages, so it also felt rushed and without the characteristic humor of the show.  The third section happens near the end of the series, after a major event that I won’t spoil for you, but which changes the nature of the content of the journal again.  The design all makes sense, but I found that middle section pretty weak.

The author of the book is often secretive, and so has chosen to write some notes in code.  Not enough that you’ll be missing major portions of the book, but small bits here and there.  If you feel like trying out your hand at cracking codes, this is a little added feature.  And if you don’t, you can easily find the solutions with a little Googling if you want to read that extra content.

I was very happy to get my hands on the book, both for the look, to find out some backstories that aren’t in the show, and read some more of the original journal entries.  If you love Gravity Falls, odds are that you’ll love this book.  (And if you haven’t seen Gravity Falls, you should!

 

Anime Review: Ajin: Demi-Human

written by Laurie Tom

ajin Ajin initially bears a superficial resemblence to Tokyo Ghoul, in that the protagonist goes from normal human being to a monster in the first episode. From there Kei Nagai undergoes a similar journey from lamenting his fate to accepting what he is, but Kei’s journey progresses faster and he takes a decidedly different tack when it comes to dealing with what he’s become.

The past couple decades have seen the emergence of a few people called Ajin. They cannot be conventionally killed. Any lethal damage from starvation to disintegration will result in the body dropping for a few seconds to a minute before regenerating to full health. But the interesting thing is that partial damage stays until the body dies, so it’s possible to incapacitate an Ajin for capture. Ajin themselves can put their regeneration to creative combat uses and may intentionally try to kill themselves if they’re too hurt.

Ajin are still incredibly rare though, with only 46 known to the world at the start of the series, and they’re considered to be no longer human. Any found are quickly rounded up by the government which is rumored to experiment on them. Since they can’t die, they’re excellent guinea pigs.

The catch though is someone has to die first in order to be identified as an Ajin. There are likely lots of humans around who just don’t know what they really are, as well as Ajin in hiding who died outside of anyone else knowing.

Kei Nagai is an isolated high school boy with superficial friendships (his contacts are seriously named Friend 1, Friend 2, Friend 3, etc. on his phone) studying to be a doctor. He knows his mother’s expectations of him, to become a good upstanding member of society, and he’s so dedicated to his schooling that he reads through vocabulary words on a keyring flipbook when walking to school or even during class when his teacher decides to talk about stuff that he explicitly says is not going to be on the test.

This incredibly inward focus causes him to not pay attention when crossing the street when an inequality inattentive truck driver doesn’t see him. This results in Kei being lethally crushed by the oncoming truck, only to pull himself out from under it moments later to the horror of the bystanders around him.

Kei, realizing that he can’t really trust anyone, bolts before a police noose can close around him. His lack of interpersonal relationships means that he really doesn’t have anyone to turn to, which makes him an unusual protagonist.

Once he learns to accept that he can’t go back to his old life, Kei’s personality shifts, though there are suggestions that this is the real him that was buried the entire time. Kei is logical and pragmatic to a fault and barring an emotional connection with Kaito, the estranged childhood friend who ultimately helps him escape when he first discovers he’s an Ajin, he views his relationships through a cost/benefit analysis. This jives with his superficial friends at school, where he is likely friends with them because they’re “good” people to be friends with, people who are going to make it later in life.

It’s extremely rare to have a protagonist who is baffled when someone helps him when there is clearly no benefit to the other party. Kei isn’t intentionally mean when he decides whether or not it’s worth helping someone, and more than once he hesitates to actually carry out his logic, but his sense of self-preservation is strong and prevents him from taking chances. However, he is canny enough to realize the importance of appearances, so if helping someone is in his interests, he will be a helpful and giving person.

However, Kei spends a lot of time in the first half of the series as a novice Ajin who is still trying to have some semblance of a normal life, so the audience is also immersed into the two primary factions that inhabit this world.

The first one introduced is the government Ministry of Health, Labour and Welfare, which has a task force dedicated to capturing and experimenting on Ajin. Yuu Tosaki is the head of the Ajin Control Commission under them, but he’s one of the most complicated characters in the series as he shelters an unregistered Ajin while also capturing others. He’s ruthless and driven, and willing to take unethical steps to get the job done, but his motivations are entirely human as he’s done the equivalent of selling his soul to the devil for the money to treat his comatose fiancee. This makes it possible to feel for him while he fends off the bosses who are willing to sacrifice him on the one hand and torturing people on the other.

Opposing Tosaki on the other side is Sato, an old man in a cap who is an unregistered Ajin. Sato plans to create an Ajin-ruled nation, carving it out of Japan itself. He’s an interesting character and a master manipulator though we get little backstory on him. Sato likes to do things the hard way (though he’s quite clever about it) so as to keep things entertaining for himself and he recognizes the importance of media.

Sato is the kind of guy who will release a video about Ajin being violently experimented on to the internet knowing that the real Ajin will be able to tell the real videos from the fakes because they know how it really looks when Ajin regenerate. By appending that video to a plea to publicly protest the treatment of Ajin at a specific time and place, he enables himself to secretly meet other Ajin who’ve been living in hiding and put together a force that can actually one-up the government in one of the biggest ways imaginable.

Unlike Tosaki, who is possible to empathize with and even root for (since he’s spends more time chasing Sato than Kei), Sato is a monster. He’s fun to watch because he’s an intelligent villain who gives off the air of being a congenial old man even when blowing people’s heads off, but he’s completely unconcerned about collateral damage and kills as easily as breathing.

One of the things I like the most about Ajin is that after the ground rules are laid (and one accepts the fact that the higher ups in the government are slow-moving idiots), everyone plays intelligently. Tosaki’s measures to stop Sato are solid based on what the audience knows, and Sato’s way around them is also good. Even Kei, while living in hiding, is extremely competent for a high school student his age. It’s nice to have a series with such a high competency level between different players.

If anything, the hardest thing to buy into is the animosity towards Ajin before the major events get underway. Though it’s clear from the opening minutes that a determined Ajin is extremely dangerous, nearly everyone Kei knows is either ready to sell him out or disgusted with him the minute they find out he’s an Ajin and they know that up until that moment he was just a studious high school student.

The animation of Ajin is done by Polygon Pictures, the same studio as Knights of Sidonia and the two series share a similar design and animation aesthetic, using computer generated characters intended to look like cel art. It’s not necessarily possible to tell the difference from screenshots, but it’s quite noticeable when watching characters do complicated movements where the motion seems oddly fluid for an anime series.

As with Sidonia the choice to go CG is a good one for Ajin as the Ajin characters frequently get injured and run around with “battle damage” that would be a pain to traditionally animate frame by frame and each Ajin has an IBM, a sort of black wraith-like creature they can summon that is best served with computer graphics since they have a ropey ethereal look while being hollow inside.

This also works in favor of the more elaborate choreography for the multiple combatant fight sequences, with an absolutely gorgeous one between Sato and a special forces team towards the end of the first season.

But on the other hand, the lighting is a little weird again, making a lot of characters look flat or washed out, and noses sometimes disappear if the angle of the shot prevents shadow on the face.

Ajin has two seasons available and there’s no word on a third. The manga is still running so the anime series doesn’t have a definitive ending so much as a story arc one. Unfortunately the series is only available on Netflix so it will require a subscription, but it’s highly bingeable and well suited to the platform.

Number of Episodes: 26

Pluses: engaging battles of wits, complex morally gray protagonists, creative uses of Ajin superpowers

Minuses: second season doesn’t feel as well put together, Ko is an oddly hot-blooded idiot in a cast of otherwise composed characters, some ongoing plot threads left hanging

Ajin: Demi-Human is currently streaming at Netflix (subscription required) and is available both subtitled and dubbed. Sentai Filmworks has licensed this for Blu-ray/DVD in the US.

laurietom
Laurie Tom is a fantasy and science fiction writer based in southern California. Since she was a kid she has considered books, video games, and anime in roughly equal portions to be her primary source of entertainment. Laurie is a previous grand prize winner of Writers of the Future and since then her work has been published in Galaxy’s Edge, Strange Horizons, and the Year’s Best YA Speculative Fiction.

The Best of Lightspeed/Fantasy Podcast 2016

written by David Steffen

Lightspeed Magazine is the award-nominated science fiction magazine edited by John Joseph Adams, and their podcastis  produced by the excellent Skyboat Media.  They publish about half of the stories they publish in text.  They published 52 stories in 2016.

This year marked the publication of their People of Colo(u)r Destroy Science Fiction special issue (guest-edited by Nalo Hopkinson and Kristine Ong Muslim), published in Lightspeed, as well as the People of Colo(u)r Destroy Fantasy (guest-edited by Daniel José Older), published as a special revival issue of Fantasy Magazine (which is otherwise subsumed by Lightspeed in most other respects).

The stories eligible for the upcoming Hugo/Nebula award season are marked with an asterisk (*).

The List

1. “The Venus Effect” by Joseph Allen Hill*
Metafictional story trying to write science fiction adventures of Apollo and The Girl From Venus in various formats.  Tragic and fitting, told in a compelling way.

2.  “Not By Wardrobe, Tornado, Or Looking Glass” by Jeremiah Tolbert*
When everyone seems to be finding their own personal portal to their own personal wonderlands, Louisa awaits her turn.

3.  “Welcome to the Medical Clinic at the Interplanetary Relay Station | Hours Since the Last Death: 0” by Caroline M. Yoachim*
Written as a fun pulpy choose-your-own-adventure story.

4.  “5×5” by Jilly Dreadful*
Summer camp with mad scientist types.

5.  “The One Who Isn’t” by Ted Kosmatka*
Stories within stories, and you have to piece together what is happening as it goes.  Interesting, compelling, well done.

Honorable Mentions

“Fifty Shades of Grays” by Steven Barnes*

“Double Time” by John Chu

“The Lives of Riley” by Sean Williams*

 

 

 

 

Continue from “Wednesday’s Story” on page 4

 

 

 

 

 

 

Start at The Siren Son and go back from there

Anime Review: Natsume Yūjin-chō Go

written by Laurie Tom

natsume yujin-cho go

After four years, Natsume Yūjin-chō (also known as Natsume’s Book of Friends) returns with Natsume Yūjin-chō Go. This is the fifth season of the long running series and I previously reviewed seasons 1-4 here.

Natsume Yūjin-chō follows the ongoing misadventures of teenage Takashi Natsume, who has the ability to see youkai (spirits out of Japanese folklore) when most people cannot. Though a kind-hearted person with good intentions, being able to see youkai creates no end of headaches as they frequently want, or even demand his help, and when his small circle of friends have youkai trouble, Natsume’s the person most likely to lend a hand.

Each episode of season 5 is stand alone, and slipping into Go is like putting on a comfortable pair of familiar shoes. Due to the day-to-day nature of the series, there aren’t a lot of details to catch up on as long as one remembers the cast of characters, and even then, there’s usually some backstory help to reintroduce them.

Despite its episodic nature, if there’s anything to thematically bind Go together, it’s history. More than other seasons, we delve into the history of the characters we’ve come to know and learn a little more about the various arts used by exorcists and others who are able to see youkai.

While most series would use backstory for drama, Natsume Yūjin-chō uses it for contemplation. Youkai are a part of Natsume’s life in the same way the people in his neighborhood are and the series arguably works best when focused on the relationships between people or between people and youkai.

This best manifests itself in Takashi’s free-spirited grandmother, Reiko, whose presence continues to loom over the present day, long after her own passing. Though we now know that her creation of the Book of Friends was a forbidden practice, it’s clear that most of the youkai gave her their names willingly and cherished their brief time together with her.

The vocal cast and key production staff return from previous seasons of Natsume Yūjin-chō, but the animation this time around is handled by relatively new studio Shuka instead of the previous Brain’s Base. This is only Shuka’s third anime series and it feels like they’re still trying to get their legs under them.

It isn’t particularly noticeable from episode to episode, the character designs are spot on and background palette pure Natsume Yūjin-chō, but Go has had production issues resulting in only 11 episodes being produced, and used the forgettable “Nyanko-sensei and the First Errand” TV special as a mid-season filler.

Usually skips like this happen when the production runs too close to air date and the episode isn’t done yet, and Shuka had done the same thing with their previous outing, 91 Days (though they used a recap episode as filler instead of a pre-existing TV special).

The episodes produced are solid though and worth watching. While it’s likely easy enough to pop in the middle newcomers should start at the beginning since the entire series is streaming free at Crunchyroll.

Number of Episodes: 11

Pluses: more Natsume and friends; more backstory on Reiko, his adoptive parents, Natori, and others; feel is spot on despite the studio switch

Minuses: run is on the short side, story doesn’t really go anywhere new

Natsume Yūjin-chō Go is currently streaming at Crunchyroll (subtitled).

laurietom
Laurie Tom is a fantasy and science fiction writer based in southern California. Since she was a kid she has considered books, video games, and anime in roughly equal portions to be her primary source of entertainment. Laurie is a previous grand prize winner of Writers of the Future and since then her work has been published in Galaxy’s Edge, Strange Horizons, and the Year’s Best YA Speculative Fiction.

The Best of Cast of Wonders 2016

written by David Steffen

This has been a big year of change for Cast of Wonders, the young adult podcast edited by Marguerite Kenner.  Starting at the beginning of 2016, Cast of Wonders joined the Escape Artists family of podcasts as their fourth podcast.  And, as part of this change, they greatly increased their writer pay rates from just a few pounds to professional rates for original stories, which I believe should’ve started the timer for becoming a SFWA-qualifying market.

This year there have been some technical issues with the feed that have resulted in long stretches between episodes.  What’s more confusing is that, to compensate for these issues, several episodes have been renumbered, and a bunch of episodes were added late in the year but with earlier dates posted on them.  I don’t say all this to complain but that… I’m not 100% sure that I have actually heard all of the episodes this year, because the changed dates and changed episode numbers have made a mess of the feed.  I tried my best!

All of the stories on this list are eligible for Hugos and Nebulas this year. (that’s why they’re all marked with asterisks.

Cast of Wonders published 30 stories in 2016.

The List

 

1. “The Jungle Between” by Holly Schofield*
Story with dual points of view–of human scientists and dinosaur-like aliens they are studying, centered around their perceptions of the other.

2. “This Story Begins With You” by Rachael K. Jones*
Stories with power to transform everything around them.

3. “The Authorized Biography” (part 1 and part 2) by Michael G. Ryan*
What if you found a  book that gave your complete biography, including what hasn’t happened yet?

4. “The Four Stewpots” by DK Thompson*
Speculative Yelp review!

5. “Welcome to Willoughby’s” by Michael Reid*
Space taxidermy!

 

 

An Apology, Regarding Sunil Patel’s Story

written by David Steffen

On March 15th, I sent a story to Diabolical Plots publishing newsletter subscribers written by Sunil Patel.  The story had been purchased and contracted in August 2016, before stories about Sunil’s abusive behavior surfaced (in October 2016).  I neglected to remove the story from the schedule and it went to the inbox of 182 subscribers of the newsletter.

This was not the right choice for me to make. Diabolical Plots is here to serve the SF publishing community, and this was not a good way to do that.  I am sorry for my lapse in judgment.  I can’t unsend an email, but the story will be removed from the publishing lineup scheduled on the Diabolical Plots site (and replaced with a different story if I can work it out).  If anyone wishes to provide further feedback, please feel free to email me at editor@diabolicalplots.com.

Anime Review: Yuri on Ice

written by Laurie Tom

yuri on ice

Figure skating has always been my favorite event at the Winter Olympics, having grown up watching it with my parents, and then continuing on my own as an adult. No other sport occupied my childhood nearly so much, so when Yuri on Ice was announced, it was a given that I would watch it.

Yuri on Ice is gorgeous just taken as a figure skating anime, but it’s also a lot more than that, being one of the most progressive anime series to feature a gay relationship without overly fetishizing it.

Yuri Katsuki is twenty-three years old when he flames out at the Grand Prix finals, signaling what he suspects will be the ignominious end to his figure skating career. It doesn’t help that he’s confronted in the bathroom after the competition by up-and-coming skater Yuri Plisetsky, who is going to make his debut at the senior level next season. Plisetsky doesn’t feels there’s room for two Yuris, so wouldn’t it be better if Katsuki just retired?

Our Yuri nearly does, but despite his failure, he’s actually a very good skater, and he would have to be to make the Grand Prix finals, which only accepts the top 6 at the end of a series of skating tournaments. What happened to Yuri in the finals is not unheard of or even that uncommon to anyone who’s watched the sport for a while. Sometimes despite having talent and years of hard work behind them, an athlete fails in that one moment and then the medal is gone.

Fortunately for Yuri, a friend’s kid records and uploads a video to social media of him performing the exact routine of the man who did win the Grand Prix, Victor Nikiforov, who is also the reigning world champion. Victor sees the video, and something in Yuri, which causes him to drop his own skating career and fly to Japan so he can become Yuri’s coach.

From there, the story takes a fairly predictable course. Yuri gets back into shape and Victor finds new ways to motivate him because in some ways it’s a lot harder for Yuri now. He’s not the new kid on the block anymore, and one of his early competitions for the new season has him facing challengers who are several years younger than him.

Due to his flame out, he doesn’t have the opportunity to return immediately to the Grand Prix, but has to prove himself again through a qualifier.

Considering that figure skating is an artistic sport that lends itself to visual presentation, I’m surprised it took so long for it to be turned into an anime, but it may be because it’s such challenging work beyond what the average animation studio is used to choreographing.

For a twelve episode series, there is a lot of figure skating. Yuri attends four competitions and performs largely the same short and long programs at all of them (which is expected), but the animation team manages to keep things fresh by intercutting other scenes and flashbacks, choosing which parts of the program to show, and by altering what happens to Yuri as he sometimes botches a landing, touches a hand to the ice, or even faceplants.

Though I can’t say animation is never reused, it’s shocking considering how much effort must have gone into it. Unlike a lot of anime that can fake action and movement through speedlines and or camera movement, Yuri on Ice needs to look like ice skating, especially the skating viewers are used to seeing on TV.

What comes out is beautiful. I can’t get over Yuri’s step sequences. I don’t think it’s as hard to animate a jump since a triple axle happens fast enough that the casual viewer likely can’t tell the difference between that and a double, but the step sequence has a lot of quick and deliberate movement, and it’s not something most animators would casually be familiar with. Moreover, it’s supposed to be one of Yuri’s strong points, and it looks good.

The animation team really did their homework, as the show follows the real world Grand Prix of Figure Skating competition. Scores are realistic, as are conversations about risk versus reward regarding whether to perform the more difficult jumps. The music director must have had a field day as all of Yuri’s competitors have wildly different songs to go with their choreography. There is no generic song that plays during a skating competition. Everyone has their own, as they would in real life.

The other skaters that Yuri meets are also fabulously diverse. Though there are expectedly European skaters, Yuri’s former rinkmate is from Thailand and the representative from the US is Latino.

While the figuring skating storyline is what drew me in, what broadened awareness of Yuri on Ice and made it one of the most talked about anime of the fall season is the romance that develops between Yuri and Victor.

Japanese media is typically not good about depicting queer relationships, often designing them to be comic relief, pander to hetero members of the opposite sex, or only flirt with the possibility that the characters are gay by leaving the relationship ambiguous enough that it doesn’t matter.

Yuri on Ice removes the ambiguity while also making Yuri and Victor fully realized characters who are much more than eye candy for the audience. We would be invested in Yuri regardless of his sexuality, which makes it more powerful that he is gay and unashamed about it.

I highly recommend Yuri on Ice. Even if figure skating and romance isn’t quite your bag, it’s so well put together that it’s worth checking out.

Number of Episodes: 12

Pluses: gorgeous and frequently realistic figure skating, progressive gay romance, amazing and varied soundtrack

Minuses: most competitors come and go without much fanfare even though Yuri should at least somewhat know them, sometimes faces get a little too cartoony in order to show humor

Yuri on Ice is currently streaming at Crunchyroll (subtitled) and Funimation (dubbed).

laurietom
Laurie Tom is a fantasy and science fiction writer based in southern California. Since she was a kid she has considered books, video games, and anime in roughly equal portions to be her primary source of entertainment. Laurie is a previous grand prize winner of Writers of the Future and since then her work has been published in Galaxy’s Edge, Strange Horizons, and the Year’s Best YA Speculative Fiction.