Just The Caffeine Talking

Excellent Analog Review

Don Sakers has a review of The Godel Operation posted in the current issue of Analog. You can see it online here (but only until the next issue comes out). 

Because of that time limit, I'm going to quote it, especially since the review really is quite favorable.

In science fiction we deal with weirdness budgets all the time, especially in stories set in the far future and dealing with technology advanced enough to be, in Arthur C. Clarke’s phrase, “indistinguishable from magic.”

Any advanced far future must include elements that today’s readers find unfamiliar, if not downright bizarre. We know that time brings change. Any world of future millennia in which everything is just like today just isn’t convincing.

At the same time, a future world with too much change borders on the incomprehensible. . . . Indeed, some cross right over the border. If we’re going to be honest, a realistic depiction of a society thousands of years in the future would be foreign in language, culture, technology, and a thousand other variables. It would be at least as hard for a present-day reader to apprehend as are Sumerian cuneiform or Egyptian hieroglyphics.

Authors of far future SF must tread a thin line: Exceed the weirdness budget and lose readers, or use too little weirdness and bore them.

In The Godel Operation James L. Cambias hits the balance just right.

This was an issue I really worried about while writing Godel Operation. I wanted to have relatable characters at least similar to modern humans, but I wanted to convey the fantastic reality of the Billion Worlds. Glad to hear I managed to thread that needle.

Movie Review: Luca

Capsule review: it's The Shadow Over Innsmouth re-imagined as a kids' buddy comedy about bicycle racing in 1950s Italy. How can that not be wonderful?

Return to the Event Horizon!

The second half of my interview with John Michael Godier is now available on his excellent Event Horizon YouTube channel. You can listen to it here. Hear me pontificate about star-mining, slow-motion interstellar colonization, nuclear war, and how planetary scientists have fallen in love with giant impacts.

Pulp Covers!

Here's an article on LitHub about pulp-style covers for some very not-pulp novels. I even remember seeing some of these back in the 1970s. Some are silly, but a few are hilariously wrong.

Still, I kind of wish publishers still did covers like these. I think my own novels could really benefit.

A Darkling Sea: scantily clad Alicia menaced by giant lobster, beefy Rob Freeman wrestling it, knife in hand. Tagline: "An Ocean of Danger — and Passion!"

Corsair: bare-chested beefy David Schwartz, bikini-clad Elizabeth Santiago trading pistol shots with bad guys as a rocket lifts off in the background. Tagline: "A Fortune From Space — Big Enough to Kill For!"

Arkad's World: Arkad, sans shirt, punches tentacled pirates while Baichi in just the shreds of her torn cloak fights off a clawed flying monster. Tagline: "Across a World of Danger Lies the Ultimate Treasure!"

The Initiate: Pretty much the cover and tagline of the actual book, really. Maybe replace creepy horror-novel Isabella with Taika Feng in a femme-fatale pose.

The Godel Operation: Shirtless Zee and Adya in torn skintight spacesuit battling a big boxy robot with eye-beams. Tagline: "Save the Fabric of Existence Itself!"

Why Caesar?

In European civilization, I think it's a true statement to say that the most famous historical figure, second only to Jesus, is Julius Caesar. He's been hero-worshipped more or less continuously since he led his army into Gaul — except for one unfortunate incident involving sixty or so of his political rivals and a lot of knives.

If you think about it, this is really weird. Other historical figures go in and out of fashion. Today's hero is tomorrow's villain. But Caesar has been reinterpreted in every era.

In Imperial Rome, he was literally deified, and all the subsequent emperors used his name as their title. They all claimed his power, his popularity, and his legitimacy. A few even deserved it.

With the decline of Roman paganism and the triumph of Christianity in Europe during the Middle Ages, you'd expect a guy who was a pagan god to fall out of favor. But nope. He was honored as one of the Nine Worthies, the greatest heroes of antiquity, the Bible, and Christendom. A virtuous pagan and a paragon of chivalry. Emperors in Germany and Constantinople still claimed his authority.

When Dante wrote his Divine Comedy and described a journey through Hell, at the bottom layer was the three-headed figure of Satan, frozen in ice up to his waist and eternally gnawing on history's three greatest traitors. Who were those three villains? One was Judas Iscariot, who betrayed Christ. The other two were Brutus and Cassius — two of Caesar's assassins. For Dante, stabbing that one particular Roman politician is as awful as betraying God.  

Another literary genius took up Caesar three centuries later. Shakespeare's Julius Caesar is perhaps the most "nuanced" view of Caesar in literature. The man himself gets the usual hero-worship, but Shakespeare doesn't shy away from depicting the gangsterism of his political followers, and shows Brutus as having honorable and patriotic motives. Still, the play is named after Caesar and that's who the audience shows up to see.

The intellectual and political movement known as the Enlightenment was enamored of all things Roman, so Caesar remained as popular as ever. Especially in Italy, where a rather self-interested Roman politician was reinvented as a symbol of national unity and liberation from foreign rule. It must have gnawed at Italian leaders and thinkers of that era to see some Habsburg German sitting in Vienna, calling himself "Kaiser" and lording it over most of northern Italy.

In the Twentieth Century, Caesar's most avid admirer was another Italian politician, whose career was less glorious but did follow much the same trajectory. One would think that association with Italian Fascism would lower Caesar's stock, but that didn't happen. In America he got reinvented as a populist reformer, a proto-FDR brutally killed by "reactionary" Senators.

There are any number of explanations for his invincible popularity. The fact that a hundred generations of educated men in Europe grew up reading about Caesar in Plutarch didn't hurt. Nor did the fact that most of those men also read Caesar's own account of the Gallic Wars.

One must conclude that in addition to being a military genius, Caesar was also the greatest self-promoter in history. His reputation outlived him, his family, and his civilization, and shows no sign of abating. I guess he earned it.

My Canon

In modern geek culture we've begun to use the term "Universe" to refer to a background setting, particularly one which is shared by multiple creative works. The most famous, right now, is probably the "Marvel Cinematic Universe," which encompasses all the Marvel/Disney superhero films and TV series since Iron Man in 2008. There are some odd borderline cases, mostly the result of rights ownership issues, but right now pretty much all live-action films about Marvel characters can be assumed to take place in the same world.

A related concept is "canonicity" — which stories "really happened" in the fictional universe versus which ones are either "imaginary stories" (a term pioneered by DC Comics in the Silver Age) or alternate timelines. The Star Trek universe illustrates this: for a long time the rule was that the live-action TV shows and movies were "real" and thus canon while animated shows, comic books, tie-in novels, and games were not.

There was some permeability, as when the depiction of Klingon society and culture invented by John M. Ford for his novel The Final Reflection and the FASA Star Trek roleplaying game were adopted wholesale by the makers of Star Trek: The Next Generation and thereby became canonical. The 2009 film snarled everything up by introducing a canonical timeline split induced by time travel, so that it's no longer clear which universe is which.

All that throat-clearing accomplished, now I have to grapple with the fact that I seem to be creating a couple of Universes of my own.

Most of my novels and short fiction have been stand-alone works. The world of my first short story "A Diagram of Rapture" has nothing to do with my second story "The Alien Abduction," or my first novel A Darkling Sea. And none of them are connected with The Initiate or "Object Three" or Arkad's World.

However, because I was writing "Abduction" and Darkling Sea around the same time, some concepts and jargon did seep into both. Those two stories can be considered to share the same Universe. Its defining features are:

• Very near-future interstellar travel (basically some smart people discover a convenient way to go faster than light next week, and this sparks a boom in space exploration),
• Star travel primarily a scientific endeavor, under the auspices of the UN Interstellar Cooperation Agency (UNICA),
• Multiple intelligent species, but
• Few technological civilizations.

I may return to this Universe again, especially if I want to do another first-contact story. There are some complications about publishing, but nothing insuperable. Possible names for this setting are "the Darklingverse" or "the UNICA/UNIDA universe." At present it includes only the novel and the short story already mentioned.

My second, and more extensive Universe is of course the Billion Worlds. So far it encompasses one published novel, one published short story, a novel in progress and two forthcoming short stories. In addition, some concepts and ideas from some of my earlier works show up again in the Billion Worlds, so I'm inclined to retroactively put those stories into the same history.

So, the official list of Canonical Billion Worlds Universe fiction, straight from the creator, is:

"Balancing Accounts" (2008) — the dawn of autonomous sarcastic artificial intelligence;

"Periapsis" (2014) — first mention of Deimos as an important power center;

Corsair (2015) — the dawn of private space development and colonization;

"Contractual Obligation" (2014) — collective AI runs a military squad, Deimos shows its ruthless side;

"Calando" (2020) — specifically mentions the Billion Worlds, side reference shows up in Godel Operation;

The Godel Operation (2021) — primary introduction of the Billion Worlds;

"Out of the Dark" (forthcoming) — Billion Worlds short story, references Juren habitat;

"The Paoshi Puzzle" (forthcoming) — involves Adya and Pelagia from Godel Operation;

The Scarab Mission (in progress) — takes place a few years before Godel Operation and involves one character from that book.

By including Corsair I can even create a thrilling canon/non-canon debate about its short story progenitor "The Barbary Shore" of 2007. Let the flamewars begin!