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Hi Steve, Here Are Your Friends–Oh, Awkward…

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Marvel Entertainment marketing Captain America Civil War Steve Tony Friends Day video awkward

You might have noticed Facebook celebrating its 12th birthday on February 4 with the introduction of “Friends Day” videos on users’ walls: strolls through memory lane via algorithm and whether anyone remembers to tag each other in photos anymore. Marvel Entertainment, particularly the marketing team behind Captain America: Civil War, decided to get in on the fun with a cheeky parody on Steve Rogers’ timeline… mostly funny because it’s sad, and sad because it’s true.

Jeez, Facebook, way to remind Steve that most of his friends have died of old age, been lost to Hydra, or taken the opposing side in an ideological battle of opinion and various superpowers. Is the sight of Bucky’s face really worth the end of this video?

And no, Mark Zuckerberg, I don’t think Steve Rogers is interested in Facebook’s new and improved “degrees of separation” function. Hasn’t the poor guy been through enough?


Holy Rewatch, Batman! “Death in Slow Motion” / “The Riddler’s False Notion”

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Batman-SlowMotion15

“Death in Slow Motion” / “The Riddler’s False Notion”
Written by Dick Carr
Directed by Charles R. Rondeau
Season 1, Episodes 31 and 32
Production code 8731
Original air dates: April 27 and 28, 1966

The Bat-signal: A silent film festival at a fancy new cinema in Gotham comes to an end. As the crowd gathers in the lobby, the head of the festival thanks Mr. Van Jones, who lent the festival films from his private collection of silent pictures.

They’re interrupted by a Charlie Chaplin impersonator and a woman in a red dress who do an entire act, complete with three guys playing the Keystone Cops who chase “Chaplin” around. At one point, the Chaplin impersonator takes refuge in the box office, where he gasses the ticket taker, steals the receipts, then comes out and finishes the show, with no one the wiser.

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The festival organizer assumes that Van Jones arranged this, but instead the old man is outraged that a bunch of amateur performers stole his thunder. The party breaks up, and the organizer goes to the box office, only to find the ticket taker unconscious, the money gone, and a riddle left behind: Why is a musician’s bandstand like an oven?

It is, in fact, the Riddler who was playing Chaplin, and upon realizing he’s back in business, Gordon immediately calls Batman. O’Hara, for his part, is baffled as to why the Riddler even bothered, as he only got about $200.

Robin figures out the riddle, as it depends on musician’s slang term “bread” for money: a bandstand is like an oven, because it’s where he makes his bread. That leads them—of course—to Mother Gotham’s Bakery.

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Riddler is already there with his moll Pauline, the one in the red dress—now dressed in what’s supposed to be rags—and the three henchmen. Riddler reveals that they’ve been hired by Van Jones to make a new silent film, which is also a cover for his true criminal master plan. The theft of the bakery’s payroll is also, like the theft of the box office receipts, a petty crime to draw the Dynamic Duo so Riddler can film them.

Pauline starts crying crocodile tears and goes into the kitchen, begging for bread to feed her poor starving mother. She offers her tattered shawl as payment—then she tosses it over the baker’s head and then a henchman biffs him with a loaf of French bread. They go to the payroll office, where Riddler hits the guard with a pie made with whipped sleeping cream and nuts. The same pies are then used on the two accountants, and then he uses an explosive éclair to blow the safe open. They steal the payroll and then Ridder leaves a note for Batman and Robin with cake icing.

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The Dynamic Duo arrive to find four unconscious employees, a blown safe, and a note on the wall: “Batman! As one baker to another—how do you make a dishonest shortcake?” The answer is with a lie-berry, a corruption of library, and there’s a Gotham City Library branch on Baker Street. They head there to see a van parked in a no-parking zone—however, the van has diplomatic plates, so Batman and Robin leave them alone. (Turns out it’s the Ridder’s van, and he’s continuing to film everything.)

Unfortunately, the Baker Street branch is closed on Wednesdays due to lack of funds. However, the lock has been tampered with, so they break and enter (they’re good guys, they can do that) and as soon as they enter, they’re clubbed on the head with a giant copy of A Pictorial History of Silent Films by Y.Y. Flurch.

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Riddler heads out, while the Dynamic Duo open the weighty tome, which has two more riddles on the flyleaf: What do you find in a kitchen cabinet that is not alive? When is a new car considered to be seedy? They take the big book back to the Batcave.

In his hideout in an abandoned film studio, Riddler screens a rough cut of his film (which manages to have jump cuts and multiple angles despite having only one camera, and most of the angles are from where the camera never actually was).

In the Batcave, the Dynamic Duo and Alfred work on the riddles. Alfred points out that everything in a cabinet should not be alive—dead forks, dead knives, dead spoons, dead pots, and dead pans. They decide that the clue is deadpans, like the expressions on silent film stars, and that this will be a deadpan simple crime. Uh, sure.

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They turn to the second riddle: a new car is seedy when it’s a lemon. Batman knows that Van Jones is a noted temperance advocate, and is holding a “cocktail” party in which the only drink that will be served is lemonade. But Riddler is spiking the lemonade.

The first effects of the spiked lemonade can be seen when O’Hara and Gordon get into an argument about baseball players. When Batman enters, he accidentally bumps a woman, who mouths off at him. It quickly becomes clear to Batman that everyone’s in a bad mood.

As if to prove it, the woman Batman bumped into socks another woman in the jaw, and a big fight breaks out. Batman’s response to this outbreak of violence is to—stand around and watch? Er, okay.

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Outside, Robin is in the Batmobile, when he’s approached by Pauline, who’s dressed as Bo-Peep, complete with a giant crook. (Ahem.) Robin comments not at all on what she’s wearing (then again, look at what he’s wearing), and she says a man in green tights jumped her brother and kidnapped him, and also asked a question while performing this felony: when is a bonnet not a bonnet? The answer is, apparently, when it becomes a woman (er, um—what?), and she congratulates him on getting it before gassing him with the crook.

Inside, Batman finally decides to take action. He stands with his hands raised in the air and yells for everyone to stop. Amazingly, this doesn’t work at all. However, he sees Riddler’s goons filming the festivities. The goons shoot at Batman and run away. Batman radios Robin, but he’s already been captured.

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We cut to Riddler’s hideout, where Robin is tied to a conveyer that sends him head-first toward a buzz saw, a trap right out of a silent melodrama. Riddler turns on the conveyer—using a control lever whose settings are “stop,” “not so fast,” “fast,” and “real fast”—to the highest setting and giggles madly. (The conveyer is moving at about one mile every five weeks on “real fast,” so I shudder to think how slow “fast” would be on that thing…)

After giving Gordon (and presumably the other partygoers) a universal antidote pill, Batman runs out of Van Jones’s mansion to find Robin’s radio, but no Robin. He’s joined by an apologetic Gordon, and after Batman takes the time to rebuke Gordon for not being careful with regards to whom he takes free lemonade from, they’re confronted with two new Riddler clues: Why is a bear like a fallen tree? Why is silk like grass? The first is lumber (a bear lumbers, a fallen tree becomes lumber), the second is a yard (how both are measured), and Batman speeds to the Gotham lumberyard.

Batman searches the lumberyard for Robin, but only finds Riddler, dressed in a top hat, cape, and big-ass mustache. Oh, and a whip, which he uses to keep Batman from using his batarang. But before Batman can engage in fisticuffs, Riddler draws his attention to Robin on the conveyer belt. Quickly, Batman dashes to the buzzsaw—but it turns out to be a mannequin. At some point, after filming Robin on the conveyer belt, he switched the Boy Wonder out with a dummy.

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Riddler and his camera man escape, but Batman manages to capture Pauline and bring her to police headquarters. However, Pauline is only willing to give her first name and the name of her lawyer. Batman offers to work on her in the Batcave, and asks Gordon to come along as well, as he’d like a witness to make sure he doesn’t do anything that would bounce back on him in court. (Of course, she asked for her lawyer, which under Miranda v. Arizona, she’s entitled to. Not having her lawyer present during the interrogation after she asked for him will bounce back in court. So probably would kidnapping her and taking her to an undisclosed location, but we’ll let that go…)

Gordon is like a kid in a candy store when Batman wakes him up and shows him the Batcave. When they wake Pauline up, they both speak in slow, stentorian tones, probably in an endeavor to intimidate her. They test the truth of her answers by the quality of the air she breathes into a mask (just go with it). Pauline says she doesn’t know where Robin is, but she does know two riddle clues: Why is Flo Ziegfeld like a near-sighted man? (They both put on spectacles.) What kind of men are always above board? (Chessmen.)

Batman tests the mask, and she’s telling the truth. He gasses her and Gordon again and off they go. Given the silent-movie theme of the Riddler’s caper, he assumes the spectacles are a reference to Harold Lloyd, who wore spectacles and always had cliffhangers. There’s also a building in Gotham called the Chessman Building.

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After dropping Gordon and Pauline off on a street corner for O’Hara to pick them up, Batman heads to the Chessman Building, where Robin is standing on a narrow ledge. Riddler pushes him off—but Batman throws down the Bat-rope, and Robin catches the batarang on the end with his teeth. Batman then pulls Robin up by the teeth to the roof, causing the Dynamic Duo to briefly expound on the wonders of good dental hygiene.

Riddler escapes in a helicopter, and skywrites two more riddles: What kind of machine has ears? (A train—it has engine-ears, er, rather, engineers.) Why does a cowboy wear a tight belt? (To hold up his pants, duh.) Robin deduces that Riddler plans to hold up the El Chief train, which is a famous train that movie people used to take. The Dynamic Duo head to Gotham Central Station, and alert the police to head there too, to guard El Chief.

But Riddler is across town at Van Jones’s place, dressed as a cowboy, and handing over the final print of Riddler’s silent film of Batman and Robin, the only one of its kind. Van Jones hired Riddler to create this film for a hundred thousand dollars. Van Jones loves the film, despite the lack of a soundtrack, and opens the safe to put the film in with his other collectibles. As soon as Van Jones opens the safe, Riddler pulls a gun on him and clean out the vault of all the films.

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But then the Dynamic Duo shows up. They figured out the double meaning of the clues in the skywriting: The Great Train Holdup, a classic silent movie that Van Jones has the only remaining print of.

Fisticuffs ensue, and Batman and Robin are triumphant.

They get home in time for Aunt Harriet’s birthday, where they provide a surprise for her: Batman and Robin show up to wish her a happy birthday and kiss her on the cheek. Harriet is overwhelmed, and wonder if Bruce and Dick (who are meeting her at the restaurant) will ever believe it. (Har har.)

Fetch the Bat-shark-repellant! Batman has a bat-key that can apparently open any lock. Handy, that. He also uses bat-gas to render Gordon and Pauline unconscious while taking them to and from the Batcave. Once there, he uses the Truth Control Bat-Tester—an oxygen mask with a Batman logo on it—to interrogate Pauline. When Riddler escapes in a helicopter, Batman laments that they don’t have the Bat-copter with them—said item will actually be seen in the film.

While he doesn’t use it, there is a machine in the Batcave labelled “Bat-Terror Control.” I don’t even…

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Holy #@!%$, Batman! Dick inexplicably says, “Holy triple feature” when Bruce informs him the Riddler is back, even though he has no idea yet that his newest crime spree is movie related. After being bashed on the head by the giant book, Robin mutters, “holy headache.” After being pulled up by the mouth, he says, “holy molars, I sure am glad I take good care of my teeth.” When the Riddler skywrites clues, Robin pulls out the old standby, “holy smoke!”

Gotham City’s finest. Gordon’s man-crush on Batman is on overdrive in “The Riddler’s False Notion,” particularly the way he geebles over the Batcave. (For some inexplicable reason, he never actually asks why Batman doesn’t, say, donate, or at least loan, some or all this useful crime-fighting equipment to the police department.)

Special Guest Villain. Back for his fourth appearance of the year, making him the most prolific villain in the season (there’s only one two-parter left after this), is Frank Gorshin as the Riddler. This is his last appearance on the series until the third season’s “Ring Around the Riddler.” Gorshin will appear in the Batman film between seasons, but his Emmy nomination for the role led to a contract dispute that wouldn’t be resolved for a year. As a result, the character only appeared once in season 2, played by John Astin.

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No sex, please, we’re superheroes. Director Charles R. Rondeau makes sure to emphasize Sherry Jackson’s body as much as possible, including lots of shots that emphasize her legs and her bust. As a heterosexual male, I’m not complaining overmuch, but even by this show’s standards, it was pretty unsubtle.

Na-na na-na na-na na-na na.

“These are special pies—whipped sleeping cream and nuts.”

“Whipped sleeping cream and nuts?”

“Nuts to you!”

–Riddler’s repartee upon giving the payroll guard a pie in the face.

Trivial matters: This episode was discussed on The Batcave Podcast episode 16 by host John S. Drew with special guest chum Robert Greenberger, former DC Comics editor and author of (among many other things) The Essential Batman Encyclopedia.

This story was inspired by the comic book story “The Joker’s Comedy Caper” in Detective Comics #341 (published only a year earlier) by John Broome & Carmine Infantino. Frank Gorshin’s lengthy career doing impersonations is probably part of why the role of person-who-disguises-himself-as-Charlie-Chaplin-to-commit-a-robbery was switched to the Riddler instead of the Joker, as in the comic.

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Van Jones is played by Francis X. Bushman, who was actually a major silent film star. One of his many starring roles was in The Grip of the Yukon, for which his co-star was Neil Hamilton. This was one of Bushman’s last roles before his death in August 1966.

Pauline is played by Sherry Jackson, who would appear later this calendar year as Andrea, the sexy android in “What Are Little Girls Made Of?” on Star Trek, in an outfit that was even more revealing than anything she wore in this two-parter, which is saying something. Her character’s name is a play on The Perils of Pauline silent movie serial.

The Great Train Holdup is a play on the classic film The Great Train Robbery. Pauline’s lawyer is Oliver Wendell, a play on Oliver Wendell Holmes Jr., who served on the Supreme Court from 1902-1932.

Overt references are made to silent film stars Charlie Chaplin (Riddler’s impersonation) and Harold Lloyd (the method of Robin’s “cliffhanger”), as well as impresario Flo Ziegfeld, who put on “The Ziegfeld Follies” revue.

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Gordon and O’Hara argue over whether or not Maury Wills, who was the shortstop for the Los Angeles Dodgers at the time the show was airing, was better than Honus Wagner, who was the Hall of Fame shortstop for the Pittsburgh Pirates from 1900-1917 and was generally considered one of the three or four best shortstops in baseball history. To be blunt, the notion that Wills was better than Wagner is hilariously absurd, as Wagner was one of the best all-around players of his era, and Wills was a decent shortstop who happened to steal a lot of bases. Gordon’s declaration that O’Hara was an oaf was accurate under the circumstances…

Gordon mentions that people have been known to enter the Batcave and never come out, which is probably a reference to a previous moll of the Riddler’s, Molly in “Smack in the Middle,” whom Batman also brought to the Batcave to interrogate, but who died when she fell into the atomic pile.

Pow! Biff! Zowie! “Rolling, Riddler baby!” This is one of those episodes of Batman that dances on the edge between hilarious and ridiculous, and I can’t make up my mind whether or not I like it.

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Part of that is because there’s really only one reason why this episode exists: it’s here to showcase Frank Gorshin’s comedic talent. By this time, they realized what gold they had in Gorshin’s abilities, and this episode is specifically designed to make use of his talents as an impressionist. His Charlie Chaplin at the top of “Death in Slow Motion” is particularly entertaining.

But beyond that, the script is kind of a mess. They do a classic silent-movie cliffhanger with Robin on the buzzsaw conveyer, but then blow it with the resolution by having it be a dummy. (Why????) The Riddler revealing that Van Jones is financing the movie early in “Death in Slow Motion” takes the wind out of the sails of the story, spoiling what could have been a very effective twist when Riddler delivers the film to Van Jones in “The Riddler’s False Notion.” And even by this show’s standards of ridiculous rescues, having Robin catch the batarang in his teeth to stop his fall—when he’s just fallen off a ledge and is accelerating at 9.8 meters per second squared toward the ground—just cuts off the air supply to my disbelief.

Then there’s the hilarious cognitive dissonance of Batman refusing to allow Pauline to talk to her lawyer, as is her legal right—and in case we forget it’s her legal right, O’Hara reminds us that it is—so he can conduct an interrogation of her in the Batcave, but insists on Gordon coming along so nothing will blow back on him in court. Yeah, good luck with that.

Having said all that, every Riddler episode Gorshin appears in is worth watching because Gorshin’s in it, even if this one is a lot more self-indulgent than the others.

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One amusing thing: the lengthy Charlie Chaplin/Keystone Kops opener meant that they had to trim the sequence where Gordon activates the Bat-phone, Alfred finds Bruce and Dick, they lie to Aunt Harriet, they talk to Gordon, they slide down the poles, they get into the car, they drive off, the car goes down the road, and they pull in front of GCPD HQ and run upstairs. In this case, Bruce and Dick are already in the library so they answer the phone themselves, the conversation with Gordon is truncated, and they cut straight from driving past the “GOTHAM CITY 14 MILES” sign to their arrival at police HQ. It actually shows how much that sequence is, well, redundant filler, and I was perfectly happy to lose all that unnecessary nonsense so I could watch Gorshin do Chaplin.

Bat-rating: 5

Keith R.A. DeCandido‘s latest work of fiction is “Streets of Fire” in the anthology V-Wars: Night Terrors, the third volume in the shared-world vampire series created and edited by Jonathan Maberry and published in print by IDW and audio by Blackstone.

The Brilliance Trilogy Sweepstakes!

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Marcus Sakey Written in Fire sweepstakes

Marcus Sakey’s Brilliance Trilogy came to a conclusion with Written in Fire, available now from Thomas & Mercer—and we want to send you a set of all three books!

For thirty years humanity struggled to cope with the brilliants, the one percent of people born with remarkable gifts. For thirty years we tried to avoid a devastating civil war.

We failed.

The White House is a smoking ruin. Madison Square Garden is an internment camp. In Wyoming, an armed militia of thousands marches toward a final, apocalyptic battle.

Nick Cooper has spent his life fighting for his children and his country. Now, as the world staggers on the edge of ruin, he must risk everything he loves to face his oldest enemy—a brilliant terrorist so driven by his ideals that he will sacrifice humanity’s future to achieve them.

Comment in the post to enter!

NO PURCHASE NECESSARY TO ENTER OR WIN. A purchase does not improve your chances of winning. Sweepstakes open to legal residents of 50 United States and D.C., and Canada (excluding Quebec). To enter, comment on this post beginning at 3:30 PM Eastern Time (ET) on February 5th. Sweepstakes ends at 12:00 PM ET on February 9th. Void outside the United States and Canada and where prohibited by law. Please see full details and official rules here. Sponsor: Tor.com, 175 Fifth Ave., New York, NY 10010.

A Crisis of Confidence: Legends of Tomorrow, “Blood Ties”

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Legends of Tomorrow Blood Ties

What do you want to do tonight, Legends?

The same thing we do every night, team: try to kill Vandal Savage and be VERY BAD AT TIME TRAVEL.

Spoilers follow!

This week, before we settle in to 1975, an opening sequence reveals that at some point, Rip Hunter tried the obvious thing: traveling back to Vandal Savage’s original time to kill him long before he could begin to wreak global havoc. Clearly, it didn’t work out quite as he hoped. Clearly, this is meaningful.

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After a quick team meeting/rehash of the pilot, Gideon-the-computer mentions that the Waveriders‘s smaller jumpship is damaged, and Rip asks Jax to look at it. Mechanics are mechanics, whether timeships or cars, apparently. After Rip stalks off, sulking about his failures, Sara sneaks up on him, using her creeper skills as an opening to remind us that she was in the League of Assassins, and she learned more than just how to hide a dozen knives on her person. Like that there’s more than one way to destroy an enemy. Before long, they’re plotting to relieve Savage of his fortune, because money is power. Rip insists he has to go alone because all the bad things are his fault; Sara basically rolls her eyes, having heard Oliver Queen sing this song oh, lo, far too many times, and tells him she’s coming along, which is good, because her assassin-trained powers of observation are very useful. As are her knives.

Meanwhile, Kendra is unconscious, and her relative absence highlights the fact that there are a lot of gentlemen on this team. Last week, Vandal stabbed her with his magical dagger, and fragments of it are now working their way toward her heart (tragically, this does not mean she’s going to become Iron Hawkgirl). Ray realizes that he can shrink down to atom-size and vaporize them with a miniature weapon, but Professor Stein is wary of this plan and wants to test it, scientifically.

While they’re ostensibly focused on saving Kendra, the two men are really having it out over their own confidence and smarts: they’re both brilliant, but the older man is certain of his intelligence, while Ray is (still) struggling with his self-esteem. The the way this plays out—Stein playing on Ray’s need for validation; Ray being smart enough to eventually figure out what Stein’s done—suits the characters to a tee, but also feels a little redundant. Can we learn important things about Jax and Rory soon?

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Speaking of Jax, Snart was paying attention to that bit about the jumpship (which is like the shuttles on Firefly, but for time travel), and he is nothing if not opportunistic. He and Rory badger Jax into flying them off to Central City to steal a massive emerald, but it’s not for them; it’s for Snart’s deadbeat dad, who was going to try to steal it himself in a few days. Papa Snart would then wind up busted and sent to Iron Heights, thus sending Snart’s childhood down the drain. Everything about this sequence might’ve gone over to the sentimental side without Wentworth Miller’s performance; he’s excellent with Snart’s careful balance of wariness and gentleness, and his deeply ingrained instinct for self-preservation. When he runs into his smaller self and gives little Snart a pep talk about taking care of himself, you can see plan B at work: even if something goes wrong with the emerald scheme, he might still grow up a little differently.

Over in Rip and Sara’s plot, Sara goes ballistic on some stock villains, prompting an angsty conversation between her and Rip where she confesses that she’s a monster because she came out of the Lazarus Pit with a bloodlust. Rip isn’t that worried, and has a confession of his own: he tells Sara how he tried to kill Savage in the past, but hesitated at the moment of truth.

There is plenty of guilt to go around, friends, but none of it is going to get Savage out of the way. If the Savage part of this episode is an unsatisfying mess, at least Rip and Sara’s bonding is on point. When they get dressed up to infiltrate Savage’s latest weird event and rescue Carter’s remains, you know there’s going to be a dance moment, and lo, there is: a chance for Sara to get a look ‘round the room while Rip explains to her that there is too a cure for her bloodlust. “It’s called being better,” he says. Keep living, keep trying, keep on keepin’ on. And maybe don’t stab people more times than necessary.

Legends of Tomorrow Blood Ties

To the surprise of absolutely no one, Rip and Sara get caught trying to liberate Carter’s body from Savage’s evilly red-lit shindig (points to Rory for the Eyes Wide Shut reference), and Savage cannot resist some villainous monologuing about how Carter’s blood helps his many cult members/followers stay alive extra long. Back on the ship, Kendra starts shrieking dramatically in her sleep about what’s happening, and everyone else rushes off to help Rip and Sara.

And here we discover, again, that Rip is a really, really bad time traveler. One does not go into one’s enemy’s past and start yelling at him about people he is going to kill in the future; one will, undoubtedly, give said enemy ideas. By the time the final fight sequence is over—one that, as usual, is at its best when focusing on Sara—Savage not only knows that Rip had a wife and child, but he even knows their names. Whoopsy!

“Blood Ties” ends with a funeral and a eulogy from Rip that is really about teambuilding: “One person, acting alone, can’t save the world.” (Take that, Batman and Superman, whose deaths are unsubtly referenced earlier in this episode.) I am not sure why Kendra isn’t the one talking, since it’s her entire family they’re burying, but Rip needs to lead, so it’s his moment. The team all back together, Rip apologizes for not having told them about his earlier failure and they head off to the next timestop. Goodbye, bellbottoms and Sara’s lush furry jackets; hello, neon and parachute pants: they’re headed to 1986.

Legends still has promise (and not just because I remember how long it took Arrow to find its footing). It still has Sara and Snart; it’s still doing a solid job of establishing its characters through secondary plotlines. But it’s also already repeating itself. Each week, Rip asks his ship where to look for Savage. Part of the team fails at catching or killing him, generally while suffering a not-always-logical setback (this week, why didn’t they pick up his special dagger after temporarily killing him?), while another part of the team has a side quest that sees them trying to mess with the timeline. Everyone learns a lesson about how time can or can’t be changed; Savage learns something about our heroes; the stage is set for the next week.

Legends of Tomorrow Blood Ties

The biggest single problem with this is that Savage, despite his immortality/cruelty/evil hair, isn’t compelling enough as a villain to sustain an entire season’s worth of plot-by-numbers. The team needs another compelling purpose, which may be hard to come by: they’re isolated by their timejumping, without the potential for developing outside relationships or battling minor villains that a stable setting allows (think Barry’s attempt to date Patty, or Oliver’s mayoral campaign, or the villain-of-the-week episodes of both Flash and Arrow). The best way to shake up the structure? Get rid of Savage. What if he were just a dramatic misdirect—one our heroes too too seriously because he’s so involved with their personal loss and pain—and the real threat to the future was something bigger? If they destroyed Savage and found the timeline unchanged, that would give the team something to really sink their teeth into. Right now the show’s like a mystery that’s already been solved; we’re just tagging along as the cops hunt down the killer.

Molly Templeton has not forgotten that first season of Arrow, and therefore still believes that this too can improve.

Announcing the 2015 BSFA Awards Shortlist

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BSFAlogo

The British Science Fiction Association is extremely pleased and proud to announce the shortlist for the 2015 BSFA Awards. This shortlist has been drawn up from the most popular titles nominated by members of the BSFA, who will now have the opportunity decide the winners in each category, voting along with attendees of the long-established science fiction convention, Eastercon, which this year takes place in Manchester. The ceremony will take place on Saturday 26th March.

Chair Donna Scott said: “The BSFA Awards are fan awards, and we’re really proud of them. Our members are very insightful, and often their choices are seen to do very well in other awards later in the year. The Best Novel list includes a good mix of more established names like Ian McDonald, but also Dave Hutchinson, who seems to have hit the floor running with his first two novels and is scooping up accolades everywhere. I’m also thrilled to see Aliette de Bodard make this list too, having done so well in our Best Short Fiction lists in previous years.”

The shortlisted nominees are:

Best Novel

Dave Hutchinson, Europe at Midnight, Solaris

Chris Beckett, Mother of Eden, Corvus

Aliette de Bodard, The House of Shattered Wings, Gollancz

Ian McDonald, Luna: New Moon, Gollancz

Justina Robson, Glorious Angels, Gollancz

 

Best Short Story

Aliette de Bodard, “Three Cups of Grief, by Starlight”, Clarkesworld 100

Paul Cornell, “The Witches of Lychford”, Tor.com

Jeff Noon, “No Rez”, Interzone 260

Nnedi Okorafor, “Binti”, Tor.com

Gareth L. Powell, “Ride the Blue Horse”, Matter

 

Best Non-Fiction

Nina Allan, “Time Pieces: Doctor Change or Doctor Die”, Interzone 261

Alisa Krasnostein and Alexandra Pierce, Letters to Tiptree, Twelfth Planet Press

Jonathan McCalmont, “What Price Your Critical Agency”, Ruthless Culture

Adam Roberts, Rave and Let Die: The SF and Fantasy of 2014, Steel Quill Books

Jeff VanderMeer, “From Annihilation to Acceptance: A Writer’s Surreal Journey”, The Atlantic, January 2015

 

Best Artwork

Jim Burns, Cover of Pelquin’s Comet, Newcon Press

Vincent Sammy, “Songbird”, Interzone 257

Sarah Anne Langton, Cover of Jews Versus Zombies, Jurassic London

“Divided We Stand, Divided We Fall”: Watch the Captain America: Civil War Super Bowl Trailer

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Captain America: Civil War Super Bowl trailer

What better time than the Super Bowl, with its fierce rivalries and spectacle, to release a new trailer for Captain America: Civil War? Marvel Studios aired just a short TV spot, but there’s a lot crammed into it.

“United we stand, divided we stand,” nameless voices chant. “United we fall, divided we fall.” If we didn’t already know who’s taken which side, now we’re clear: It’s Cap, Bucky, Falcon, Hawkeye, Scarlet Witch, and Ant-Man versus Iron Man, War Machine, Black Widow, Vision, and Black Panther—”You chose the wrong side,” Tony Stark intones.

No surprise, seeing as Bucky tries to shoot him point-blank and it seems that Tony’s Iron Man hand is the only thing that saves him. Combine that with lots of explosions (including one that seems to rattle Nat), Rhodey out cold, and other potential acts of (superhero) war. Watch the trailer!

Marvel is also telling fans to tweet #TeamCap or #TeamIronMan, which usually I would find cheesy… but each hashtag generates different Civil War emoji! Well played, Marvel. Captain America: Civil War comes to theaters May 6, 2016.

“Something’s Coming”: Watch the 10 Cloverfield Lane Super Bowl Trailer

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10 Cloverfield Lane Super Bowl trailer

The first trailer for J.J. Abrams’ surprise Cloverfield sequel 10 Cloverfield Lane (coming out in a little over a month) was one of the best trailers I’ve seen this year: low-key but with something just off, excellent use of music over too much dialogue, and a slow-burning sense of ominousness.

For the movie’s Super Bowl spot, we get a glimpse at how Mary Elizabeth Winstead’s character wound up in unhinged survivalist John Goodman’s disaster shelter, and what might lurk outside.

A lot of the Cloverfield hype was based on never showing what the monster looked like. While 10 Cloverfield Lane already seems like it’s based more on the specific paranoia around such a disaster rather than the big monster-movie-style razing of New York City in the original, clearly these humans are going to cross paths with something. Here’s a hint:

10 Cloverfield Lane comes to theaters March 11th.

Here Comes Krang! New Teenage Mutant Ninja Turtles: Out of the Shadows Trailer

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Teenage Mutant Ninja Turtles: Out of the Shadows trailer Krang

The big game spot for Teenage Mutant Ninja Turtles: Out of the Shadows was almost as amusing as listening to one of the Super Bowl announces trying to work his way around that mouthful of a title. Mostly because we see Krang!

Everyone’s favorite creepy brain-in-an-exosuit pops up oh-so-briefly, but judging from this handful of seconds, he might look less goofy than he did in the cartoon and more threatening. See for yourself:

Teenage Mutant Ninja Turtles: Out of the Shadows comes to theaters June 3.


See Psylocke in Action in the New X-Men: Apocalypse Trailer

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X-Men: Apocalypse trailer Psylocke Olivia Munn

See Psylocke jump. See Psylocke flip. See Psylocke split a car in two using her psionic blades! The Super Bowl TV spot for X-Men: Apocalypse has a lot of fearful looking toward the horizon, but nice to see someone is coming out ready for a fight.

Of course, this doesn’t spell triumph for the fledgling X-Men, as Psylocke (Olivia Munn) is one of Apocalypse’s (Oscar Isaac) four horsemen. Here’s the full synopsis:

Since the dawn of civilization, he was worshipped as a god. Apocalypse, the first and most powerful mutant from Marvel’s X-Men universe, amassed the powers of many other mutants, becoming immortal and invincible.

Upon awakening after thousands of years, he is disillusioned with the world as he finds it and recruits a team of powerful mutants, including a disheartened Magneto (Michael Fassbender), to cleanse mankind and create a new world order, over which he will reign. As the fate of the Earth hangs in the balance, Raven (Jennifer Lawrence) with the help of Professor X (James McAvoy) must lead a team of young X-Men to stop their greatest nemesis and save mankind from complete destruction.

This is the first we’ve seen of Psylocke. We also get a closer look at Apocalypse, who alternates between flattening Professor X, whipping up crazy winds in Magneto’s direction, and throttling Mystique. Watch the spot:

X-Men: Apocalypse comes to theaters May 27.

We Declare a Crossover Comic Thumb War!

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Green Lantern and Quasar

Artist Darren Rawlings‘ “Little Friends” series gives us the best kind of DC-Marvel crossover: one in which the heroes are tiny, cute, and BFFs. Just look at that thumb war! Of course, Green Lantern is doomed to failure, since Quasar is using GL’s arch-nemesis, the color yellow, in a clear bid for supremacy.

Here are Doctor Strange and Doctor Fate, proving that friendship is magic:

Magic Friends

 

Deadpool and Deathstroke greet each other in the traditional way of mercenaries (and we’ll just assume that Deadpool is breaking the fourth wall with a comment about his counterpart’s pouches):

Deadpool and Deathstroke

 

Ghost Rider toasts Atomic Skull’s marshmallow for him:

Ghost Rider and Atomic Skull

 

And Quicksilver and The Flash make excellent training buddies:

Quicksilver and Flash

 

But our favorites have to be the too most over-the-top villains ever:

Darkseid and Thanos

We can just imagine these two plotting doom for us all. It’s so sweet! Check out the rest of the Little Friends over at Darren Rawlings’ site!

 

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Every Heart a Doorway

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every-heart

Seanan McGuire’s Every Heart a Doorway—available April 5th from Tor.com Publishing—introduces readers to Eleanor West’s Home for Wayward Children…

Children have always disappeared under the right conditions; slipping through the shadows under a bed or at the back of a wardrobe, tumbling down rabbit holes and into old wells, and emerging somewhere… else. But magical lands have little need for used-up miracle children.

Nancy tumbled once, but now she’s back. The things she’s experienced… they change a person. The children under Miss West’s care understand all too well. And each of them is seeking a way back to their own fantasy world. But Nancy’s arrival marks a change at the Home. There’s a darkness just around each corner, and when tragedy strikes, it’s up to Nancy and her new-found schoolmates to get to the heart of things.

No matter the cost.

 

 

Part I
The Golden Afternoons

There Was a Little Girl

The girls were never present for the entrance interviews. Only their parents, their guardians, their confused siblings, who wanted so much to help them but didn’t know how. It would have been too hard on the prospective students to sit there and listen as the people they loved most in all the world—all this world, at least—dismissed their memories as delusions, their experiences as fantasy, their lives as some intractable illness.

What’s more, it would have damaged their ability to trust the school if their first experience of Eleanor had been seeing her dressed in respectable grays and lilacs, with her hair styled just so, like the kind of stolid elderly aunt who only really existed in children’s stories. The real Eleanor was nothing like that. Hearing the things she said would have only made it worse, as she sat there and explained, so earnestly, so sincerely, that her school would help to cure the things that had gone wrong in the minds of all those little lost lambs. She could take the broken children and make them whole again.

She was lying, of course, but there was no way for her potential students to know that. So she demanded that she meet with their legal guardians in private, and she sold her bill of goods with the focus and skill of a born con artist. If those guardians had ever come together to compare notes, they would have found that her script was well-practiced and honed like the weapon that it was.

“This is a rare but not unique disorder that manifests in young girls as stepping across the border into womanhood,” she would say, making careful eye contact with the desperate, overwhelmed guardians of her latest wandering girl. On the rare occasion when she had to speak to the parents of a boy, she would vary her speech, but only as much as the situation demanded. She had been working on this routine for a long time, and she knew how to play upon the fears and desires of adults. They wanted what was best for their charges, as did she. It was simply that they had very different ideas of what “best” meant.

To the parents, she said, “This is a delusion, and some time away may help to cure it.”

To the aunts and uncles, she said, “This is not your fault, and I can be the solution.”

To the grandparents, she said, “Let me help. Please, let me help you.”

Not every family agreed on boarding school as the best solution. About one out of every three potential students slipped through her fingers, and she mourned for them, those whose lives would be so much harder than they needed to be, when they could have been saved. But she rejoiced for those who were given to her care. At least while they were with her, they would be with someone who understood. Even if they would never have the opportunity to go back home, they would have someone who understood, and the company of their peers, which was a treasure beyond reckoning.

Eleanor West spent her days giving them what she had never had, and hoped that someday, it would be enough to pay her passage back to the place where she belonged.

 

Coming Home, Leaving Home

The habit of narration, of crafting something miraculous out of the commonplace, was hard to break. Narration came naturally after a time spent in the company of talking scarecrows or disappearing cats; it was, in its own way, a method of keeping oneself grounded, connected to the thin thread of continuity that ran through all lives, no matter how strange they might become. Narrate the impossible things, turn them into a story, and they could be controlled. So:

The manor sat in the center of what would have been considered a field, had it not been used to frame a private home. The grass was perfectly green, the trees clustered around the structure perfectly pruned, and the garden grew in a profusion of colors that normally existed together only in a rainbow, or in a child’s toy box. The thin black ribbon of the driveway curved from the distant gate to form a loop in front of the manor itself, feeding elegantly into a slightly wider waiting area at the base of the porch. A single car pulled up, tawdry yellow and seeming somehow shabby against the carefully curated scene. The rear passenger door slammed, and the car pulled away again, leaving a teenage girl behind.

She was tall and willowy and couldn’t have been more than seventeen; there was still something of the unformed around her eyes and mouth, leaving her a work in progress, meant to be finished by time. She wore black—black jeans, black ankle boots with tiny black buttons marching like soldiers from toe to calf—and she wore white—a loose tank top, the faux pearl bands around her wrists—and she had a ribbon the color of pomegranate seeds tied around the base of her ponytail. Her hair was bone-white streaked with runnels of black, like oil spilled on a marble floor, and her eyes were pale as ice. She squinted in the daylight. From the look of her, it had been quite some time since she had seen the sun. Her small wheeled suitcase was bright pink, covered with cartoon daisies. She had not, in all likelihood, purchased it herself.

Raising her hand to shield her eyes, the girl looked toward the manor, pausing when she saw the sign that hung from the porch eaves. ELEANOR WEST’S HOME FOR WAYWARD CHILDREN it read, in large letters. Below, in smaller letters, it continued no solicitation, no visitors, no quests.

The girl blinked. The girl lowered her hand. And slowly, the girl made her way toward the steps.

On the third floor of the manor, Eleanor West let go of the curtain and turned toward the door while the fabric was still fluttering back into its original position. She appeared to be a well-preserved woman in her late sixties, although her true age was closer to a hundred: travel through the lands she had once frequented had a tendency to scramble the internal clock, making it difficult for time to get a proper grip upon the body. Some days she was grateful for her longevity, which had allowed her to help so many more children than she would ever have lived to see if she hadn’t opened the doors she had, if she had never chosen to stray from her proper path. Other days, she wondered whether this world would ever discover that she existed—that she was little Ely West the Wayward Girl, somehow alive after all these years—and what would happen to her when that happened.

Still, for the time being, her back was strong and her eyes were as clear as they had been on the day when, as a girl of seven, she had seen the opening between the roots of a tree on her father’s estate. If her hair was white now, and her skin was soft with wrinkles and memories, well, that was no matter at all. There was still something unfinished around her eyes; she wasn’t done yet. She was a story, not an epilogue. And if she chose to narrate her own life one word at a time as she descended the stairs to meet her newest arrival, that wasn’t hurting anyone. Narration was a hard habit to break, after all.

Sometimes it was all a body had.

* * *

Nancy stood frozen in the center of the foyer, her hand locked on the handle of her suitcase as she looked around, trying to find her bearings. She wasn’t sure what she’d been expecting from the “special school” her parents were sending her to, but it certainly hadn’t been this… this elegant country home. The walls were papered in an old-fashioned floral print of roses and twining clematis vines, and the furnishings—such as they were in this intentionally under-furnished entryway—were all antiques, good, well-polished wood with brass fittings that matched the curving sweep of the banister. The floor was cherrywood, and when she glanced upward, trying to move her eyes without lifting her chin, she found herself looking at an elaborate chandelier shaped like a blooming flower.

“That was made by one of our alumni, actually,” said a voice. Nancy wrenched her gaze from the chandelier and turned it toward the stairs.

The woman who was descending was thin, as elderly women sometimes were, but her back was straight, and the hand resting on the banister seemed to be using it only as a guide, not as any form of support. Her hair was as white as Nancy’s own, without the streaks of defiant black, and styled in a puffbull of a perm, like a dandelion that had gone to seed. She would have looked perfectly respectable, if not for her electric orange trousers, paired with a hand-knit sweater knit of rainbow wool and a necklace of semiprecious stones in a dozen colors, all of them clashing. Nancy felt her eyes widen despite her best efforts, and hated herself for it. She was losing hold of her stillness one day at a time. Soon, she would be as jittery and unstable as any of the living, and then she would never find her way back home.

“It’s virtually all glass, of course, except for the bits that aren’t,” continued the woman, seemingly untroubled by Nancy’s blatant staring. “I’m not at all sure how you make that sort of thing. Probably by melting sand, I assume. I contributed those large teardrop-shaped prisms at the center, however. All twelve of them were of my making. I’m rather proud of that.” The woman paused, apparently expecting Nancy to say something.

Nancy swallowed. Her throat was so dry these days, and nothing seemed to chase the dust away. “If you don’t know how to make glass, how did you make the prisms?” she asked.

The woman smiled. “Out of my tears, of course. Always assume the simplest answer is the true one, here, because most of the time, it will be. I’m Eleanor West. Welcome to my home. You must be Nancy.”

“Yes,” Nancy said slowly. “How did you… ?”

“Well, you’re the only student we were expecting to receive today. There aren’t as many of you as there once were. Either the doors are getting rarer, or you’re all getting better about not coming back. Now, be quiet a moment, and let me look at you.” Eleanor descended the last three steps and stopped in front of Nancy, studying her intently for a moment before she walked a slow circle around her. “Hmm. Tall, thin, and very pale. You must have been someplace with no sun—but no vampires either, I think, given the skin on your neck. Jack and Jill will be awfully pleased to meet you. They get tired of all the sunlight and sweetness people bring through here.”

“Vampires?” said Nancy blankly. “Those aren’t real.”

“None of this is real, my dear. Not this house, not this conversation, not those shoes you’re wearing—which are several years out of style if you’re trying to reacclimatize yourself to the ways of your peers, and are not proper mourning shoes if you’re trying to hold fast to your recent past—and not either one of us. ‘Real’ is a four-letter word, and I’ll thank you to use it as little as possible while you live under my roof.” Eleanor stopped in front of Nancy again. “It’s the hair that betrays you. Were you in an Underworld or a Netherworld? You can’t have been in an Afterlife. No one comes back from those.”

Nancy gaped at her, mouth moving silently as she tried to find her voice. The old woman said those things—those cruelly impossible things—so casually, like she was asking after nothing more important than Nancy’s vaccination records.

Eleanor’s expression transformed, turning soft and apologetic. “Oh, I see I’ve upset you. I’m afraid I have a tendency to do that. I went to a Nonsense world, you see, six times before I turned sixteen, and while I eventually had to stop crossing over, I never quite learned to rein my tongue back in. You must be tired from your journey, and curious about what’s to happen here. Is that so? I can show you to your room as soon as I know where you fall on the compass. I’m afraid that really does matter for things like housing; you can’t put a Nonsense traveler in with someone who went walking through Logic, not unless you feel like explaining a remarkable amount of violence to the local police. They do check up on us here, even if we can usually get them to look the other way. It’s all part of our remaining accredited as a school, although I suppose we’re more of a sanitarium, of sorts. I do like that word, don’t you? ‘Sanitarium.’ It sounds so official, while meaning absolutely nothing at all.”

“I don’t understand anything you’re saying right now,” said Nancy. She was ashamed to hear her voice come out in a tinny squeak, even as she was proud of herself for finding it at all.

Eleanor’s face softened further. “You don’t have to pretend anymore, Nancy. I know what you’ve been going through—where you’ve been. I went through something a long time ago, when I came back from my own voyages. This isn’t a place for lies or pretending everything is all right. We know everything is not all right. If it were, you wouldn’t be here. Now. Where did you go?”

“I don’t…”

“Forget about words like ‘Nonsense’ and ‘Logic.’ We can work out those details later. Just answer. Where did you go?”

“I went to the Halls of the Dead.” Saying the words aloud was an almost painful relief. Nancy froze again, staring into space as if she could see her voice hanging there, shining garnet-dark and perfect in the air. Then she swallowed, still not chasing away the dryness, and said, “It was… I was looking for a bucket in the cellar of our house, and I found this door I’d never seen before. When I went through, I was in a grove of pomegranate trees. I thought I’d fallen and hit my head. I kept going because… because…”

Because the air had smelled so sweet, and the sky had been black velvet, spangled with points of diamond light that didn’t flicker at all, only burned constant and cold. Because the grass had been wet with dew, and the trees had been heavy with fruit. Because she had wanted to know what was at the end of the long path between the trees, and because she hadn’t wanted to turn back before she understood everything. Because for the first time in forever, she’d felt like she was going home, and that feeling had been enough to move her feet, slowly at first, and then faster, and faster, until she had been running through the clean night air, and nothing else had mattered, or would ever matter again—

“How long were you gone?”

The question was meaningless. Nancy shook her head. “Forever. Years… I was there for years. I didn’t want to come back. Ever.”

“I know, dear.” Eleanor’s hand was gentle on Nancy’s elbow, guiding her toward the door behind the stairs. The old woman’s perfume smelled of dandelions and gingersnaps, a combination as nonsensical as everything else about her. “Come with me. I have the perfect room for you.”

* * *

Eleanor’s “perfect room” was on the first floor, in the shadow of a great old elm that blocked almost all the light that would otherwise have come in through the single window. It was eternal twilight in that room, and Nancy felt the weight drop from her shoulders as she stepped inside and looked around. One half the room—the half with the window—was a jumble of clothing, books, and knickknacks. A fiddle was tossed carelessly on the bed, and the associated bow was balanced on the edge of the bookshelf, ready to fall at the slightest provocation. The air smelled of mint and mud.

The other half of the room was as neutral as a hotel. There was a bed, a small dresser, a bookshelf, and a desk, all in pale, unvarnished wood. The walls were blank. Nancy looked to Eleanor long enough to receive the nod of approval before walking over and placing her suitcase primly in the middle of what would be her bed.

“Thank you,” she said. “I’m sure this will be fine.”

“I admit, I’m not as confident,” said Eleanor, frowning at Nancy’s suitcase. It had been placed so precisely… “Anyplace called ‘the Halls of the Dead’ is going to have been an Underworld, and most of those fall more under the banner of Nonsense than Logic. It seems like yours may have been more regimented. Well, no matter. We can always move you if you and Sumi prove ill-suited. Who knows? You might provide her with some of the grounding she currently lacks. And if you can’t do that, well, hopefully you won’t actually kill one another.”

“Sumi?”

“Your roommate.” Eleanor picked her way through the mess on the floor until she reached the window. Pushing it open, she leaned out and scanned the branches of the elm tree until she found what she was looking for. “One and two and three, I see you, Sumi. Come inside and meet your roommate.”

“Roommate?” The voice was female, young, and annoyed.

“I warned you,” said Eleanor, as she pulled her head back inside and returned to the center of the room. She moved with remarkable assurance, especially given how cluttered the floor was; Nancy kept expecting her to fall, and somehow, she didn’t. “I told you a new student was arriving this week, and that if it was a girl from a compatible background, she would be taking the spare bed. Do you remember any of this?”

“I thought you were just talking to hear yourself talk. You do that. Everyone does that.” A head appeared in the window, upside down, its owner apparently hanging from the elm tree. She looked to be about Nancy’s age, of Japanese descent, with long black hair tied into two childish pigtails, one above each ear. She looked at Nancy with unconcealed suspicion before asking, “Are you a servant of the Queen of Cakes, here to punish me for my transgressions against the Countess of Candy Floss? Because I don’t feel like going to war right now.”

“No,” said Nancy blankly. “I’m Nancy.”

“That’s a boring name. How can you be here with such a boring name?” Sumi flipped around and dropped out of the tree, vanishing for a moment before she popped back up, leaned on the windowsill, and asked, “Eleanor-Ely, are you sure? I mean, sure-sure? She doesn’t look like she’s supposed to be here at all. Maybe when you looked at her records, you saw what wasn’t there again and really she’s supposed to be in a school for juvenile victims of bad dye jobs.”

“I don’t dye my hair!” Nancy’s protest was heated. Sumi stopped talking and blinked at her. Eleanor turned to look at her. Nancy’s cheeks grew hot as the blood rose in her face, but she stood her ground, somehow keeping herself from reaching up to stroke her hair as she said, “It used to be all black, like my mother’s. When I danced with the Lord of the Dead for the first time, he said it was beautiful, and he ran his fingers through it. All the hair turned white around them, out of jealousy. That’s why I only have five black streaks left. Those are the parts he touched.”

Looking at her with a critical eye, Eleanor could see how those five streaks formed the phantom outline of a hand, a place where the pale young woman in front of her had been touched once and never more. “I see,” she said.

“I don’t dye it,” said Nancy, still heated. “I would never dye it. That would be disrespectful.”

Sumi was still blinking, eyes wide and round. Then she grinned. “Oh, I like you,” she said. “You’re the craziest card in the deck, aren’t you?”

“We don’t use that word here,” snapped Eleanor.

“But it’s true,” said Sumi. “She thinks she’s going back. Don’t you, Nancy? You think you’re going to open the right-wrong door, and see your stairway to Heaven on the other side, and then it’s one step, two step, how d’you do step, and you’re right back in your story. Crazy girl. Stupid girl. You can’t go back. Once they throw you out, you can’t go back.”

Nancy felt as if her heart were trying to scramble up her throat and choke her. She swallowed it back down, and said, in a whisper, “You’re wrong.”

Sumi’s eyes were bright. “Am I?”

Eleanor clapped her hands, pulling their attention back to her. “Nancy, why don’t you unpack and get settled? Dinner is at six thirty, and group therapy will follow at eight. Sumi, please don’t inspire her to murder you before she’s been here for a full day.”

“We all have our own ways of trying to go home,” said Sumi, and disappeared from the window’s frame, heading off to whatever she’d been doing before Eleanor disturbed her. Eleanor shot Nancy a quick, apologetic look, and then she too was gone, shutting the door behind herself. Nancy was, quite abruptly, alone.

She stayed where she was for a count of ten, enjoying the stillness. When she had been in the Halls of the Dead, she had sometimes been expected to hold her position for days at a time, blending in with the rest of the living statuary. Serving girls who were less skilled at stillness had come through with sponges soaked in pomegranate juice and sugar, pressing them to the lips of the unmoving. Nancy had learned to let the juice trickle down her throat without swallowing, taking it in passively, like a stone takes in the moonlight. It had taken her months, years even, to become perfectly motionless, but she had done it: oh, yes, she had done it, and the Lady of Shadows had proclaimed her beautiful beyond measure, little mortal girl who saw no need to be quick, or hot, or restless.

But this world was made for quick, hot, restless things; not like the quiet Halls of the Dead. With a sigh, Nancy abandoned her stillness and turned to open her suitcase. Then she froze again, this time out of shock and dismay. Her clothing—the diaphanous gowns and gauzy black shirts she had packed with such care—was gone, replaced by a welter of fabrics as colorful as the things strewn on Sumi’s side of the room. There was an envelope on top of the pile. With shaking fingers, Nancy picked it up and opened it.

Nancy—

We’re sorry to play such a mean trick on you, sweetheart, but you didn’t leave us much of a choice. You’re going to boarding school to get better, not to keep wallowing in what your kidnappers did to you. We want our real daughter back. These clothes were your favorites before you disappeared. You used to be our little rainbow! Do you remember that?

You’ve forgotten so much.

We love you. Your father and I, we love you more than anything, and we believe you can come back to us. Please forgive us for packing you a more suitable wardrobe, and know that we only did it because we want the best for you. We want you back.

Have a wonderful time at school, and we’ll be waiting for you when you’re ready to come home to stay.

The letter was signed in her mother’s looping, unsteady hand. Nancy barely saw it. Her eyes filled with hot, hateful tears, and her hands were shaking, fingers cramping until they had crumpled the paper into an unreadable labyrinth of creases and folds. She sank to the floor, sitting with her knees bent to her chest and her eyes fixed on the open suitcase. How could she wear any of those things? Those were daylight colors, meant for people who moved in the sun, who were hot, and fast, and unwelcome in the Halls of the Dead.

“What are you doing?” The voice belonged to Sumi.

Nancy didn’t turn. Her body was already betraying her by moving without her consent. The least she could do was refuse to move it voluntarily.

“It looks like you’re sitting on the floor and crying, which everyone knows is dangerous, dangerous, don’t-do-that dangerous; it makes it look like you’re not holding it together, and you might shake apart altogether,” said Sumi. She leaned close, so close that Nancy felt one of the other girl’s pigtails brush her shoulder. “Why are you crying, ghostie girl? Did someone walk across your grave?”

“I never died, I just went to serve the Lord of the Dead for a while, that’s all, and I was going to stay forever, until he said I had to come back here long enough to be sure. Well, I was sure before I ever left, and I don’t know why my door isn’t here.” The tears clinging to her cheeks were too hot. They felt like they were scalding her. Nancy allowed herself to move, reaching up and wiping them viciously away. “I’m crying because I’m angry, and I’m sad, and I want to go home.”

“Stupid girl,” said Sumi. She placed a sympathetic hand atop Nancy’s head before smacking her—lightly, but still a hit—and leaping up onto her bed, crouching next to the open suitcase. “You don’t mean home where your parents are, do you? Home to school and class and boys and blather, no, no, no, not for you anymore, all those things are for other people, people who aren’t as special as you are. You mean the home where the man who bleached your hair lives. Or doesn’t live, since you’re a ghostie girl. A stupid ghostie girl. You can’t go back. You have to know that by now.”

Nancy raised her head and frowned at Sumi. “Why? Before I went through that doorway, I knew there was no such thing as a portal to another world. Now I know that if you open the right door at the right time, you might finally find a place where you belong. Why does that mean I can’t go back? Maybe I’m just not finished being sure.”

The Lord of the Dead wouldn’t have lied to her, he wouldn’t. He loved her.

He did.

“Because hope is a knife that can cut through the foundations of the world,” said Sumi. Her voice was suddenly crystalline and clear, with none of her prior whimsy. She looked at Nancy with calm, steady eyes. “Hope hurts. That’s what you need to learn, and fast, if you don’t want it to cut you open from the inside out. Hope is bad. Hope means you keep on holding to things that won’t ever be so again, and so you bleed an inch at a time until there’s nothing left. Ely-Eleanor is always saying ‘don’t use this word’ and ‘don’t use that word,’ but she never bans the ones that are really bad. She never bans hope.”

“I just want to go home,” whispered Nancy.

“Silly ghost. That’s all any of us want. That’s why we’re here,” said Sumi. She turned to Nancy’s suitcase and began poking through the clothes. “These are pretty. Too small for me. Why do you have to be so narrow? I can’t steal things that won’t fit, that would be silly, and I’m not getting any smaller here. No one ever does in this world. High Logic is no fun at all.”

“I hate them,” said Nancy. “Take them all. Cut them up and make streamers for your tree, I don’t care, just get them away from me.”

“Because they’re the wrong colors, right? Somebody else’s rainbow.” Sumi bounced off the bed, slamming the suitcase shut and hauling it after her. “Get up, come on. We’re going visiting.”

“What?” Nancy looked after Sumi, bewildered and beaten down. “I’m sorry. I’ve just met you, and I really don’t want to go anywhere with you.”

“Then it’s a good thing I don’t care, isn’t it?” Sumi beamed for a moment, bright as the hated, hated sun, and then she was gone, trotting out the door with Nancy’s suitcase and all of Nancy’s clothes.

Nancy didn’t want those clothes, and for one tempting moment, she considered staying where she was. Then she sighed, and stood, and followed. She had little enough to cling to in this world. And she was eventually going to need clean underpants.

 

Beautiful Boys and Glamorous Girls

Sumi was restless, in the way of the living, but even for the living, she was fast. She was halfway down the hall by the time Nancy emerged from the room. At the sound of Nancy’s footsteps, she paused, looking back over her shoulder and scowling at the taller girl.

“Hurry, hurry, hurry,” she scolded. “If dinner catches us without doing what needs done, we’ll miss the scones and jam.”

“Dinner chases you? And you have scones and jam for dinner if it doesn’t catch you?” asked Nancy, bewildered.

“Not usually,” said Sumi. “Not often. Okay, not ever, yet. But it could happen, if we wait long enough, and I don’t want to miss out when it does! Dinners are mostly dull, awful things, all meat and potatoes and things to build healthy minds and bodies. Boring. I bet your dinners with the dead people were a lot more fun.”

“Sometimes,” admitted Nancy. There had been banquets, yes, feasts that lasted weeks, with the tables groaning under the weight of fruits and wines and dark, rich desserts. She had tasted unicorn at one of those feasts, and gone to her bed with a mouth that still tingled from the delicate venom of the horse-like creature’s sweetened flesh. But mostly, there had been the silver cups of pomegranate juice, and the feeling of an empty stomach adding weight to her stillness. Hunger had died quickly in the Underworld. It was unnecessary, and a small price to pay for the quiet, and the peace, and the dances; for everything she’d so fervently enjoyed.

“See? Then you understand the importance of a good dinner,” Sumi started walking again, keeping her steps short in deference to Nancy’s slower stride. “Kade will get you fixed right up, right as rain, right as rabbits, you’ll see. Kade knows where the best things are.”

“Who is Kade? Please, you have to slow down.” Nancy felt like she was running for her life as she tried to keep up with Sumi. The smaller girl’s motions were too fast, too constant for Nancy’s Underworld-adapted eyes to track them properly. It was like following a large hummingbird toward some unknown destination, and she was already exhausted.

“Kade has been here a very-very long time. Kade’s parents don’t want him back.” Sumi looked over her shoulder and twinkled at Nancy. There was no other word to describe her expression, which was a strange combination of wrinkling her nose and tightening the skin around her eyes, all without visibly smiling. “My parents didn’t want me back either, not unless I was willing to be their good little girl again and put all this nonsense about Nonsense aside. They sent me here, and then they died, and now they’ll never want me at all. I’m going to live here always, until Ely-Eleanor has to let me have the attic for my own. I’ll pull taffy in the rafters and give riddles to all the new girls.”

They had reached a flight of stairs. Sumi began bounding up them. Nancy followed more sedately.

“Wouldn’t you get spiders and splinters and stuff in the candy?” she asked.

Sumi rewarded her with a burst of laughter and an actual smile. “Spiders and splinters and stuff!” she crowed. “You’re alliterating already! Oh, maybe we will be friends, ghostie girl, and this won’t be completely dreadful after all. Now come on. We’ve much to do, and time does insist on being linear here, because it’s awful.”

The flight of stairs ended with a landing and another flight of stairs, which Sumi promptly started up, leaving Nancy no choice but to follow. All those days of stillness had made her muscles strong, accustomed to supporting her weight for hours at a time. Some people thought only motion bred strength. Those people were wrong. The mountain was as powerful as the tide, just… in a different way. Nancy felt like a mountain as she chased Sumi higher and higher into the house, until her heart was thundering in her chest and her breath was catching in her throat, until she feared that she would choke on it.

Sumi stopped in front of a plain white door marked only with a small, almost polite sign reading keep out. Grinning, she said, “If he meant that, he wouldn’t say it. He knows that for anyone who’s spent any time at all in Nonsense that, really, he’s issuing an invitation.”

“Why do people around here keep using that word like it’s a place?” asked Nancy. She was starting to feel like she’d missed some essential introductory session about the school, one that would have answered all her questions and left her a little less lost.

“Because it is, and it isn’t, and it doesn’t matter,” said Sumi, and knocked on the attic door before hollering, “We’re coming in!” and shoving it open to reveal what looked like a cross between a used bookstore and a tailor’s shop. Piles of books covered every available surface. The furniture, such as it was—a bed, a desk, a table—appeared to be made from the piles of books, all save for the bookshelves lining the walls. Those, at least, were made of wood, probably for the sake of stability. Bolts of fabric were piled atop the books. They ranged from cotton and muslin to velvet and the finest of thin, shimmering silks. At the center of it all, cross-legged atop a pedestal of paperbacks, sat the most beautiful boy Nancy had ever seen.

His skin was golden tan, his hair was black, and when he looked up—with evident irritation—from the book he was holding, she saw that his eyes were brown and his features were perfect. There was something timeless about him, like he could have stepped out of a painting and into the material world. Then he spoke.

“What’n the fuck are you doing in here again, Sumi?” he demanded, Oklahoma accent thick as peanut butter spread across a slice of toast. “I told you that you weren’t welcome after the last time.”

“You’re just mad because I came up with a better filing system for your books than you could,” said Sumi, sounding unruffled. “Anyway, you didn’t mean it. I am the sunshine in your sky, and you’d miss me if I was gone.”

“You organized them by color, and it took me weeks to figure out where anything was. I’m doing important research up here.” Kade unfolded his legs and slid down from his pile of books. He knocked off a paperback in the process, catching it deftly before it could hit the ground. Then he turned to look at Nancy. “You’re new. I hope she’s not already leading you astray.”

“So far, she’s just led me to the attic,” said Nancy inanely. Her cheeks reddened, and she said, “I mean, no. I’m not so easy to lead places, most of the time.”

“She’s more of a ‘standing really still and hoping nothing eats her’ sort of girl,” said Sumi, and thrust the suitcase toward him. “Look what her parents did.”

Kade raised his eyebrows as he took in the virulent pinkness of the plastic. “That’s colorful,” he said after a moment. “Paint could fix it.”

“Outside, maybe. You can’t paint underpants. Well, you can, but then they come out all stiff, and no one believes you didn’t mess them.” Sumi’s expression sobered for a moment. When she spoke again, it was with a degree of clarity that was almost unnerving, coming from her. “Her parents swapped out her things before they sent her off to school. They knew she wouldn’t like it, and they did it anyway. There was a note.”

“Oh,” said Kade, with sudden understanding. “One of those. All right. Is this going to be a straight exchange, then?”

“I’m sorry, I don’t understand what’s going on,” said Nancy. “Sumi grabbed my suitcase and ran away with it. I don’t want to bother anyone.…”

“You’re not bothering me,” said Kade. He took the suitcase from Sumi before turning toward Nancy. “Parents don’t always like to admit that things have changed. They want the world to be exactly the way it was before their children went away on these life-changing adventures, and when the world doesn’t oblige, they try to force it into the boxes they build for us. I’m Kade, by the way. Fairyland.”

“I’m Nancy, and I’m sorry, I don’t understand.”

“I went to a Fairyland. I spent three years there, chasing rainbows and growing up by inches. I killed a Goblin King with his own sword, and he made me his heir with his dying breath, the Goblin Prince in Waiting.” Kade walked off into the maze of books, still carrying Nancy’s suitcase. His voice drifted back, betraying his location. “The King was my enemy, but he was the first adult to see me clearly in my entire life. The court of the Rainbow Princess was shocked, and they threw me down the next wishing well we passed. I woke up in a field in the middle of Nebraska, back in my ten-year-old body, wearing the dress I’d had on when I first fell into the Prism.” The way he said “Prism” left no question about what he meant: it was a proper name, the title of some strange passage, and his voice ached around that single syllable like flesh aches around a knife.

“I still don’t understand,” said Nancy.

Sumi sighed extravagantly. “He’s saying he fell into a Fairyland, which is sort of like going to a Mirror, only they’re really high Logic pretending to be high Nonsense, it’s quite unfair, there’s rules on rules on rules, and if you break one, wham”—she made a slicing gesture across her throat—“out you go, like last year’s garbage. They thought they had snicker-snatched a little girl—fairies love taking little girls, it’s like an addiction with them—and when they found out they had a little boy who just looked like a little girl on the outside, uh-oh, donesies. They threw him right back.”

“Oh,” said Nancy.

“Yeah,” said Kade, emerging from the maze of books. He wasn’t carrying Nancy’s suitcase anymore. Instead, he had a wicker basket filled with fabric in reassuring shades of black and white and gray. “We had a girl here a few years ago who’d spent basically a decade living in a Hammer film. Black and white everything, flowy, lacy, super-Victorian. Seems like your style. I think I’ve guessed your size right, but if not, feel free to come and let me know that you need something bigger or smaller. I didn’t take you for the corsetry type. Was I wrong?”

“What? Um.” Nancy wrenched her gaze away from the basket. “No. Not really. The boning gets uncomfortable after a day or two. We were more, um, Grecian where I was, I guess. Or Pre-Raphaelite.” She was lying, of course: she knew exactly what the styles had been in her Underworld, in those sweet and silent halls. When she’d gone looking for signs that someone else knew where to find a door, combing through Google and chasing links across Wikipedia, she had come across the works of a painter named Waterhouse, and she’d cried from the sheer relief of seeing people wearing clothes that didn’t offend her eyes.

Kade nodded, understanding in his expression. “I manage the clothing swaps and inventory the wardrobes, but I do custom jobs too,” he said. “You’ll have to pay for those, since they’re a lot more work on my part. I take information as well as cash. You could tell me about your door and where you went, and I could make you a few things that might fit you better.”

Nancy’s cheeks reddened. “I’d like that,” she said.

“Cool. Now get out, both of you. We have dinner in a little while, and I want to finish my book.” Kade’s smile was fleeting. “I never did like to leave a story unfinished.”

Excerpted from Every Heart a Doorway © Seanan McGuire, 2016

All The Geeky Super Bowl Commercials and Movie Trailers

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Turkish Airlines Lex Luthor Metropolis Batman v Superman: Dawn of Justice Super Bowl commercial

While Super Bowl 50 (did you know they stopped using Roman numerals this year?) didn’t have any truly viral commercials, there were still plenty of geeky commercials, sneak peeks, and trailers slipped in amongst the football. From the funny to the dramatic, we got aliens, astronauts, Avengers references both on-the-nose and subtle, David Bowie earworms, and likely the best product tie-in we’ll see this blockbuster season.

Here they all in one place. Enjoy! Don’t let your boss know you do this.

 

Turkish Airlines: Gotham City & Metropolis

Easily the best commercials of the bunch. It’s smart brand alignment, not only because you can completely see Bruce Wayne and Lex Luthor crossing the globe in first class (with Lex looking wonderfully awkward), but also because it sets up Batman v Superman: Dawn of Justice: Both Gotham City and Metropolis are looking to rebuild themselves after the events of Man of Steel, but sometimes two superpowers having the same idea puts them at odds…

 

Captain America: Civil War

Bucky did you just try to shoot Tony Stark in the fa…YOU JUST TRIED TO SHOOT TONY STARK IN THE FACE. #TeamIronMan, sorry Cap.

 

Coke Mini: Hulk vs. Ant-Man

We already got the Captain America: Civil War trailer, so there was no need to have the Avengers shilling for soft drinks, but sigh. (Note how they used the most CG characters, so you didn’t even need to have familiar faces.) These kinds of commercials work well if they actually seem in-character for the properties—see Turkish Airlines—so this end result was just lame.

 

Janelle Monáe & Pepsi

To kick off the haltime show, Janelle Monáe dances through 50 years of pop music, channeling The Contours, Madonna, and Britney Spears. Much more entertaining than the actual halftime show (with Coldplay, Beyoncé, and Bruno Mars)—this is far too short.

 

X-Men: Apocalypse

Lots of smashing in this commercial trailer for X-Men: Apocalypse, including our first look at Psylocke in action! Sorry, Wolverine and Mystique, the franchise’s new break-out star has arrived. Can’t wait to see her join the team in X-Men: The Search For More Money.

It is so weird that Poe Dameron is playing Apocalypse.

 

#AvosInSpace

Emoji alphabet and The Dress launching a civil war… Yep, that’s about how we imagine aliens looking back on the human race. And, weirdly, it’s fitting that avocados have become a treasured artifact even in the future. Good on you, Avocados from Mexico, for managing to hit that line between wacky and on-point.

 

10 Cloverfield Lane

The new trailer for 10 Cloverfield Lane shows us what happens to Mary Elizabeth Winstead once she escapes the fallout shelter. What if this ends up being Roseanne: After the Apocalypse? Trick question. It doesn’t matter because we also want to see that.

 

Audi: “Starman”

Yes, it’s a car commercial, claiming that driving a new Audi brings back the same rush as going to space. It’s an unapologetic grab for heartstrings, especially for its use of David Bowie’s “Starman,” but it kind of works. The fact that organizations and people like SpaceX and Elon Musk are redoubling efforts to get us into space makes this kind of ad equally nostalgic and optimistic.

 

Teenage Mutant Ninja Turtles: Out of the Shadows

The TMNT 2 trailer gave us our first cartoony look at Krang and his goofy host-robot body! Even though Liz Lemon told us no one would ever care.

 

Hyundai: “Better”

Am I the only one who watched this and thought “Tony Stark arc reactor”?

 

A couple of ads mocked genre movie tropes, such as…

 

Mobile Strike

Arnold Schwarzenegger got his action movie on, with some allusions to Kill Bill and… The Grand Budapest Hotel?

 

LG OLED TV

While Liam Neeson starred in what I initially thought was a Taken sequel in which he coaches his son on stopping people from getting taken. Instead, it goes a little more Looper but is ultimately just to promote an insanely thin, insanely expensive TV.

 

“The Prius 4”

And its only real genre influence is the Fast and the Furious movies, but I was tickled by the ads following “The Prius 4,” amateur bank robbers turned social media darlings.

 

The big trailers of the night were Captain America: Civil War10 Cloverfield LaneTeenage Mutant Ninja Turtles: Out of the Shadows, and X-Men: Apocalypse. But a few other studios and projects got in on the Super Bowl advertising, to less exciting effect:

 

Independence Day: Resurgence

As io9 points out, the 1996 Super Bowl ad for Independence Day blew up the White House. There’s nothing as shocking now, though it’s almost comical to see the Navy ships fly above the Super Bowl (as happened before the actual game), followed by a bevy of alien warships.

 

The Jungle Book

The ad that aired during the game was more action-packed and had a cool effect where the animals seemed to be leaping out of the confines of the letterbox. The ad that Disney released online is more slow-paced and features the animals actually talking for the first time, adding more dimension, especially with Idris Elba as Shere Khan and Bill Murray as Baloo.

 

Jason Bourne

More fun than watching Jason Bourne drive a car into other cars would have been to call back to the original Bourne movies and have him use something seemingly innocuous—like a souvenir Super Bowl jersey?—to exact maximum pain.

 

And while it’s not a commercial, we got a kick out of Stephen Colbert’s postgame live episode, in which he did a little bit of time travel to visit the White House and the International Space Station. Great spiral, Astronaut Scott Kelly:

 

What were your favorite ads and trailers from the Super Bowl?

Rereading Katherine Kurtz: Deryni Rising, Chapters 14-16

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Deryni_rising_first

Welcome to the weekly reread of Deryni Rising!

We’ve reached the big, and long-awaited, finale. Charissa is making her move, and Kelson has to solve his father’s riddle and activate his powers, or lose both his life and his kingdom. Complete with another sword fight, more Deryni magic—including some from unexpected sources—and a spectacular duel arcane.

 

Deryni Rising: Chapters 14-16

Here’s What Happens: As Chapter 14 opens, Kelson has his back to the action, which allows the tension to stretch out for another couple of pages. He ponders his options, takes note of what he can see, and decides that letting the coronation move closer to its conclusion is a good move.

Then Charissa speaks, and literally flings down the gauntlet. Kelson turns and takes stock of “Charissa’s Moorish emirs,” her Western knights, and, in awed detail, Charissa. And her gorgeous outfit.

Also, her haughty attitude. That makes him angry. They bandy words for a while, with frequent resort to raised eyebrows and cold glares.

Kelson is playing for time. Somehow he has to find the answer to the riddle of the Defender’s Sign, to lock in his powers before Charissa pushes him into the utterly plot-inevitable duel arcane.

His first ploy is to call for a combat of champions. He’s shocked when she introduces Ian on her side. Kelson takes time to think about this, and to bandy words with Ian. Morgan joins the verbal fray.

It quickly becomes physical. Sword-fight! After several pages of choreography, Morgan wins—but as he saunters toward Charissa, smug with victory, Ian (evil to the last) throws his dagger and Charissa (evil from end to end) casts a spell on his chain of office. Choked and trapped, he takes the knife in his shoulder.

While everyone crowds around Morgan, Charissa takes care of Ian. With magic. Permanently.

Now that the opening act is over, Charissa challenges Kelson directly. Kelson stalls a bit longer, and Morgan gives him some advice as to how to fight her. Kelson scans the cathedral, interrupted at some length by more snideness from Charissa—until Jehana can’t take it any more.

Charissa actually coos at her. (Oh, she’s so smarmy and so evil.) Jehana totally loses it and tries to blast her with untrained Deryni powers. It takes some time, and some high(ish) diction, but Charissa swats her down—with Morgan and Duncan doing their best to keep Jehana from being destroyed. She ends up in a trance, and Kelson is out of options, if also confirmed as half Deryni.

The tension strrrrrrrretches as Charissa moves in for the kill, and Kelson’s internal monologue goes on and on and on about where on earth is the Defender’s Sign. Charissa challenges him formally, and boom. Chapter ends.

Chapter 15: Kelson is still trying to figure out the riddle. And suddenly! He sees it! On the floor!

The floor is inlaid with seals of the saints, which he just happened never to have noticed before. And there it is. The seal of Saint Camber. Defender of Men.
Bingo. It takes him a while to get there, with further verbal sparring—this time Kelson is downright snotty, now he’s sure he’s in reach of his powers—and further stretching of tension, as inch by inch he works his way over to the seal. There’s much disdain and some sneering. And some sleight of hand with the gauntlet.

Kelson steps onto the seal. The sneering turns into the formal ritual of challenge.

Kelson isn’t sure the gambit worked, until the spellcasting starts and he instantly knows how to answer Charissa’s opening salvo.

The duel is rather leisurely. Both sides have weaponized bad poetry. Duncan, Morgan, and Nigel provide the color commentary. There’s a light show, and some test shots. The audience is bored, except for the Moors, who have a professional interest in the spells.

Morgan is not doing so well. With Duncan’s help and consent, he decides to try to heal himself. Because Deryni magic in a very public place with the chance of outing Duncan is preferable to simply passing out.

Even Kelson is getting bored, and he’s in the middle of the duel. Then Charissa ups the ante with two stanzas of bad poetry. She calls up a hideous monster from the depths of hell—and Kelson has no idea how to counter it.

Panic! And chapter’s end.

In Chapter 16 and last, Kelson gets a grip, and two stanzas of bad counter-poetry just happen to occur to him. The sun happily obliges with a spotlight as the monster enters the spell zone and spectacularly disintegrates.

The spot just happens to be Camber’s seal. What a coincidence!

This is it, this is the endgame. The bad poetry ramps up to three stanzas of “All right, Charissa, that’s enough, I’m finishing you off now.”

The lights die down. Charissa is actually running scared. But she’s not actually done. She comes back with her own three stanzas, and from there on it’s all light show.

The denouement is relatively quick. Kelson’s red lightsaber*—er, aura—overwhelms Charissa’s blue one, and she shrinks, screaming, into nothingness. Kelson and his “shining white raiment” have won.

*Several years pre-George Lucas, so not really. But still.

Morgan comes to just then, all healed, which Kelson tries to call him on, but Morgan puts him off. The coronation can proceed, but first, Kelson and the now conscious Jehana share a moment, and come to a provisional set of terms.

Archbishop Corrigan crowns Kelson, with high ceremony. Our omniscient narrator lets us know humans only see that, but Deryni see someone else in “the shining golden raiment of the ancient High Deryni Lords,” and hear a different form of the invocation, consecrating Kelson as “king for Human and Deryni.”

Morgan and Duncan speculate about this, and conclude that it’s not Camber. Then Morgan swears fealty to Kelson, leading the rest in that part of the ritual.

Charissa’s followers have disappeared. Everybody seems to be cheering for Kelson. Kelson finishes by stepping in the solar spotlight again, and calling Morgan and Duncan to join him.

The book ends with everybody cheering, and Kelson stepping forth to show himself to his “grateful” people.

 

And I’m Thinking: These chapters are written according to the school of stretching tension until it’s ready to snap, and then stretching it some more. And still more again.

The love of ritual goes so far over the top, even the participants lose interest. Then it turns out that the long, involved, heavily detailed bad-poetry competition is just sparring, and the real battle is a simple contest of magical strength.

Then there’s the iffiness of Morgan healing himself in the middle of it all, with no real point to it except he doesn’t want to pass out, and Duncan totally outing himself after all the fuss about his doing nothing of the sort.

Not to mention the glaring lack of any attempt at security, nothing done to find or capture Charissa’s minions—bad security forces. Bad.

But damn, what a spectacle. This would make amazing television, with the pages and pages of internal monologue condensed into a few well-crafted bits of stage business and actor-emoting, and with very heavy cutting of the poetry. Scriptwritten in Latin and reduced to a line at a time instead of a full stanza, it wouldn’t be bad at all.

For all its flaws of execution, for me, the ending works. It’s flashy, dramatic, there’s plenty of tension, and when Kelson wins, he wins with big bright neon bells on. We’ve got closure for the adventure that began with Brion’s hunt and his death, the villain has died a satisfying and final death, and we’re left with a magical mystery that looks ahead to the next book.

As a reader back in the Seventies, I read this for the characters and the rituals and the stirring adventure. Those things struck chords that made me want to write something like this. Something with a high medieval setting, and strong characters who had plenty to say and magic to conjure with.

Now, as a rereader, I’m still seeing the things that drew me to this book in the first place. I can see the wibbles and wobbles, oy at the plotholes, eyeroll at the depiction of women as universally either villains or idiots, but I still love it. It’s still my kind of book.

It even dawns on me that while my fascination with the Muslim side of the Crusades owes a great deal more to my academic background and my equestrian ditto (all that research into Arabian bloodlines led in some interesting directions), it’s possible that the Moors here, watching the duel with educated interest, made me pay just a little bit more attention to their culture and history. It’s a throwaway line, but still. Sometimes what we pick up doesn’t show its true usefulness till much later.

So now Kelson is finally crowned, his powers are fully installed, and we’re ready for the next stage of the adventure. We’ll be back next week, same time, same station, with the first installment of the reread of Deryni Checkmate.

Judith Tarr’s first novel, The Isle of Glass, a medieval fantasy that owes a great deal to Katherine Kurtz’s Deryni books, appeared in 1985. Her new novel, Forgotten Suns, a space opera, was published by Book View Café in 2015. In between, she’s written historicals and historical fantasies and epic fantasies, some of which have been reborn as ebooks from Book View Café. She has won the Crawford Award, and been a finalist for the World Fantasy Award and the Locus Award. She lives in Arizona with an assortment of cats, a blue-eyed spirit dog, and a herd of Lipizzan horses.

Five Books Where Dragons Are Put In Their Place

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DragonHunters-Manchess

Dragons may be a trope of the epic fantasy genre, but they are a trope I suspect I will never tire of. My new book, Dragon Hunters, might just have one or two of the creatures lurking within its pages.

Whenever you encounter a dragon, it’s usually the apex predator of its world. But invincible? Certainly not. There’s a quote I recall from Neil Gaiman’s Coraline (paraphrasing G.K. Chesterton) that goes: “Fairy tales are more than true: not because they tell us that dragons exist, but because they tell us that dragons can be beaten.”

In Dragon Hunters, the sea dragons are hunted for sport by a fellowship of water-mages known as the Storm Lords. That got me thinking about other fantasy books where dragons are put in their place. Here are five for your consideration. (Warning: spoilers abound!)

 

The Hobbit by JRR Tolkien

Hobbit_coverThe Hobbit is top of my list, and I imagine it will be top of a lot of other people’s, too. The scene where Bilbo talks to Smaug in the Lonely Mountain is probably my favorite in the book. Bilbo plays on Smaug’s arrogance to make the dragon roll over and reveal his chest armor. “What do you say to that?” Smaug asks. “Dazzlingly marvelous!” Bilbo replies, while at the same time noticing a large patch in the hollow of Smaug’s left breast “as bare as a snail out of its shell.”

That information will prove useful to the bowman Bard later, when Smaug attacks Lake-town. Bard is carrying with him a black arrow—an arrow that originated in the Lonely Mountain, and has been passed down to him from his ancestors. “Black arrow!” he says. “I have saved you to the last. You have never failed me and always I have recovered you.” We all know what happens next, when he shoots it at Smaug.

One thing always puzzled me, though. If Bard never missed with the black arrow, why didn’t he use it first, rather than last?

 

The Farthest Shore by Ursula Le Guin

farthest-shoreThe Farthest Shore is the final book in the Earthsea Quartet. This novel more than any other inspired my love of dragons. Le Guin describes the creatures beautifully and really captures their spirit—that elusive blend of wonder and danger. Near the start of the book, the main character, Ged, is described as the only living dragonlord, and he is asked what a dragonlord is. In reply he says: “Dragons have no masters. The question is always the same, with a dragon: will he talk with you or will he eat you? If you can count on his doing the former, and not doing the latter, why then you’re a dragonlord.”

The dragons, though, are about to meet their match. There is a striking moment in The Farthest Shore when Ged sails the Dragons’ Run, and finds that the creatures have been robbed of speech and thus “driven to the dumb terror of the beasts”. Previously, Orm Embar, the strongest of the dragons, had come to Ged to ask him for help, and admitted that the sorcerer Cob—their shared enemy—is more powerful than him. When Orm Embar finally clashes with Cob…

Well, I’ll leave you to find out what happens yourself.

 

House of Chains by Steven Erikson

house-chainsHouse of Chains is the fourth book in the Malazan series. The series features dragons galore, including one notable moment, as I recall, when it actually rains dragons. It also has my favorite dragon quote from any book: “He was not a modest man. Contemplating suicide, he summoned a dragon.”

Such is the array of powerful individuals in the Malazan world that dragons have to tread (fly?) as carefully as everyone else. As proof, in House of Chains, two characters are travelling through the Imperial Warren (think other dimension) when they take a tumble into a steeply sloped pit. They slide deep into darkness, then one of the characters summons up a magical light to reveal … a dragon crucified to an X-shaped cross as tall as a four-story building.

It’s yet another of those pick-your-jaw-off-the-floor moments that one encounters every few pages in Erikson’s books.

 

The Darkest Road by Guy Gavriel Kay

darkest-roadThe Darkest Road is the third book in the Fionavar Tapestry series. In the battle at the end, the Unraveller unleashes his dragon on the heroes, and the creature makes an impressive entrance. “The sun was bloated out, and half the sky… The armies of Light and Dark, both of them, were driven to their knees by the pounding force of the wind of the Dragon’s wings.”

It’s a great moment in the book, because one of the characters had an opportunity earlier to bind a different dragon to her service, but she refused for reasons of “her own imposed morality.” Now she understands that her decision will have a cost, because someone else on her side will have to fight the Unraveller’s dragon in its place. The sacrifice by another character that follows is one of the most poignant moments in a series that is filled with them.

 

Dragons of Winter Night by Margaret Weis and Tracy Hickman

dragons-winter-nightI read Dragons of Winter Night twenty-five years ago. As I understand it, the Dragonlance Chronicles were based on an actual campaign of the Dungeons & Dragons role-playing game, and those books got me into role-playing myself.

Towards the end of Dragons of Winter Night the protagonists are faced by three blue dragons at the vanguard of an approaching army. The dragons are demolishing the walls of the defenders’ fortress when one of the characters activates a magical dragon orb. The orb sends forth an irresistible call, drawing the dragons into a tower, where a trap awaits them similar to that used in the video RPG Skyrim. As the first dragon put its head through an arch, a modified portcullis slams down, pinning the creature in place. Then knights emerge from hiding places, armed with dragonlances.

 

What are your favorite books in which dragons have the tables turned on them? Feel free to leave a comment below.

Top image from the cover of Dragon Hunters, illustrated by Gregory Manchess.

Marc Turner was born in Toronto, Canada, but grew up in England. He graduated from Lincoln College, Oxford University, in 1996 with a BA (Hons) in Law, and subsequently worked at a top-ten law firm in London. After more than ten years in the legal profession he gave in to his lifelong writing addiction and now works full time as a writer. Dragon Hunters, the second novel in his Chronicles of the Exile series, is out tomorrow, February 9th.

Don’t Touch That Dial: Midseason TV 2016 – Comic Books

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Don't Touch That Dial midseason TV 2016 comic books Supergirl Lucifer Legends of Tomorrow

Welcome back to “Don’t Touch That Dial,” a seasonal series in which I, your friendly neighborhood television addict, break down some of the shows screaming for your attention. In the first of two very special episodes, we’re looking at new midseason premieres based on comic books—specifically, one that never heard the old adage that bigger isn’t always better (DC’s Legends of Tomorrow), one that took the complaint about network television turning everything into a procedural as a dare (Lucifer), and one that almost makes up for the lack of a Wonder Woman movie (Supergirl).


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DC’s Legends of Tomorrow

The Road So Far: A century and a half into the future, an immortal named Vandal Savage (Casper Crump) conquers the world. The family of Time Master Rip Hunter (Arthur Darvill) are murdered by Savage during the conflict, but when his guild refuses to intervene, Rip steals a ship and plots his revenge. He kidnaps a motley crew of disparate second-tier heroes and villains from The Flash and Arrow ’verses—Firestorm (Victor Garber and Franz Drameh), Atom (Brandon Routh), White Canary (Caity Lotz), Hawkgirl (Ciara Renée), Hawkman (Falk Hentschel), Heat Wave (Dominic Purcell), and Captain Cold (Wentworth Miller)—to help him take down Savage. They all have their own personal reasons for agreeing to follow Rip following Savage across the space-time continuum, but it’s their mutual desire for a team that keeps them going. (The CW, Thurs 8p)

The Good, the Bad, and the Ugly: Out of the four DC shows on TV right now (technically, Lucifer was Vertigo), it’s telling that the most far-fetched show isn’t the one with the petulant demon, alien in a miniskirt, a guy who runs really fast, or a guy who brings arrows to a gunfight. Instead, it features a scientist and mechanic who merge together to throw fire around, a resurrected spy assassin, a pair of temperature-based criminals, two reincarnated ancient Egyptians with a Horus fetish, a rogue time traveller, and a dude who saw one too many episodes of Honey, I Shrunk the Kids. Legends feels about halfway between Flash’s playfulness and Arrow’s seriousness. The plot is very comic book-y, but not in a bad way. The characters are largely able to sell the silliness as believable if not realistic.

There can never be enough White Canary ass kicking.

There can never be enough White Canary ass kicking.

Like its CW compatriots, the action set pieces are top notch. Lotz is especially thrilling to watch in her fight sequences—hell, in every sequence. She vastly out-acts everyone else on camera. Her chemistry with Miller and Purcell is a delight, blending seamlessly with Miller’s dramatic flourishes and Purcell’s gruff simplicity. White Canary has had the best scenes in each episode by a wide margin, thanks in no small part to Lotz. Darvill’s overacting borders on eye-rolling while Routh sells his lines with heart and confidence despite his raging inferiority complex. Firestorm are more interesting apart than together, something that should make for an interesting conflict down the line. A cast this large could be difficult to manage, but so far so good.

Where the show struggles isn’t in mixing and matching personalities, but in character development. The Hawks are as dull as they are mostly because the backstory on which the whole show hinges takes place almost entirely off-camera. The audience doesn’t care about their epic love story because we’ve seen hardly any of it. Rip’s in a similar state. Even though we witness Savage killing his wife and child, we have no connection to them whatsoever, so all it ends up being is useless fridging. If the writers can figure out how to grow the characters without miring them in clichés, we might actually have something decent. As it stands, it’s more mess than potential, with its most interesting elements getting sucked into the void of plot holes and dire scripting.

TL;DR: The writers of LoT learned all the wrong lessons from The Flash and Arrow. Throwing a bunch of moderately popular characters on camera doesn’t automatically make a good show.

 

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Lucifer

The Road So Far: The King of Hell (Tom Ellis) abandons his post for the wilds of Los Angeles. He’s spent the last few years indulging in casual carnalities and wasting his immortality by running a nightclub. The murder of an ingenue he once knew pushes Det. Chloe Decker (Lauren German) into his orbit, and he’s immediately fascinated. She’s the first human he’s ever met over whom he holds no sway. Normally he can entice a person to reveal their darkest desires, but Chloe is immune to his charms. Meanwhile, his brother Amenadiel (D.B. Woodside) keeps hounding him about returning to the Underworld or risk further enraging their Father. (Fox, Mon 9p)

The Good, the Bad, and the Ugly: Remember that beautiful storyline where Neil Gaiman’s Lucifer retires from ruling Hell and instead gives the key to Morpheus and it’s heartbreaking and devastating in its emotional complexity? Lucifer the TV show clearly doesn’t. This version of Lucifer would rather spend his time solving crimes with Chloe and sexing up a shrink (Rachael Harris) than behaving remotely devilish. He’s about as ferocious as Supernatural’s Crowley—all bark and PG-13 bite. So far, his most fearsome tricks are goading two criminals into trying to kill each other (spoiler: they mostly just talk about their past traumas) and putting on a scary demon face. It’s basically 45 minutes of Lucifer flirting/sexually harassing every woman he meets while Chloe investigates a case using evidence based largely on hunches and wild guesses. Every now and again Chloe’s ex-husband, Det. Dan (Kevin Alejandro), and Lucifer’s Number Two, Mazikeen (Lesley-Ann Brandt), wander into frame to say something admonishing and sarcastic but ultimately irrelevant. When they fail to distract enough, Chloe and Dan’s kid Trixie (Scarlett Estevez) says something precocious so Lucifer can demonstrate his uncomfortableness around children. Roll credits.

No show about Satan should include these expressions.

No show about Satan should include these expressions.

Lucifer is wholly derivative. It’s Castle and Grimm with more smarm and seasons 1-5 of Supernatural and Moonlight with less angst or interest. Ellis is appealing but never imposing enough to inspire demonic terror. German has one acting mode, and while it’s immensely enjoyable watching her consistently knock Lucifer off his pedestal, it leaves her wanting in the character development department. Alejandro’s Dan is so inessential his character literally has no last name. The idea that Lucifer’s time on earth is humanizing him has potential but doesn’t seem like an arc that can sustain the long haul, especially if we have to sit through endless chats about how he feels about feeling things. The entire show rests on Ellis and German’s shoulders. If you like either of them enough, you’ll probably be able to power through the case-of-the-week slog. If not, you’re better off watching just about anything else.

TL;DR: God Cop? Crime just got a new worst friend.”

 

DTTDms2016_Supergirl-cover

Supergirl

The Road So Far: As her home planet of Krypton was on the verge of implosion, Kara Zor-El (Melissa Benoist) was sent to Earth to look after her cousin Kal-El. Her ship went off-course, and by the time she finally landed, Superman no longer needed her help. Now she works in National City as an assistant at Cat Grant’s (Calista Flockhart) media conglomerate alongside her friendzoned coworker Winn (Jeremy Jordan) and James Olsen (Mehcad Brooks), photographer extraordinaire on loan from the Daily Planet. Her adoptive sister, Alex Danvers (Chyler Leigh), is an agent for the Department of Extranormal Operations, run by Hank Henshaw (David Harewood); Kara as Supergirl assists them in defeating Big Bads who threaten the planet. (CBS, Mon 8p)

The Good, the Bad, and the Ugly: Tonally, Supergirl is closer to The Adventures of Lois and Clark than any movie DC has put out in the last decade, a trait that works in its favor. The show is bright, feminist, and fun. Benoist is absolutely perfect as Kara/Supergirl, bringing an effervescent charisma that elevates everyone around her. Flockhart’s Cat started out as a flat trope, but over time she’s deepened the character with complexity and grace. In a lot of ways she’s what Kara could become if she can’t learn to balance her personal and professional (and superhero) lives, but she’s also never shamed for her choices. And in a wonderful turn of events, Supergirl inverts the rom-com subplot of pining male friends by never letting her compromise her integrity by hooking up with another woman’s man, no matter how attracted they are to each other, nor does she ever suffer at the hands of Nice Guy Winn.

Now kiss!

Now kiss!

Greg Berlanti is the driving force behind both Legends of Tomorrow and Supergirl. Interestingly enough, what Legends of Tomorrow gets right Supergirl fumbles, and vice versa. The Flash may be crossing over to Supergirl’s universe, but I’d much rather have Sarah Lance stop by and teach Kara how to throw a punch. Don’t even get me started on how stupid the flying looks. JFC, CBS. The show could also stand a few lessons on building an effective series arc. The whole thing with Astra fell flat through poor pacing and a lack of focus, and now it looks like it’s happening again with J’onn J’onzz. If Supergirl’s stunts were even half as rich as their characters, we’d have one hell of a show.

TL;DR: Did Jessica Jones get you all jazzed up for badass female friendships and diverse casts? If so, then Supergirl has you covered.

Alex Brown is an archivist, research librarian, writer, geeknerdloserweirdo, and all-around pop culture obsessive who watches entirely too much TV. Keep up with her every move on Twitter and Instagram, or get lost in the rabbit warren of ships and fandoms on her Tumblr.


And Again Sweepstakes!

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And Again Jessica Chiarella sweepstakes

We want to send you a signed copy of Jessica Chiarella’s And Again, available now from Touchstone Books!

Would you live your life differently if you were given a second chance? Hannah, David, Connie, and Linda—four terminally ill patients—have been selected for the SUBlife pilot program, which will grant them brand-new, genetically perfect bodies that are exact copies of their former selves—without a single imperfection. Blemishes, scars, freckles, and wrinkles have all disappeared, their fingerprints are different, their vision is impeccable, and most importantly, their illnesses have been cured.

But the fresh start they’ve been given is anything but perfect. Without their old bodies, their new physical identities have been lost. Hannah, an artistic prodigy, has to relearn how to hold a brush; David, a Congressman, grapples with his old habits; Connie, an actress whose stunning looks are restored after a protracted illness, tries to navigate an industry obsessed with physical beauty; and Linda, who spent eight years paralyzed after a car accident, now struggles to reconnect with a family that seems to have built a new life without her. As each tries to re-enter their previous lives and relationships they are faced with the question: how much of your identity rests not just in your mind, but in your heart, your body?

Comment in the post to enter!

NO PURCHASE NECESSARY TO ENTER OR WIN. A purchase does not improve your chances of winning. Sweepstakes open to legal residents of 50 United States and D.C., and Canada (excluding Quebec). To enter, comment on this post beginning at 1:30 PM Eastern Time (ET) on February 8th. Sweepstakes ends at 12:00 PM ET on February 12th. Void outside the United States and Canada and where prohibited by law. Please see full details and official rules here. Sponsor: Tor.com, 175 Fifth Ave., New York, NY 10010.

The Hero Haven Deserves: Take A Thief

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Take A Thief

The Valdemar Reread has had a lot to say about Skif. I loved him when he was Talia’s fearless wall-climbing friend, and when he showed Elspeth how to throw a knife. I wasn’t so sure about his darker, whinier side in the Winds trilogy. Skif’s story has some mysterious gaps. Take a Thief offers the missing pieces to the Skif puzzle by laying out the parts of Skif’s childhood that had, until this point, been shrouded in mystery.

Skif had two songs in the collection that appeared at the end of Arrow’s Fall – “Philosophy” and “Laws.” The first of these explains Skif’s irreverent approach to life, and the second implies a dark contrast between life for impoverished urchins in Valdemar and Heraldic idealism. While Lackey preserves the veracity of both songs, Skif’s trajectory in Take a Thief bends toward “Laws.” The Skif we see here isn’t averse to crossing thin ice in a dance, but he’s wrestling with some pretty heavy stuff.

Trigger warning for sexual abuse of children.

Take a Thief was published in 2001, roughly 10 years after Winds of Fate, and 14 years after Arrows of the Queen. The story is set in the years before Talia’s Choosing. It’s sometimes considered part of the Exile trilogy which features Alberich, and Alberich does play a pivotal role here, continuing his work as a spy for the Queen. Reading those books may or may not enhance your enjoyment of this one, depending on your feelings about Herald-Chronicler Myste, Valdemaran plumbing, Karse, and weird Baby Jesus subplots. I consider the Alberich books interesting but not mandatory as prerequisites to Thief.

Snippets of Skif’s backstory were well-established canon before this novel appeared. We knew Skif had a dark past in the slums of Haven, a place he refused to take Talia to visit. We knew he was an accomplished pickpocket and cat-burglar, and that he tried to steal his Companion. We knew that he had some experience with women who had survived rape and sexual abuse on the streets of Haven. Everything we’ve ever known about Skif remains true. What Thief makes clear is that we didn’t know very much.

Skif’s childhood is a case study of Valdemar’s intractable social problems. The kingdom’s public education system, established by King Randale in the time of Vanyel, roughly 700 years prior to Skif’s birth, provides children with rudimentary instruction in reading and math. This program was intended to intended to create a more informed populace, less susceptible to rumors and misinformation which, I presume, they would read about in all the newspapers that Valdemar has never printed. In the reign of Selenay, elementary education is augmented with a school nutrition program that provides students with a daily mug of tea, and a bacon roll or piece of fruit – about 200 calories per school day. What these programs do not provide is a path to employment in the skilled trades. Or in the unskilled trades. Or in any legal occupation.

While attending school, Skif, an orphan, lived and worked at his uncle’s inn. This is not the kind of establishment where Heralds drop in to have a meal and hand out tax breaks. The food is, at best, a half-step up from pig swill. Skif’s adult cousin, the inn’s manager, repeatedly rapes another of the inn’s workers, an intellectually disabled child. Skif learned early that if he wanted a decent meal, he would have to steal one elsewhere, and was out with his street gang when his cousin was arrested and the inn transferred to new ownership as a result of a legal judgment.

The criminals Skif has fallen in with are comparatively benign. Together with their leader, a Karsite veteran who lost both legs in the Tedrel Wars, they are a crack team of napkin-stealing street urchins. Reselling stolen napkins involves a lot of laundering and dying, and I’m not certain why this group doesn’t deploy their skills and laundry equipment as a legitimate business. Haven’s guilds may be exerting excessive monopolistic pressure in these sectors of the urban economy. The income provided by black market napkins is supplemented by picking pockets and stealing jewelry. The death of Skif’s mentor and two younger boys, a result of a suspicious fire, triggers a period of vigilantism. Skif is like a young, low-budget Batman, stalking Haven’s nights. This brings him into contact with Alberich, who is the older, more effective Batman, also stalking Haven’s nights.

By the time Skif is Chosen, he finds himself torn between his Companion and his desire for revenge. Ultimately, Skif and Alberich resolve this tension by involving Skif in an effort to stop a human trafficking ring that is kidnapping children in Haven and enslaving them as prostitutes outside Valdemar’s borders. These are the child slavers referred to in the first Council meetings Talia attends in the Arrows books, and I’m confident that this is one of Orthallen’s projects.

Take a Thief accounts for Skif’s “personality change” in the Winds trilogy by suggesting that Skif’s personality has always been a performance. Skif and Alberich invented the carefree prankster who picks pockets to hide the spy who climbs through upper-story windows. This places Skif much more firmly in Alberich’s orbit than he appeared to be in earlier books. Skif’s Companion, Cymry, is another important reflection of his true self. She encourages Skif in taking risks, assuring him that she will find ways to help him if his plans go wrong.

Although I don’t always appreciate DarkSkif, I do appreciate Lackey’s exploration of the consequences of Valdemar’s problems. Haven’s street children are an eclectic and impressive group. Over the course of the Valdemar series, their number has included one of Savil’s proteges, at least one other Herald Mage, Vanyel’s lifebonded lover Stephen, Mags’s ragtag band of young spies, and a seemingly infinite number of abused, neglected and exploited children. In return for their centuries of suffering, Take a Thief gives them two part-time heroes. They deserve a revolution. Although the Herald Spy books are comparatively ancient history (and sometimes frustrating to read) they have laid the groundwork for the idea of political unrest in Valdemar. I would love to see Lackey return to Selenay’s time and bring these themes together.

Ellen Cheeseman-Meyer teaches history and reads a lot.

Return of the Reaper: Morning Star by Pierce Brown

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Morning-Star-by-Pierce-Brown

Pierce Brown has several times cited Star Wars—specifically the original trilogy—as a influence of no small significance on the fan-favourite series Morning Star completes, and it’s fair to say the pair share a double helix here and a structural strand there.

Like A New Hope before it, Red Rising introduced an almost recognisable galaxy ruled by an evil empire; an evil empire whose merciless machinations gave the saga’s protagonist—here, the Helldiver Darrow—a very personal reason to rebel against said. It was a bloody good book, to be sure, but as nothing next to Golden Son, which scaled up the conflict and the cast of characters introduced in Red Rising marvelously, in much the same way The Empire Strikes Back improved in every conceivable sense on its predecessor. It also ended with a catastrophic cliffhanger… which we’ll get back to.

In short, it shouldn’t be such a surprise that the pattern which held true in books one and two of Brown’s breakthrough also applies to the conclusion. For better or for worse, Morning Star is this trilogy’s Return of the Jedi—though there are, thankfully, no Ewok equivalents in evidence.

The end begins with Darrow locked in a box. Time, to wit, has lost all meaning to the Reaper, but he’s been in this almost-but-not-quite-carbonite contraption for nearly a year. In the process the young man who freed Mars has lost much of his mind, and all of the carefully-carved body that helped him pass for a Gold in the colour-coordinated caste hierarchy of the sinister Society. He’s so far gone, in fact, that he’s seriously considering killing himself when a duo of deeply-embedded rebels finally spring him from the Jackal’s base of operations.

Darrow may be back in play from this point on, but Brown is smart not to simply dismiss Golden Son‘s devastating denouement. The Reaper, returned, is no longer a leader. He has to be carved all over again, and retrained as if here were a new recruit to the cause. “Like a prisoner who spend his whole life digging through the wall, only to break through and find he’s dug into another cell,” he feels beaten, defeated—which is understandable, because he was. He’s become “a shivering fallen warlord staring down at a darkened city, hoping against everything that he can go home.”

Sevro, who has run the Sons of Ares since Darrow’s disappearance, gives him the chance to do exactly that, in an attempt to remind his devastated friend what he’s sacrificed so much for—and though the visit does reinvigorate him, when he sees what has become of the thousands he helped free previously, it also redoubles Darrow’s deepest doubts:

In my youth, I thought I would destroy the Society. Dismantle its customs. Shatter the chains and something new and beautiful would simply grow from the ashes. That’s not how the world works.

Basically, if you break it, you buy it, which is to say if, in the unlikely event that the Sons are able to bring down the corrupt infrastructure that all the same safeguards the lives of billions of innocents, they had better have something fairer to put in its place.

In addition to dashing Darrow’s character with a more sophisticated conflict than those he’s put to bed before, the prospect of this colossal problem underlies the entirety of Morning Star‘s narrative, grounding and giving deeper meaning to what could otherwise have come across as a succession of set-pieces in service of “one of the greatest military victories in modern history”—and that’s just a prelude, readers.

In the meantime, Morning Star gives Sevro, the Han Solo of Brown’s books, and Mustang—Leia to Darrow’s Luke—markedly more memorable roles than either has had before, in large part because although the cast is still vast, there’ve been quite a few casualties over the course of the series so far, and with fewer faces, those that remain come into finer focus. Unfortunately, this leads to new additions like Holiday—one of the undercover Sons who saved Darrow from the Jackal at the start—looking undercooked.

Morning Star slightly misses the mark in several other respects as well. It’s surprisingly slow to start, to the extent that you get the sense Brown wrote himself into something of a corner in the last bit of book two. Add to that the fact that it’s practically impenetrable. Not only need new readers not apply, but unless you’re coming straight from Golden Son, a lengthy refresher session with said text is necessary.

And there are, at the last, too few of “the fragile moments that hang crystalline in time and make life worth living” that Darrow imagines before the final fight. Indeed, Brown seems ill-at-ease with scenes that fail to feature either an explosion or a betrayal, though he really needn’t be, as in practice these pauses are among the most precious components of the whole story.

But you won’t catch me complaining about the kick-ass action that serves to draw the trilogy’s many threads together instead. Between the high-pitched hum of the razors our heroes wield and the subsonic thumping of the opposition’s PulseFists, the impactful battles that make up most of Morning Star are damn near operatic.

Morning Star mightn’t be the revelation its incredible predecessor represented, but as an ending, it absolutely satisfies. Our central characters arrive at a destination that seems, in retrospect, inevitable, and there, a situation that’s been building since the very beginning of what has been an exhilarating trilogy is roundly resolved. And the Red Rising series, I’ll say, does diverge from the landmark movies that have been such an influence on it in at least one key respect: come the conclusion, there isn’t a silly song in sight.

Morning Star is available now from Del Rey.

Niall Alexander is an extra-curricular English teacher who reads and writes about all things weird and wonderful for The Speculative Scotsman, Strange Horizons, and Tor.com. He lives with about a bazillion books, his better half and a certain sleekit wee beastie in the central belt of bonnie Scotland.

This is How it Feels to Read Cixin Liu’s The Dark Forest

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Waterdrop Ren Wang The Dark Forest Cixin Liu

Cixin Liu’s epic “Three-Body Problem” science fiction trilogy is a mind-expanding read. It has to be, in order to prepare you for the first contact that occurs between humanity and the Trisolaran people.

But even then, words fail. Filmmaker Ren Wang felt the same, and assembled “Waterdrop,” a short tribute that captures the aural, visual, scientific, and historical weight behind this moment from Cixin Liu’s The Dark Forest, depicting how everything we know, everything we can perceive, can become but a shadow cast by the light of an alien intelligence.

Watch…and listen…to Ren Wang’s “Waterdrop.” (Don’t worry. The film doesn’t spoil any of the plot from the book.)

W A T E R D R O P from Ren Wang on Vimeo.

The Cavalier Fantasies of Frank Frazetta

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Portrait by David A. Johnson

Fantasy art existed long before his birth in 1928 and has certainly continued to flourish since his passing in 2010, but it’s safe to say that few illustrators have had such an influence and emotional impact on the field as Frank Frazetta.

Today, on what would have been his 88th birthday, I’d like to look back on Frazetta’s background and how such a unique person influenced fantasy art forever.

Encouraged by his grandmother and raised on a steady diet of Edgar Rice Burroughs’ Tarzan novels, adventure serials, and multiple viewings of the original King Kong film, Frazetta started drawing from an early age.

Enrolled for weekend classes at Michele Falanga’s one-room Brooklyn Academy of Fine Art at the age of 8 (his only formal training), he was eventually introduced to pulp/comics artist John Giunta and became his apprentice as a teenager. From there he went on to work for a variety of comics studios, eventually graduating from cleaning up other artist’s pages, erasing pencil lines and ruling borders, to drawing his own noteworthy stories and covers for Standard, DC, ME, and EC Comics.

Frazetta’s style was an amalgam of his many youthful influences: a dash of Milton Caniff, a dollop of Graham Ingels, a sprinkling of Al Capp (whom Frank worked for as a ghost on the “Li’l Abner” strip), and a huge scoop of Hal Foster all went into his stew. What emerged was something both exciting and unique. Roy Krenkel encouraged Frazetta to switch from ink and watercolor to oils and helped him secure his first jobs painting magazine and paperback covers (Creepy for Warren Publishing and a variety of Burroughs titles for Ace). A parody ad for Mad featuring a caricature of Ringo Starr (“Blecch Shampoo”) led to some lucrative movie poster jobs, but it was his paintings for the Conan series for Lancer Books that propelled him to the front ranks of fantasy artists. The mid-1960s through the mid-’70s were Frank’s prime years and he produced a small but compelling body of work that continues to resonate today. Profiled in Esquire magazine, featured on the cover of American Artist, the subject of a series of bestselling collections from Peacock Press, and the coproducer of an animated film inspired by his art (Fire and Ice, 1983), Frank’s successes opened the door for other fantasy illustrators following in his wake.

The contradiction is that Frazetta never really did think like an artist: to him it was simply something he could do rather easily and earn a nice paycheck in the process. As an illustrator his body of work is relatively small when compared to his contemporaries, perhaps 300 or so paintings over the course of a 50+ year career. Frank was much more content playing baseball or golf or chasing women than he was sitting at the easel. The mantle of “painter” or “fine artist” was something others wrapped around his shoulders years after he was largely retired, way-laid by a host of health problems that began in the early 1980s. Though he enjoyed the compliments and played along with the conversations, art wasn’t a “calling” to Frank as much as it was a “job.” One to be done quickly to put money in the bank so he could have the time to do the things he was really interested in doing—and painting wasn’t one of them.

Maybe it’s that attitude—a combination of short-term intense focus and swagger followed by casual, almost cavalier disinterest—that helps explain Frazetta’s importance and why his art remains so popular (and, in some cases, commands over a million dollars when sold). It’s true that he had a formula and rarely deviated  from a single plane perspective with triangular composition in his paintings—and, if analyzed academically, there are fair criticisms that can made about proportion, anatomy, and finish. But it is also true that there is a heightened sense of drama that is cathartic, a brash enthusiasm and honesty that is affecting, inimitable, and ultimately unforgettable. Perhaps Ray Bradbury said it best when describing the mystique that grew up around him: “Young boys would like to look like his heroes or, failing that, draw and shape dreams as well as Frazetta does.”

That desire doesn’t really diminish with age.

Originally published February 9, 2013 on Tor.com.

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