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The World SF Blog — One Year Later

By the time this post goes up — at least in my part of the world — it will exactly be a year since the World SF Blog was retired. Its success, in my opinion, lies in the hands of the editor-in-chief of the site, Lavie Tidhar, and the efforts of the various contributors (the list would be too long…) from around the world. The Apex Book of World SF 3 has also been announced, so June is a special month for me (and because I had nothing to do with the anthology, I can read it with surprise and delight). Before I digress, I want to point out that the more I pondered the issue of World SF, the more I discovered how the term was problematic (which Is discussed in my essay “World SF: Our Possible Future”). Here’s the thing:  no one owns or speaks for World SF. It’s too broad, too all encompassing, and it’s often defined by what it isn’t. It’s a reaction to the current status quo, of major publishers publishing books by US and UK authors, and those books becoming the canon in various parts of the world. It’s to rebel against cultural appropriation, to combat cultural stereotypes, and most of all, to not do a disservice to readers of various races, ethnicities, and backgrounds.

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Geekomancer Under Glass – Marvel’s Transmedia Gambit

(No, not that Gambit, Shaun :P.) Spoilers for Marvel’s Agents of SHIELD and Captain America: The Winter Soldier ahead.) When Marvel’s Agents of SHIELD was announced, there was excitement, there was wariness, and everything in-between. An ongoing TV show as a tie-in to a powerful superhero franchise? This was something new, something different. There have been TV->film->TV movements, from La Femme Nikita to Star Trek, Star Wars, and more. The Matrix universe delved deep into transmedia storytelling, with animated shorts, video games, and comics. But Agents of SHIELD was something different — clearly designed as a bridge between movies, the show started weak. Really weak. The pilot episode showed some promise, with Clark Gregg as a compelling lead and Mike Peterson giving a voice to an interesting thematic question (is the American Dream a lie?).

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#23. Edge of Tomorrow (2014) — A Shoot the WISB Subcast w/ Rachael Acks

http://media.blubrry.com/skiffyandfanty/dts.podtrac.com/redirect.mp3/archive.org/download/ShootTheWISB23EdgeOfTomorrow2014/Shoot%20the%20WISB%20%2323%20–%20Edge%20of%20Tomorrow%20%282014%29.mp3Podcast: Play in new window | DownloadSubscribe: Apple Podcasts | Spotify | Android | iHeartRadio | Podchaser | Podcast Index | Email | TuneIn | Deezer | RSSExoskeletons, Tom Cruise dying-in-movie fantasies, and alien time loopers, oh my!  Shaun, David, Paul, and Mike are joined by Rachael Acks (AGAIN) to take on the brand new Tom Cruise and Emily Blunt vehicle, Edge of Tomorrow (adapted from Hiroshi Sakurazaka’s All You Need is Kill).  A little death never hurt anybody! We hope you enjoy the episode! Spoiler Alert:  the following podcast contains spoilers for the film being reviewed; if you wish to see the film without having it ruined for you, download this podcast and save it for later. Download the episode here. [audio http://archive.org/download/ShootTheWISB23EdgeOfTomorrow2014/Shoot%20the%20WISB%20%2323%20–%20Edge%20of%20Tomorrow%20%282014%29.mp3] Show notes (info about our contributors can be found on the about page): Edge of Tomorrow (2014) (IMDB) All You Need is Kill by Hiroshi Sakurazaka (Haikasoru) Rachael’s Website Rachael’s Edge of Tomorrow Post Rachael’s Twitter Mike’s new book:  Shield and Crocus (BUY IT) Paul’s Review of Shield and Crocus at SF Signal Comment away!

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Film Review: The Extraordinary Adventures of Adèle Blanc-Sec (2010) — A (World) SFF Film Odyssey

Readers may be familiar with director Luc Besson’s previous work, which includes the excellent films like The Fifth Element (1997), Leon the Professional (1994; featuring a quite young Natalie Portman), or the lesser-known, but personal favorite, Unleashed (2005; featuring Jet Li, Morgan Freeman, and the late Bob Hoskins).  These are wildly different films, but they are a testament to Besson’s versatility as a writer and director.  The Extraordinary Adventures of Adèle Blanc-Sec (Les aventures extraordinaires d’Adèle Blanc-Sec; 2010), seems, then, to be a departure from what has come before, in no small part because this is a film which is coded for a younger audience by its humor and delivery.  In that respect, it is a fun, if not somewhat uneven adventure comedy.

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Mining the Genre Asteroid: Telzey Amberdon and the Federation of the Hub by James Schmitz

Fifteen year old Telzey Amberdon of the planet Orado is the daughter of a relatively rich and well connected family. A law student on the fast track to follow in her parents footsteps and active in her world’s politics, she is also certifiable genius. Smart enough to be a serious contender in planetwide chess tournaments, in fact. When she and her family are on vacation on the planet Jontarou, however, she inadvertently unlocks dormant psionic powers (and xenopsionic at that) that she has had since birth. The nature of her psionic powers is rather unusual — xenotelepathy, the ability to communicate with sentient aliens of all kinds. Take, for example, her 200 pound crest cat pet Tick-Tock, whom she did not even know or expect was as intelligent as any human being. And addition to the rarity of her powers, Telzey is now probably one of the strong psychics in all of human space. Powerful enough to be able to rewrite aspects of someone’s personality, even. A fifteen year old xenopsionic, especially a genius powerful one, is in much demand in the Psychology Service of the Federation, and while Telzey has the same problems, hopes and dreams of a fifteen year old girl, she quickly gets wrapped up in much bigger matters as she takes her place in this “new” world and grows into her abilities and her role. On her own terms, of course. The Federation, however, is never going to be the same when it gets to meet Telzey.

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The Disquieting Guest — Tentacles and Patriarchy

As something of an appendix to our Shoot the WISB discussion of the new Godzilla (where we were joined by Rachael Acks), I thought I’d talk a bit about something that I’ve always found very striking about It Came from Beneath the Sea (1955):  the portrayal of Faith Domergue’s character, Professor Lesley Joyce. She is, on the one hand, part of a mini-trend in 50s monster movies where women are scientists (Them!, Creature from the Black Lagoon), roles that were virtually non-existent in the films of the preceding decades.* What makes It stand out, though, is that the narrative is at least as concerned with Joyce’s struggles to be taken seriously in a male-dominated world as it is about Ray Harryhausen’s magnificent octopus. Joyce is, unsurprisingly, the only female character of any importance in the film. What is unusual, however, is that we are meant to notice her position, repeatedly pointed out in her interactions with submarine commander Peter Mathews. The latter is played by Kenneth Tobey, doing very much the same self-confident officer as in The Thing (1951). He keeps refusing to take her seriously, and the body language in the (colourized) still below is pretty telling:

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