Here are a selection of photos I took on this week’s trip to the zoo. Slowly I am getting more proficient with my DSLR camera.
Zoo Photos May 12 2019
Author Archives: Bob Evans
A Really Good Book: Delta V by Daniel Suarez
As I have stated before this blog is not a book review site. When I read a novel that doesn’t work for me, is flawed, or just fails to achieve takeoff speed I am not going to mention it here. However if I get my hands on a book that really works, which really sings you’ll hear about it and Delta-V by Daniel Suarez is just such a novel.
Set in the very close year of 2033 Delta-Vis the story of humanity’s first attempt to mine precious resources from a near Earth asteroid. 
Most people think of asteroid mining as something that would take place between the orbits of Mars and Jupiter where the main asteroid belt resides but a number asteroids also orbit much closer, even occasionally cross the Earth’s orbit with potentially catastrophic consequences. The protagonist of the story is James Tighe, a cave diving adventurer who, after surviving a terrifying disaster while on a deep under ground cave dive, is recruited by mysterious billionaire Nathan Joyce as a potential member of the first asteroid mining crew. Joyce, an entirely fictional character, is part of the New Space contingent of billionaire including ones who made fortunes in robotics/Artificial Intelligences, reusable rockets, and Internet based commerce. (You can decide for yourself who these characters are possibly analogs of in our real world.) As the training and mission unfold it becomes clear that Joyce hasn’t told anyone the full scope and audacity of his plan and his lies, short cuts, and mania turn out to endanger the lives of everyone involved.
Delta-V is a novel heavy on the technical aspects and for some that will prove to be too dry of a narrative to endure but for devotes of ‘hard sf’ this novel will be catnip. Suarez has worked out the launch windows, the delta-v for his transfers and journeys, and the climax of the novel is an amazing meld of engineering and trying emotional decisions for the characters. Though hardly a massive tome, the story if packed with a number of fascinating and believable characters and could easily be adapted into a limited run series if someone wanted to pony up the funds for a production that would be as challenging as this one promises.
Over all I really loved this book and I can’t recommend it enough.
Avengers: Endgame – The Second Viewing
Because I had a routine eye exam slated for Tuesday it made sense to take a day off from the day-job and that allowed me to go se a later night showing of Avengers: Endgame.
The movie works just as well on a second viewing as it did on my first. Though I did have a free large soda and popcorn, due to this being my birthday month and that’s an additional perk from the AMC A-List subscription, I still did not leave the sheening for a restroom break.
The timing of the screenings Monday night meant I attended a 3-D showing of the movie. While the 3-d effect was for the most part well done it was not effective. The Russo brothers shot the film for 2D and nothing in the framing or shot set-ups made the 3D effect any more important to the narrative. As it was shot on 2D that also means that the 3D version is a retro scan created by digital means and while it did not suffer from the sort of glaring errors other movies had presented, yes I am looking at you Clash of the Titans where an actors hair was in a different focal plane than the actor, not all of the 3D shot in Endgamewere flawless. In a number of shots actors in deeper focal planes looked as though they had been composted into the scene. There is absolutely no need to see this film in 3D.
Overall though I had a great time, even if I did get back home around one a.m.
Sunday Shudder: The Car
For my Sunday night movie I decided to take a chance on one of those bizarro horror movies from the 1970s, The Car.Now if you did not know the 1970s were a very odd time for Hollywood and the global film industry. Between the collapse of the classic studios system but before the rise of the mega-corporation analytic and franchise driven system of today there existed a brief window where personal auteur driven films were produced such classics as American Graffiti, The God Father,and Taxi Driver all hail from this unique era of motion picture production. After the success of 
Rosemary’s Babyand The Exorcist the public also seemed tohave developed a taste for demon and evil oriented horror. So in 1977, the same year as Star Warsand two years following Jaws, the film that created the summer blockbuster, Americans were treated to the unique cinematic experience that is The Car.
Set in a remote small town/county in Utah The Caris the story of Wade, a sheriff’s deputy, divorced dad, and general all around good guy dealing with the mysterious murderous motorcar rampaging along the deserted desert roadways. The car, a black two door without any branding, no doubt no automobile manufacturer wished to be associated with such implied carnage, spends the moving mowing down random cyclists, hitchhikers, and lawmen. The film has a number of subplots, Luke the deputy with a drinking problem, Amos the despised abusive husband and general contractor, the old flame relationship between the county sheriff and Amos’ suffering spouse, but none of these are brought to any sort of resolution and as ‘color’ they fail to bring the story any sense of verisimilitude. The car itself looks fantastic, its lack of trademarks or hood emblems, along with the missing door handled gives it a sinister outline that suggests something not crafted by nor intended for human hands. The sequences of roadway violence of tame, even by the standard of late 70s film production and so the film is almost entirely bloodless, perhaps a major detraction to todays audiences. The cast gamely tried to play the scenes and the outlandish plot straight but hampered by a script that is neither bad enough to be enjoyable as a guilty pleasure not skilled enough to generate characters of depth the movie languishes in the mediocre middle ground that will reduced in audience’s memories to a few scenes and set-piece gags.
Most horror films fall into one of two broad categories, an evil with agency and therefore motivation, goals that the evil needs to achieve and ones where the evil represents a random, chaotic, and ultimately nihilistic universe. The Car could not settle on either and thematically ended up as a muddled mess. The demonic car possessed enough agency to hold grudges and make plans, and yet there was no goal, no explanation for why this evil emerged on this rural community.
Over all the film was perfectly fine for a late Sunday night movie but not worthy of repeat viewings.
Three Weeks
For three weeks now I have been following the weight watchers diet. The change was prompted because I had reached a new record weight and that was not a good thing. With the years passing under me plus the pressure on my joints already suffering from arthritis returning to a more modest weight seemed imperative and yet previous diets had proved to be too difficult to maintain. A writer friend of mine after facing a life threatening health crisis had used Weight Watcher to great effect and it seemed reasonable to give it a go.
It is by far the easiest weight management diet I have attempted. All of my empty calorie junk food snacks have been replaced with fruit and my regular meals are for the most part untouched. (Can you tell my problem was really junk food?) I can still have a burrito once a week and a nice lunch out with my sweetie-wife on our Sundays out.
At the two-week mark I had lost, at least according to our home scale, 13 pounds and I am not suffering from hunger and dreadful late night temptations.
I am not selling this. You do what is right for you, for me but this looks like it may actually work.
Stupidity at WinterFell
Do Not Read if you haven’t seen episode 3, The Long Night, from season 8 of Game of Thrones.
The big battle for Winterfell between the living and the dead is over and all I can say is that on both side the commanders had no clue how to deploy and utilize their forces and the results are purely the invention of writers with no appreciation for military science. The episode had lots and lots of lovely actions, character scenes, and moments meant to inspire but the grad shape of things were horrid and damaging to any conception of our heroes as capable leaders.
The Dothraki are light cavalry and not the sort o force you send headlong into an enemy formation. (That would be heavy cavalry, you know knight in shinning armor and so on.) Their slaughter was wasteful and could only be ordered by a leader who cared nothing for the lives under their command. Positioning a massive infantry force *outside* of the castles walls to meet a much larger force is foolish, almost but not quite, as stupid as sending your light cavalry in a frontal assault. The whole point of the fortification is that you stay behind the high walls and rain death down on those poor bastards who have to climb them to get to you, particularly if you are outnumbered. If you have something in your possession that the enemy needs to claim victory, a crown, a location, a young man who speaks in mysterious phrases, you do not place your most powerful forces distant from the enemy’s objective. At night. With no method of communication between the prize and those forces.
So how should have the defenders of WinterFell have set out their battle plans?
One: The trenches of fire was a great idea, more of those so you can create ‘kill boxes’ to trap enemy forces that can be burned down by dragons or catapult fire. Concentric rings surrounding Winterfell that would break up the enemy forces. All infantry should be inside the castle defending it from the walls keeping the dead out. It helps that the dead do no have siege engines and towers. The Dothraki out on the wings of the battlefield, armed with dragon-glass arrows. Not to attack the main body of the enemy forces, but to exploit with their fast movement any opportunity to take enemy sub-commanders, the white walkers, and neutralize much larger factions of the dead that way. The two dragons stay close to Winterfell and victory conditions, Bran. They supply close air support burning the army of the dead as the fire trenches trap them. They stay together so that if countered by the enemy dragon they have a 2 to 1 advantage.
So how would all this go wrong for the heroes creating a mood that they are going to lose?
First off the fire trenches have a more limited utility, as the dead are willing to create those corpse bridges allowing more of the enemy to reach the walls. Next, the Night King uses his air power to strafe the battlements, forcing the two dragons riders near Bran to abandon their positions, opening Bran for assault by white walkers. Once the Night King has drawn off the dragon riders and sent the best warrior scrambling for the Gods Wood to defend Bran he circles back and uses his air power to lift and drop troops behind the wall. They’re dead can be deployed in a manner no living person can use. Just drop from as you swoop over the interior court. The white walkers ‘retreat’ from Bran, drawing out fighters armed with the magic steel that can kill them leaving bran with only a token defending force. Air combat can give you the same results of separating the dragon riders as the episode did. Now the night king uses his dragon to breach the walls, as he did The Wall, sending massive forces into Winterfell. Jon is forced to defend the interior court, seeking the night king, but get bottled up by forces there, leaving the night king free to move against Bran leaving our favorite girl to win the day.
See, it didn’t have to be stupid.
Shudder Review: Alena
Recently when I discovered the movie available on Shudder I re-watched with a friend of mine this marvelous Swedish ghost story. I encountered this movie the first time I attended the Horrible Imaginings Film Festival and it blew me away as the best film of that year. It was presented as part of the LGQT block of films. Repeated viewings have not dimmed my appreciation of it’s characters, story, or production.
Adapted from a Swedish graphic novel of the same title Alena is the story of a teenaged girl, Alena, when she transfers from a public school with a poor reputation to an elite all-girl private school. Immediately classed as a social outcast by Filippa and her closed 
clique of popular girls but befriended, and more, by iconoclast Fabienne Alena desperately tried to fit in and find a life for herself at the school and on its lacrosse team. Though not a student at the school Alena is also close with Josefin, a close friend from her life on the wrong side of the tracks. Filippa, who still carries a torch for Fabienne, orchestrates severe harassment against Alena prompting the film’s transition from high school drama to horror culminating in Alena confronting her past and the truth she has fled from.
Stylish, atmospheric, and moody, Alena is a movie that knows the power of suggestion, the impact of the unseen, and also when to bring out the blood shocking and horrifying the viewing with its brutal and sudden appearance. The violence, both physical and sexual, are handled well enough that this move never slips over into exploitation or titillation keeping its viewpoint firmly grounded the reality of the characters and their lives despite ultimately being a story of the supernatural. While the ghost in this movie exists and have direct influence on characters and events it also stands in as a metaphor for the pasts we try to bury, for the responsibilities we attempt to deny, and the harm we carry forward with us from out past traumas. Alena’s biggest flaws is that there are times here and there that the subtitling, this film’s dialog is entirely in Swedish, is occasionally off and needed at least one more pass from a native English speaker. That said this is a movie I highly recommend, and it is currently available on Shudder and Amazon Prime video.v
Movie Review: Avengers: Endgame
This review will be spoiler free using only information that viewers of previous Marvel Cinematic Universe films, particularly Avengers: Infinity War are aware of.
When I reviewed Infinity War I said that I had to withhold final judgment on that film as it presented only the first half of a story and it would not be until the next film presented a conclusion that I could 
have an informed opinion about its artistic merits. Taken together the two movies give us a five hour plus ending chapter for the first decade of the gran experiment, the MCU, that started with Iron Man and surprisingly it pays off.
Endgame opens shortly after the Avengers shattering defeat at the fingers of Thanos that resulted in the sudden obliteration of half of all life in the universe. Faced with their failure and wracked with the guilt both as heroes who were unable to stop the mass slaughter and as survivors the Avengers and the other surviving superheroes deal with, and in some cases in manners that are quite unhealthy, the various phases, stages, and, manifestations of grief. Eventually a plan is hatched and the second act of the film launches out beloved characters into action that is meaningful to each character on a personal level, advances their goal of trying to salvage something from the wreckage of the universe, and pays services to nearly every previous movie in this amazing franchise. This complicated, and at times emotionally devastating act takes it time deepening character and giving us even more to grieve and to love in their journeys before opening on a third act and massive set piece battle — it is not a spoiler to say that a *superhero* film ends with a third act battle — that dwarfs anything achieved by any MCU feature. Endgame concludes with denouement that provides closure on the storyline that require it and revealing the path forward for the massive cinematic juggernaut.
Leading up to the film’s release much ink and discussion revolved around the feature’s three hour running time but in my opinion the writers and directors earned their massive size. Endgame does not suffer from bloat, it juggles a dizzying number of plot lines each with several characters to manage and that’s before you reach the third act that features the intersection and conclusion of all those narrative arcs and plots. A massive project unlikely to be equaled for another decade Avengers: Endgame delivers the good to a fan base that Marvel Studios have been building ever since that rolled the dice on a B-level hero with an actor that many had thought had ruined his career to create not only a wildly successful franchise but a culture defining series of stories and characters that will be with us and inspire us for decades to come. If you are fan of this experiment in long form saga storytelling that Marvel has given us do not miss Endgame, this is not one to wait for home video.
Nailing the Ending
For me endings are where the meaning and themes of the story come together into a synergistic whole. The point if the story, be it a film or prose, usually lies in how that tale concludes and this places an especially important weight on getting your endings correct.
Here I am not talking about how the plot resolves, but rather the character beat that wraps up the transformation, for good or for ill, that was the protagonist’s journey.
In 1987’s Robocop the film originally ended with one final news break segment that let the audience know that Murphy’s partner, Lewis, not only survived the film but had not been transform into a cyborg as Murphy had but once the filmmakers watched the final confrontation and it’s final line ‘Murphy’ they knew that beat ended the movie, there was no story after he reclaimed his humanity.
2008’s Iron Man went through a similar edit. The script ended with Tony Stark coming home and having his meeting with Nick Fury and the hint of further adventures to come with ‘the Avengers’ imitative. However just as with Robocop the director found that his story had ended with the line ‘I am Iron Man.’ Unlike Robocop Iron Mancarried the weight of teasing the wider Marvel Cinematic Universe and the Nick Fury scene could not be discarded and the Marvel Post Credit Sequence tradition was born. Marvel did not invent this, before Iron Mancame along these were called buttons and the occasional film make tossed them in a treat for audiences that sat through the entire end credit sequence. (Pirates of the Caribbean: Curse of the Black Pearlhad on with the monkey Jack grabbing a curse coin.)
I know that when I was editing my novel that comes out next year I discovered that I had done a similar thing. From the start I had a particular line that I wanted to end the book on and yet as I edited I discovered my story ended half a page ahead of my beautiful sentence. I killed my darling and the book ends where it needs to, or at least how it looks to me.
It is reported that Avengers: Endgame has no post credit sequence because the movie acts as the thematic end for the current cycle of the MCU films. I will see Endgame this Sunday morning, the traditional times that my sweetie-wife and I go together to the movies, and I hope hoping that not only do they give me a satisfying ending to the Infinity War saga but also to the unique 22 film experiment that is the birth of the MCU.
Poison or Protect: or Doing Sex Scenes Correctly
As I have said before my blog is not a book review site. Because of the rather small community of editors and writers I do think it is a conflict of interest to pretend to be objective concerning an industry that I participate in. That means when I discuss a book it is because I liked it and I thought it delivered well on some aspect and such is the case with Poison or Protect a romantic novella set in the Parasol Protectorate setting by Gail Carriger. (Full disclosure Gail has been a friend for many years but that is not why I am here to praise her work with this piece.)
Poison or Protect concerns a mountain of a man Gavin, a retired military man, a Scot, whose has been dispatched to protect a politician from a potential assassination who suddenly finds himself overwhelmingly attracted to Preshea a woman who has left such a trail of dead husbands in her wake that she has been dubbed ‘The 
Mourning Star’ and who may be the very assassin. Preshea has been sent to the country house by other political powers with additional agendas and finds herself off balanced by the impressive Scotsman. This is a lighthearted roman with serious emotional undertones and more than one Hard R rated sex scene. The humor fires on all cylinders with engaging and memorable characters but I want to focus on the sex scenes.
I am one of those writers that tends to close the discreetly on my character’s sexual adventures but that is not from prudishness but rather my philosophy about writing in general. A scene should do one or more things, further plot, reveal character, establish mood or perform world-building, and ideally a scene does several of these things at once and most sex scenes are usually just that, the characters having their fun. What Gail performs admirably in this novella is that not only do the sex scenes reveal essential character elements for both Gavin and Preshea, the exact nature of the sex, the advances and retreats all give us a much fuller understanding of the characters than any other scene could have hoped to achieve. Not only does her sex scenes reveal character it is very difficult to imagine a more elegant way to reveal these very aspect, making Gail’s sex scenes critical elements that are unable to be excised from the text without destroying the fabric of the tale. The sex scenes are not ‘fan service’ but rather the emotional heart of the story and a perfect example of how to craft character illuminative sequences.