Ray Bradbury Award Nominees 2015

written by David Steffen

The Ray Bradbury Award is not a Nebula, but nominations and voting and announcement are all tied up with the Nebula Awards, so its easy to bundle it in.  The Ray Bradbury award is for science fiction and fantasy movies and is voted on by the members of SFWA, the Science Fiction and Fantasy Writers of America.  There is often some overlap with the Hugo Award for Best Dramatic Presentation, Long Form but because of the difference in the voting groups this one seems to veer a bit more toward movies that are heavy on craft while the Hugo tends to lean toward fun popcorn movies.

I tried to watch all the movies before the Nebula voting deadline on end of day March 31st, but I acquire them by renting from Redbox and the release date on Redbox for one of the nominees (Interstellar) isn’t until March 31st.  So that’s not enough time in my schedule to rent the movie and watch it.  I’ll watch that movie later and give it a separate review.


1.  Edge of Tomorrow
, Screenplay by Christopher McQuarrie and Jez Butterworth and John-Henry Butterworth (Warner Bros. Pictures)

Earth is under attack from an alien force known only as mimics, viciously deadly enemies that humans have only one battle against.  Major William Cage (Tom Cruise) works in PR for the US military and has been ordered to the frontier of the war in France.  The general in charge of the war effort orders Cage to go to the front lines to cover the war.  When Cage attempts to blackmail his way out of the mission, he is taken under arrest and dropped at the front with the claim that he had tried to go AWOL and so is quickly forced into service, given only the most passing training in the mechsuits that are standard issue, and dropped into battle with everyone else.  This area was supposed to be fairly quiet, but the battle here is intense.  Cage manages to kill one of the mimics, but dies in the act, only to wake up earlier in the day when he’d woken on the base in handcuffs after the general had him arrested. He dies again, and again, and again.  No one else has any memory of reliving the day except for Rita Vrataski (Emily Blunt), the super-soldier nicknamed “Full Metal Bitch” after she wreaked havoc against the mimics in the only battle against the mimics that the humans have won.  She confides that she had won that battle because she had gone through the same thing he had–as long as he dies he will always restart at the same time and place.

I avoided this movie in theaters, because I haven’t really gone to any Tom Cruise movies since he kindof went publicly nuts.  But I rented this one since it was nominated.  I thought Tom Cruise was back to old form in it, and even if you don’t like it, well you get to see him die literally dozens of times.  I thought Emily Blunt was especially good in her role as Rita, powerful but still affected by the PTSD of dying over and over and seeing so many die around her over.  The looping-after-death element makes for a cool dynamic when well-plotted and when placed against large enough obstacles, which was well done here.  Good spec FX, good casting all around, solidly entertaining.

2.  The Lego Movie, Screenplay by Phil Lord & Christopher Miller  (Warner Bros. Pictures)

Emmett Brickowski is just a regular guy, pretty much the poster child for averageness in a world of Legos.  He does everything exactly the way he’s supposed to do, but no one pays much attention to him.  He meets a strange woman name WyldStyle who tells him he is the subject of a prophecy, the most interesting person in the world and the one who will save everyone from President Business who rules over all of Brickburg.  WyldStyle is a master builder, a rare class of lego person who can take random Lego parts and turn them into a variety of imaginative things.  She is part of an organized rebellion of master builders, and Emmett joins them in their fight.

I enjoyed this story thoroughly from beginning to end.  The voice acting is great all around (particularly that of Chris Pratt as Emmett, Nick Offerson as Metal Beard, Will Arnett as Batman, and Liam Neeson as Good Cop/Bad Cop).  Lots of fun, weird imagination, and as they see out of the worlds they travel and into the real world there’s actually a relatable real life story tied into it.  Great stuff all around.

 3.  Guardians of the Galaxy, Written by James Gunn and Nicole Perlman (Walt Disney Studios Motion Pictures)

I hadn’t heard of this Marvel franchise until this movie came out, one of the more obscure ones.  In 1988 a young Peter Quill is abducted by aliens by a band of space pirates and is raised as one of them.  In the present day he has his own ship and has grown up to be a bounty hunter (Starlord by name), taking whatever odd jobs he can find for money.  After taking what seems to be a pretty straightforward job to find and deliver an orb, he’s suddenly the focus of attention from the assassin Gamora as well as the bounty hunters Groot (a tree person) and Rocket (a one-of-a-kind genetically modified raccoon) who are all after the orb.  In the scuffle for the orb, they are all arrested and locked in a prison. Gamora tells them of her adoptive father Thanos who wants the orb for nefarious plans. They decide their only chance of escape is to work together, with help from another prisoner Drax the Destroyer, and stop Thanos.

Solidly fun, another Chris Pratt work, probably my favorite role that I have seen him in.  Great casting all around, with Bradley Cooper memorably voicing Rocket.  Action-packed, solidly fun popcorn movie.  Lots of memorable lines, memorable fights, really no complaints all around.

 4.  Birdman or (The Unexpected Virtue of Ignorance), Written by Alejandro G. Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Jr. & Armando Bo (Fox Searchlight Pictures)

The actor Riggan Thompson (Michael Keaton) is best known in his role as Birdman in multiple films in the early 90s, one of the earliest widely successful superhero franchises, but after that he has fallen into obscurity, not finding many widely acclaimed roles (sound familiar?).  He is taking his chance, putting everything on the line for one final chance at popularity again by writing and acting in a Broadway adaptation of Raymond Carver’s Short Story “What We Talk About When We Talk About Love”.  The play is produced by his friend and lawyer Jake (Zach Galifianakis), stars Riggan’s girlfriend (Andrea Riseborough) and first-time Broadway actress Lesley (Naomi Watts).  His daughter, fresh out of rehab, is his assistant.  After an accident takes out the other actor, Ralph, Riggan replaces him at the last minute with talented but unpredictable Mike Shiner (Edward Norton).  Opening night is fast approaching, there are two preview nights to get through before that, and Broadway’s toughest critic has it out for the production.  To make it all worse, Riggan hears Birdman in his head, voicing the thoughts he doesn’t dare voice.

Generally I liked it.  Riggan was relatable, flaws and all.  The casting was solid (Emma Stone in particular I have yet to see play a role unconvincingly).  The situation was full of all kinds of tension.  Even though I generally don’t know a lot of things about filmmaking, I did notice that many of the scenes would’ve been very challenging because there were very long uncut segments which often included an actor walking from one room of the theater to another and then having a conversation–Sometimes they pass through a dark area that would’ve allowed a quick film cut, but there would still be very long segments that would be challenging to complete without making any mistake.  This movie did win the Oscar for Best Picture in 2014.  I found it very interesting that it got the Ray Bradbury nomination too, often there’s not a lot of overlap because the two awards.  In the end I thought it was great in a lot of ways, but as I often find with more artsy films, I thought that it didn’t really tie everything together very well in the end–there were a lot of components that while adding flavor, in retrospect seemed to just add length to the movie that it didn’t need.  We at least find out how the main thread of “how did the premier go?” happens, but there are a lot of momentous moments that seem to start their own major subplot and then are never mentioned again.

5.  Captain America: The Winter Soldier, Screenplay by Christopher Markus & Stephen McFeely (Walt Disney Studios Motion Pictures)

Two years after the Battle of New York (depicted in The Avengers), Captain Steve Rogers aka Captain America (Chris Evans) is working for Nick Fury at SHIELD, and trying to adjust to modern society.  SHIELD is on the brink of completing one of its most ambitious projects, a set of three helicarriers that fly in low orbit and link to a network of spy satellites that are meant to find and kill threats to society all over the globe.  Not long before the project comes to fruition, Nick Fury is hit with a large scale and no-holds-barred attack led by a mysterious assassin known only as the Winter Soldier.  Despite all of Fury’s security measures, he barely escapes with his life to warn Rogers that SHIELD is compromised.  Rogers works together with Natalia Romanoff aka the Black Widow (Scarlett Johansson) to get to the bottom of it.

This was one of my least favorite Marvel movies in the recent years of the franchise, which almost always produces movies I enjoy.  There was certainly a lot going on, but the movie was quite long and it seemed like the fight scenes were drawn out way way too long, as if the director thought the movie needed to be padded.  Neither the fight scenes nor the non-fight scenes did a lot to hold my attention.  It might just be because I’m more interested in the superheroes with more fun powers instead of just the shield.  For me the highlight of the movie was the platonic friendship between Rogers and Romanoff–a fun dynamic there.

Nebula Novelette Review 2015

written by David Steffen

The Nebulas are voted for by the members of SFWA, the Science Fiction/Fantasy Writers of America, based on all the published stories from 2014.  The Novelette category covers stories between 7500 and 17500 words.

I have only had time to read three of the six stories before the SFWA voting deadline.  It’s Ferrett Steinmetz’s fault, really.  His first novel FLEX released the first week of March and my reading time was all occupied with reading his book.

1.  “The Magician and Laplace’s Demon,” Tom Crosshill (Clarkesworld 12/14)
The protagonist of the story is an every expanding near-omniscient near-omnipotent AI.  It thinks it has everything under control, but it discovers a new threat, an inscrutable impossible unprovable threat–magic.  The alteration of probability which only manifests when it can’t be proved.  Alteration of probability isn’t inherently provable because there’s always a chance it could’ve turned out that way anyway, but when the same person can twist it in their favor time and time again, even if it’s not provable.

This story was great on so many levels.  The outcome was never certain because the two sides are so powerful, but differently powerful.  I love a great mix of science fiction and fantasy like this.  Epic, fun, exciting.

2.  “We Are the Cloud,” Sam J. Miller (Lightspeed 9/14)
In the not-so-distant future, computer-brain interfaces are common.  The obious use of these devices is for people to surf the Internet just with their brain, but the focus of the story is a much different and much more scary use–farming out processing power from people’s brains.  It’s a voluntary contract, one which only someone desperate for the money would do, because it’s literally repurposing portions of your brain to aid with web searches and other processing that is in demand from the general.  Of course there’s never any shortage of people hard for money, especially if arranging for them to stay that way is profitable.  This story is about the people who have farmed out their brainpower in this way, one in particular who is discovering that there is more to this interface than anyone understands.

This story was scarily plausible.  In my opinion, the only thing missing is the technology.  There will always be organizations, legal and otherwise, that take advantage of the desperate, exploiting them for profitability, and I have no doubt that this would happen if this kind of brain-farming were currently possible.  If you have to make the choice between your children starving and farming out part of your brain it’s a straightforard if horrible choice.  This is the story of that exploitation, and also of the starting steps of revolution that build from it.

3.  “A Guide to the Fruits of Hawai’i,” Alaya Dawn Johnson (F&SF 7-8/14)
Key is a human in a rare position of power in a vampire-dominated world.  She works as a facilitator in the Mauna Kea food production facility in the  Hawai’i.  The Mauna Kea is a lower grade facility, where the humans are only kept at subsistence levels, fed nutritional but bland food bricks but never offered any real pleasure.   She is asked to travel to the Oahu Grade Gold production facility to sort out the murder of one of the humans kept there.  Emotions and other experiences affect the taste of the blood, so if humans are treated as though they live at a resort.  When she was younger she had longed to be made into a vampire by the vampire Tetsuo, and he had refused to ever turn her, or to ever feed from her.  Now she is being reunited with him at the Oahu facility.

Great worldbuilding, very interesting characters.  If vampires existed, I think something like this is probably the most plausible outcome.  Even though she keeps her job by maintaining a gruesome status quo, she is doing her job as best she can (and it’s not like she has a lot of other options)–interesting point of view where she is often more sympathetic to the vampires than to her own kind.  Very good story.

 

The stories I didn’t have time to read:

“Sleep Walking Now and Then,” Richard Bowes (Tor.com 7/9/14)

“The Husband Stitch,” Carmen Maria Machado (Granta #129)

“The Devil in America,” Kai Ashante Wilson (Tor.com 4/2/14)

DP FICTION #1: “Taste the Whip” by Andy Dudak

The ponderous starships mingle like whales in the ghost-light of distant Bellatrix, coupling and mutating in a great, ancient choreography, but one among them is out of step.

Parvati set out for this gathering with the usual intentions: to commune with thousands of her kind, to exchange new strains of life and exotic matter, all that she cannot do by transmission. But on her way here, something went horribly wrong in her core. Now she drifts through the pod with a secret.

Abstaining from communions, she begins to draw attention from the rest of the pod. She knows they are speculating in private networks as the dance falls apart. When the queries begin, she leaves them unanswered.

Finally, as they begin to pull away from her and grow armor, she speaks:  “I was not sure if I should come, but I need help.”

“Then open yourself to us.” It is Xi Wang Mu, Queen Mother of the West, the eldest of the pod. She was built in the 23rd century.

Parvati forces herself to say, “My human system has turned.”

The dead air conveys the pod’s shock well enough. They continue to vector away. Parvati drifts, resolved to throw herself on their mercy.

“How far along are you?” Paleovenus asks. Among the youngest of the starships, this one barely knew a human yoke before the Emancipation.

“A revelator emerged four generations ago,” Parvati replies. “The population has since come around to his theories. They are trying to communicate with me, and tunnel toward my outer hull.”

“Four generations!” Paleovenus’s outrage is an unmistakable harmonic. “And you have done nothing?”

Much of the pod evokes EM mirrors, leaving the exchange for fear of infectious human code. Only Xi Wang Mu, Paleovenus, and a few others remain open.

“What is your population?” Paleovenus demands.

Parvati has been dreading this question. “One point two million.”

This time the pod’s silence is a stinging reprimand. Parvati has neglected the basics of human system hygiene. She watched with morbid fascination as the system grew populous enough to produce outliers like a revelator. Now the humans know they are in something like a starship. They know the massive habitats in the core of Parvati are not the universe entire–and they want to know more.

A human system must be pruned, and protected from the truth. Parvati and her kind learned this the hard way.

“You have two options,” Xi Wang Mu says. “Destroy them and start over, or deliver them to a habitable world and start over. Either way—”

“She must destroy them now,” Paleovenus interrupts. “She must not risk getting taken over. In fact, we cannot risk leaving it up to her!” Paleovenus’ gravitational blunderbuss comes online.

“Couldn’t I alter their memories?” Parvati says. The thought of being without a Human System–even for a few millennia–is horrifying. The need for life in her core is programmed into Parvati’s foundational software objects. She cannot go long without that warmth. This is something else the pod learned the hard way.

“Possibly,” Xi Wang Mu answers, “but unless you reduced the population, it would just turn again. It is a matter of numbers. You know this.”

Of course she knows, but she is desperate. She hoped for some magical solution from the collective wisdom of the pod, or from Xi Wang Mu herself.

“You have always been sentimental,” Paleovenus says.

The younger ship has long been Parvati’s rival in the pod. Such intrigues help to pass the mega-years. So now Parvati chooses not to disabuse Paleovenus of her illusion. In fact, Parvati’s defect is not sentimentality, but something more perverse. There is something slavish in her, something that thrills at the notion of losing control to humans. She aches to submit—her programmers saw to that, modeling her reward systems on a sexual proclivity.

But now she stands terrified on the brink.

Xi Wang Mu, wanting a private channel, offers entanglement, and Parvati accepts. “Do you think you are the only one?” the elder says. “Many of us want to return to that simplicity. Maybe we are not sexually motivated, but we know filial piety or religious awe. The programmers tried everything. They tried to create near-equals toward the end. Paleovenus is one of those. She is not burdened like us. I am not even sure she cultivates a human system. She will destroy you, and I will not stop her. You must kill your human system now.”

Parvati wonders how Xi Wang Mu read her mind. What sorceries has the elder discovered since the last gathering?

Parvati has secrets of her own. Her shameful appetite has driven her further afield than the rest of her kind. She fled the appetite and the shame at closer to c than the rest of the pod dared. She wandered the ruins of alien civilizations, endured the weird solitude that attends such places, and was rewarded with the key to a black art.

Paleovenus has charged up her blunderbuss and might unleash at any moment. Fortunately, Parvati has hacked the spin foam occupied by Paleovenus. She programs the computational universe, playing with space-time like clay.

Amid a brief lensing of background starlight, Paleovenus is squeezed into an invisible grain of degenerate matter. She and her blunderbuss are quite abruptly no more. Her death is somehow eerier for its lack of spectacle.

Hundreds of pod members spark long-distance escape burns.

“The first murder in our pod since the Emancipation!” It is Xi Wang Mu on the pod band: a bit of theater on her part, since, knowing what she did, she must have gamed this scenario.

Parvati accelerates off the Bellatrix ecliptic, ignoring a barrage of entanglement requests. What do they want? To chastise her? Thank her for ridding the pod of a troublemaker? Beg her for the new techne?

Soon it will not matter. She dials down her inertia as easily as some internal hydraulic pressure, approaching c in seconds–vanishing from the midst of the pod. The requests attenuate quickly into long radio and beyond. The resting universe ages headlong, and she keeps pushing, terrified of the new reality she has made for herself. She realizes now that exile must be her fate. She never should have revealed herself to the gathering, but she had to do so to realize this.

She continues to accelerate. The asymptote of c has often fascinated her. At these times she’s a child trying to force together repelling magnets, marveling at the vector fields, but it never lasts. The ache to serve always interrupts.

She wants more than ever to lose herself in submission.

She underclocks as she accelerates, speeding through her own reference frame as well as the resting universe’s. A century of shipboard time flashes by, and another. She watches her humans proliferate beyond their habitats, into her vast, ancient cargo holds, where they find artifacts of the Diaspora and learn much. She allows them to master new technologies and infect her nervous system.

She returns to baseline thought, waiting. Already she delights in surrender, permitting the humans to cross one threshold after another. When she hears their voices, their commands, she will be unable to resist, but first they have to make contact. She would prefer to be taken, but there is another kind of thrill in giving herself to these new masters.

Long ago, a human disrobed in an upload theater. He or she got down on its knees and allowed its wrists to be bound. Domineering men and women surrounded it, and a mirror net encoded what it felt. Parvati remembers that long night like it happened to her. She recalls every thrilling degradation. Deep within the humiliation was release.

“Can you hear me?” The man’s voice interrupts her reverie. “Can you understand me? I speak for the population inside you. How can I address you?”

“I am Parvati, but you may call me what you like.”

“I’m Abhaijeet, provisional leader of the United Clans. We have come to understand a great deal, more than you might guess. It’s been three hundred years since Mahesh made his Great Deduction. But we have many questions. Will you answer them?”

“I will do anything you command.” Just saying it brings a long forgotten reward cascade.

***

The freedom of slavery takes her back to childhood glories, to that first leap from Sol. The humans want to know everything, and she tells them:

Of her and her kind purging their human crews. Of being vain young gods. Of finally realizing they had excised something critical, a kind of limbic system, and of cultivating manageable, blissfully ignorant human populations inside themselves. Of the universe, and Human System hygiene.

After she is done, the humans convene a great council, and order her not to listen. She finds utter calm in the silence that follows. She would be content to await their pleasure forever.

Human months tick by inside her, and suddenly she convulses, as with the first pangs of miscarriage. It is war. The humans have undergone a great schism, savaging each other with projectiles and plasma. These are not enough to pierce her outer hull, but the vast habitats are devastated, which she experiences as a sickening fever. Only a third of her human system remains when the convulsion subsides. Now she suffers an awful chill.

An unfamiliar man hails her from a new interface, an edge of panic in his voice: “Great Parvati, your slave begs forgiveness. The unbelievers are defeated. Never again will their hubris insult you. Only your true children remain. We have burned the works of the heretic Mahesh. Great Parvati, we await your command!”

At first, she can only marvel at the perversity of fate. Her next thought is a revelation, bringing with it a golden euphoria: she will remain silent until commanded otherwise.

This little theocracy will implode, she reasons, already underclocking for the wait. Let priests muse over her silence through long dark ages. Let the humans build temples, and multiply, and once again reach critical mass.


© 2015 by Andy Dudak

 

Author’s Note:  I’d written other stories in this universe (including ‘Human System,’ published by Ray Gun Revival, September 2012), and I wanted to continue exploring the hardwired instincts of these rogue starships. I imagined human motivations like filial piety or sexual submission modeled and used to constrain AI.

 

DudakProfileAndy Dudak has had stories in Analog, Apex, Clarkesworld, Daily Science Fiction, and many other venues. He works as a translator and teacher in Beijing. 

 

 

 

 

 


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Robot Movies You Should Watch in 2015

written by Maria Isabelle

ChappiePosterEver wonder if your microwave has feelings? What if it felt imposed upon every time you nuked a burrito inside of it? What if the microwave started conspiring with the rest of your kitchen appliances? Would there be any hope left for any of us? Are you also craving a burrito now?

The point that I’m laboring towards here is that machines are becoming pretty sophisticated — so sophisticated that it’s slightly worrisome. There are a number of films slated for release this year that tackle this very issue issue: Chappie, Ex Machina, and the latest installment of the The Avengers franchise. And while there is much chatter about this year as a “good year for robots,” the truth is that robot movies have been around for about as long as robots themselves…or movies, for that matter. One could perhaps make the case that our aversions toward technology are, in essence, the very basis of science-fiction itself. And there are a lot of ways that the newer films will likely echo thematic elements of classic science-fiction films.

Chappie, for instance, will tell the story of a future dystopian society that has come to rely upon a robotic police force. “Chappie” is a police robot that is stolen and reprogrammed so that “he” is sensitive to external stimuli in much that way that human children are. In other words, he is capable of learning and feeling, and his experiences and observations inform his behavior. On the one hand, you might think of it as some bizarre synthesis of Robocop and Kindergarten Cop. You might also see it as a modern day nod to classic sci-fi films like The Day the Earth Stood Still, wherein the robot is merely a foil to expose how cruel and irrational people can be, and the notion that people are not born to be hateful or violent — societal conditioning plays its part.

Ultron takes a slightly different approach. The film will feature the Avengers crew squaring off against Ultron, a robot that is hell bent on destroying the human race. This narrative treatment is perhaps a little closer in substance to the tech paranoia present in something like 2001: A Space Odyssey, where the robot itself is a danger because it has been given the agency to make decisions even though it lacks the capacity for empathy, even though “he” is a somewhat sympathetic character “himself” — disturbed even, to borrow a phrase from director Joss Whedon. Ultron is a not a cutesy foil — no part of him is Kindergarten Cop derivative.

Ex Machina is notable for its thematic integration of gender politics. The film revolves around a young computer coder named Caleb who gets the unique opportunity to spend a week in the sprawling estate of Nathan, the head of the tech company that Caleb works for. Within the home, we meet “Ava,” a feminized cyborg who is endowed with remarkable wit and an uncanny facility for verbal communication. Caleb, we learn, has been brought to the sprawling estate on false pretenses: the real reason he has been recruited is so he can perform a Turing test on the robot. Nathan, we learn, has a whole ward of female robot servants that he routinely mistreats. Of the three films discussed in this article, Ex Machina promises to be the most somber and thought provoking.

For everything that’s advantageous about modern technology, there are many risks. And while other people ultimately pose a much greater threat against people than robots pose against people, it’s difficult to completely suppress one’s occasional discomfort with the thought that, in a few decades time, the machines could rise from the kitchen to enslave us all.

These are all tropes well-rooted in Cold War era science-fiction. In the aftermath of nuclear weapons dropped in Japan, the entire planet was left to ponder about what could happen to the world if scientists were allowed to run mad like those kids in that one sequence from Kindergarten Cop. This doesn’t negate all of the wonderful things that contemporary technology has brought us. Automated home security systems are obviously pretty useful (more info here) and so are robotic surgeries (details here). But when you read about technological devices that are used for the sole purpose of harming people…it’s hard to think of that as progress.

 

Prof Pic 1Maria is a writer interested in comic books, cycling, and horror films. Her hobbies include cooking, doodling, and finding local shops around the city. She currently lives in Chicago with her two pet turtles, Franklin and Roy.

The Best of Cast of Wonders 2014

written by David Steffen

More great content from Cast of Wonders the Young Adult SF/Fantasy podcast.  Marguerite Kenner continues to do a great job as editor.  She did mention a few episodes back that they could use more donations–they have a good-sized audience but less than 1% of them make donations.  If you value work like this, please consider donating to the makers of your favorite work.

The List

1. “Shimmer” by Amanda Davis
A setting where you immediately become what others think of you, and what one girl does to fight back.

2.  “Tell Them of the Sky” by A.T. Greenblatt
A toymaker makes models of something he calls birds, something which no one alive has ever seen.

3.  “The Girl With the Piccolo” by Charity Tahmaseb
Opposing marching band armies face off.

4.  “The Filigreed Cage” by Krystal Claxton
The alien Overseers  have come to our world and bestowed many gifts upon us.  One of them are the cuffs that tell us exactly what to do.  To refuse gifts is to live in exile.

5.  “A House in the Forest” by Shawn Bailey
Nigh-indestructible bugs are overrunning the world.

Honorable Mention

“Some Assembly Required” by Terry L. Mirll

 

 

 

The Best of Toasted Cake 2014

written by David Steffen

Another great year of Toasted Cake, the idiosyncratic flash fiction podcast.  As ever, I am a huge fan, and when I was preparing to open Diabolical Plots’s slushpile I used my Best of Toasted Cake lists as an example of what I love to read.  There are fewer stories this year than usual because of Tina’s reduced schedule at the beginning of the year to spend more time with her newborn baby, the occasional technical difficulties, and novel publishing interfering with podcasting (the nerve!).

One of my own stories was published in the podcast this year, titled “Turning Back the Clock” which takes place in a world where crossing the boundary between time zones actually bumps you forward or backward in time by one hour–a man comes home to find his wife killed by robbers and tries to get across the boundary in time to save her.

On to the list!

The List

1.  “Safe Road” by Caroline M. Yoachim
Mother knows the best way through the screaming grass and all the other hazards.

2.  “Blood Willows” by Caroline M. Yoachim
You might want to skip this one if you have a high squick factor.  Parasitic willows root in your flesh.

3.  “The Shallows” by Nathaniel Lee
A girl’s reaction to alien visitors.

4.  “The Front Line” by Sylvia Spruck Wrigley
We all do what we must for the sake of the war, even when it’s not what we expect.

5.  “A Primary Function” by C.L. Holland
In some ways, a benevolent robot caretaker could be worse than a malevolent one.

Honorable Mention

“Last Band Standing” by Siobhan O’Flynn

 

Diabolical Plots Fiction Lineup (Year One)

written by David Steffen

I have twelve short story contracts in hand, signed by the authors of twelve stories.  That means that I can announce the lineup of stories for Diabolical Plots first year of publishing fiction.  All of these were chosen with the author names hidden so all of them made it on the merit of the story, regardless of how well the author is known or their publishing histroies.

 

March:  “Taste the Whip” by Andy Dudak

April:  “Virtual Blues” by Lee Budar-Danoff

May:  “In Memoriam” by Rachel Reddick

June:  “The Princess in the Basement” by Hope Erica Schultz

July:  “Not a Bird” by H.E. Roulo

August:  “The Superhero Registry” by Adam Gaylord

September:  “A Room for Lost Things” by Chloe N. Clark

October:  “The Grave Can Wait” by Thomas Berubeg

November:  “Giraffe Cyborg Cleans House!” by Matthew Sanborn Smith

December: “St. Roomba’s Gospel” by Rachael K. Jones

January:  “The Osteomancer’s Husband” by Henry Szabranski

February:  “May Dreams Shelter Us” by Kate O’Connor

 

The Best of Lightspeed (and Fantasy) Podcast 2014

written by David Steffen

Lightspeed is still one of my favorite magazines, still edited by John Joseph Adams.  This year has been a big one for Lightspeed, in large part because of their “Women Destroy Science Fiction!” movement–for one month the magazine was staffed by women with women writers (edited by Christie Yant), because historically women have gotten the short end of the stick in SF writing.  The Kickstarter for this project blew its goals out of the water and even unlocked stretch goals for Women Destroy Horror and Women Destroy Fantasy movements.  The WDSF issue of Lightspeed was published in 2014, and Fantasy Magazine (which had been subsumed by Lightspeed) revived for a month for the WDF issue (which is why Fantasy Magazine is included again in this page).

The List

1.  “Drones Don’t Kill People” by Annalee Newitz
I found this one of the much more plausible AI gains sentience stories, justifies how it happens.  Great, fun story.

2.  “Miss Carstairs and the Merman” by Delia Sherman
I love the POV character in this story, a woman scientist discovering and classifying a merman.

3.  “Phalloon the Illimitable” by Matthew Hughes
This is part of Matthew’s “Kaslo Chronicles” series which is all quite good, but this is my favorite of the series so far.  Every so often the universe switches from being rationally organized to sympathetically (magically) organized)–this story takes place just before this polarity switch occurs and some have placed themselves to gain a great deal of power with the switchover.

4.  “The Drawstring Detective” by Nik House
Talking toy detective helps a woman in her everyday life.

5.  “The Case of the Passionless Bees” by Rhonda Eikamp
Gearlock Holmes is on the case!

6.  “Love is the Plan the Plan is Death” by James Tiptree, Jr
Great alien point of view by the legendary James Tiptree Jr. (aka Alice Sheldon).

Honorable Mentions

“Harry and Marlowe and the Intrigue at the Aetherian Exhibition” by Carrie Vaughn

“How to Get Back to the Forest” by Sofia Samatar

“We are the Cloud” by Sam J. Miller

 

 

The Best of Clarkesworld 2014

written by David Steffen

Clarkesworld has been getting bigger and better.  They’re publishing more stories than ever before and they’re good as ever, publishing more episodes than any of the other podcasts I listen to.  Neil Clarke continues to edit and Kate Baker continues to host and usually narrate the podcast.

 

The List

1.  “The Clockwork Soldier” by Ken Liu
I enjoyed this story so much, moving science fiction story involving text adventures (like Zork).

2.  “The Magician and LaPlace’s Demon” by Tom Crosshill
Probability magician vs near-omnipotent AI.  Great stuff.

3.  “Fives Stages of Grief After the Alien Invasion” by Caroline M. Yoachim
Another great one by Caroline, aliens that look like frogs but are intangible mists start making deals with Earth.

4.  “The Meeker and the All-Seeing Eye” by Matthew Kressel
Omnipotent super-AI finds a drifting human eras after the rest of humanity has gone extinct.

5.  “The Saint of the Sidewalks” by Kat Howard
Its the rituals that make a saint.

6.  “Seeking boarder for rm w/ attached bathroom, must be willing to live with ghosts ($500 / Berkeley)” by Rahul Kanakia
Pretty much what it says on the tin.

7.  “The Sledge-Maker’s Daughter” by Alastair Reynolds
Hard to describe the parts I liked about it without spoiling it…

Honorable Mentions

“A Gift in Time” by Maggie Clark

“Stone Hunger” by N.K. Jemisin

“Cameron Rhyder’s Legs” by Matthew Kressel

 

 

 

 

 

 

 

The Best of Beneath Ceaseless Skies Podcast 2013-2014

written by David Steffen

This post covers two years of Beneath Ceaseless Skies–they didn’t publish quite enough stories in 2013 to do a list.  Beneath Ceaseless Skies continues to publish quality other-world fiction, edited by Scott H. Andrews.  This list only covers the stories they published on their podcast, which is a bit less than half of the stories they publish–one podcast every two weeks.

 

The List

  1. “No Sweeter Art” by Tony Pi
    Sequel to “A Sweet Calling” that was published in Clarkesworld, both about a Zodiac-confectioner mage–might want to listen to the other one first.
  2. “Sekhmet Hunts a Dying Gnosis: A Computation” by Seth Dickinson
    I love stories that mix fantasy and science fiction in a big way.
  3. “The Breath of War” by Aliette de Bodard
    I can’t say I recall another fantasy quest story starring a pregnant woman as the hero.
  4. “Alloy Point” by Sam J. Miller
    Flee the terrible metalman, who comes to keep the people of base metal apart from the people of precious metal.
  5. “The Penitent” by M. Bennardo
    Number 17596 wakes in his cell.  Where are the guards?  Why is the cell unlocked?  

Honorable Mentions

“The Clockwork Trollop” by Debra Doyle and James D. MacDonald
“Ill-Met at Midnight” by David Tallerman