reviews

LEXX Unauthorized, Series Three: It’s Hot and It’s Cold

Fire and Water, Heaven and Hell

Cause it’s hot and it’s cold
It’s “Yes” or it’s “No”
It’s in if it’s out
It’s up but it’s down
It’s wrong or it’s right

It’s black and it’s white

                                                                                        Apologies to Katy Perry

SERIES THREE OF LEXX, when everything radically.  Gone were the Sci Fi adventures from planet to planet, the dark, funny, furious adventures.  In it’s place was a thirteen part serial in which the LEXX was trapped in orbit around two warring planets, Fire and Water, and the crew journeyed between them, solving the mystery of Heaven and Hell. Behind the scenes, the genesis of series three was just as topsy turvy, with story roots going back before the first series was even released, driven by the crises and struggles of the second season, and wrestling with financial cutbacks. Volume three covers everything and anything to do with the third series.

WHAT IS LEXX: A ground breaking Canadian sci fi television series, created by Paul Donovan, Lex Gigeroff and Jeff Hirschfield, shot and produced in Halifax, Nova Scotia, by Salter Street Films, that ran four seasons between 1996 and 2002.

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After the WFC, Reflections and Musings.

he World Fantasy Convention in Salt Lake City is over and done with, life returns to normal. Or as normal as we get these days.

I thought I’d share a few reflections.

First up, I found it really well organized. The web site was clear and easy to navigate, the portal or video conferencing system, was intuitive. I got the hang of it pretty quickly, and despite trepidation, navigated quite easily. I found what I wanted to find without difficulty, and the few times I struggled, the tech crew was understanding and helpful. Apparently they had technical glitches, as with the readings, but they coped, adapted and everything went smoothly.

Not everyone had my experience, a few of the more famous established writers seemed to struggle a little.

But personally, this was great. As far as I’m concerned, this could serve as a blueprint for online conventions.

Programming what I saw of it, was excellent. Programming started Wednesday and ran through Sunday. There was a mix of ‘professional development’ and ‘writing development’ panels. I especially appreciated the ones on finding an agent and on marketing. But all the panels were interesting and imaginative.

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Booklife Contest: Update – The Luck

The review came in finally, with The Luck, my second entry into the Booklife Contest.  Just to recap, it’s a legit contest.  All the entries get a professional review, which you can use, or bury forever in a lead lined vault, depending on how the review turns out. Some of them are pretty scathing, I gather, looking at previous comments (complaints).  After the initial round there’s the quarterly finals, the semi-finals, the finals and then a First prize of $5000.00.  My first entry, The Princess of Asylum, has made it into the quarter finals.

Plot: Valdron’s The Luck is a sequel/prequel to The Mermaid’s Tale, but it succeeds as a stand-alone title. Valdron’s complex, well-woven work of fantasy immediately thrusts readers into a detailed world occupied by a menagerie of beings living at odds with, and in suspicion of, one another.

Prose: Valdron’s writing is immersive and colorful, providing a a fine blend of descriptive worldbuilding, exposition, and dialogue that lifts the storytelling.

Originality: The world of The Luck is filled by familiar beings, but provides freshness in the dynamics between these occupants and communities in conflict, as well as its mystery element. The journey of an orc and her unlikely gnome companion, is a rich and enjoyable one.

Character/Execution: Valdron’s protagonist is immensely intriguing. Her identity is slow to emerge and readers expecting a quick moving fantasy may grow frustrated. Those willing to invest in her and other creaturely characters’ story arcs, will be deeply rewarded.

Score:

  • Plot/Idea: 8
  • Originality: 8
  • Prose: 8
  • Character/Execution: 9
  • Overall: 8.25
You are welcome to use this Critic’s Report as promotional copy or as a blurb to promote your book. Please note: When attributing quotes from this Critic’s Report, you must credit The BookLife Prize.

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I’m officially a Quarter Finalist!

My unpublished novel, The Princess of Asylum, has officially made it into the Quarter Finals, for the Booklife Prize.  Yay!!!

https://booklife.com/prize/5/category/6

The BookLife Prize is an annual writing Contest  sponsored by BookLife and Publishers Weekly. The Prize seeks to support independent authors and discover great written works in nine categories across the two Sections. The categories in the Fiction Contest are: Romance/Erotica; Mystery/Thriller; Science Fiction/Fantasy/Horror; General Fiction; and Middle-Grade & YA Fiction.

It’s a multi stage process.

Quarter Finals:   All novels submitted to the BookLife Prize will be initially judged by the professional book reviewers of Publishers Weekly. Each submission will receive an evaluation called a Critic’s Report. Each Critic’s Report consists of a brief written critical assessment of the novel, as well as a rating–on a one to 10 scale–of the book’s strengths and weaknesses in the following categories: Characterization, Plot, Prose/Style, Originality, and Overall Strength. The submissions with the 10 highest scores in each genre will move to the quarter-finals.  THAT’S WHERE I AM.

Semi Finals:  All submissions advancing to the quarter-finals will be critically assessed by the editorial staffs of Publishers Weekly and BookLife. Of the ten quarter-finalists in each category, five will be selected based on merit by PW and BookLife’s editors to advance to the semifinals in their categories. The semi-finalists will be announced on BookLife on October 22, 2020. TOMORROW

Finals:  All semi-finalist submissions will be critically assessed by a guest judge–professional book editor or bestselling/award-winning author–in each of the five categories. The guest judges will select one submission from each category to advance to the finals round. These five submissions will be the winners in each of their respective categories.  The finalists will be announced on November 15, 2020.

The Prize From the five finalists, the panel of guest judges will select one grand prize winner for the Fiction Contest with a grand cash prize of $5,000 going to the most outstanding finalist in each Contest.

So….  Today, I ride high.  Tomorrow, I may end up as just another nobody.  A has been, a second place contender.  But right now, I’m a quarter finalist, with a shot at advancing to the Semi-Finals, and perhaps further.

Who knows?  But it’s exciting, right?

Meanwhile, here’s the review, once again….

I might as well make hay while the sun shines.

Plot/Idea: 9 out of 10
Originality: 10 out of 10
Prose: 9 out of 10
Character/Execution: 9 out of 10
Overall: 9.25 out of 10

Assessment:

Plot: D.G. Valdron’s bold, funny, fast-moving fantasy The Princess of Asylum follows quick-witted actress Dae Zea Lors after the destruction of her city. Dae survives in the wasteland by improvising a series of increasingly outlandish lies and personae, convincing bandits and orgus and more that she’s, variably, a princess, or an expert in jewel magic, and eventually a priestess. The story’s scope is epic, with airships and military sieges galore, but its tone is light and its perspective intimate, always tied to Dae. Inevitably, the hero’s lies make her a leader, and she’s surprised to discover herself caring about people beyond herself. The novel opens as a picaresque, with Dae bumbling from encounter to encounter, but by the end, as the plot takes shape, readers will actually care for Dae’s world and companions. The sense of urgency that powers the novel’s final third, though, is sometimes missing in the book’s middle, especially in the occasional cases when the balance between comedy and fantasy storytelling proves uncertain.

Prose/Style: Valdron excels at both the narrative perspective of his protagonist, a savvy actress who finds being on a fantasy adventure something of a comic imposition, and at the demands of epic fantasy storytelling. His worldbuilding is memorable and unique but communicated to readers in Dae’s offhand observations; his descriptions of the fantastic or terrifying are quick and powerful. Much of the novel is driven by dialogue, as Dae improvises new selves and lies to stay alive; at times, the characters she’s hoodwinking, such are written as if they’re willing participants in a comedy routine, such as the tyrant who apologizes for scheduling conflicts with her upcoming execution. The novel’s pleasures and occasional problems rise from the same source: the tricky balance between the comedy of Dae’s improvisations and the threatening reality around her. For the most part, though, Valdron aces that balance.

Originality: It is rare for a fantasy novel to center on such an exciting new character and idea. Besides the strength of the premise and Dae’s general delightfulness, the world of The Princess of Asylum is itself original, wrought with care, and revealed in tantalizing glimpses.

Character Development: There’s no doubt about it: Dae is a character readers will love, and her wit and sensibility drive the book. She faces hard choices, makes surprising sacrifices, and movingly comes to care about more than her own life. At times, especially in the novel’s middle, the complaints and patter of Dae’s inner monologue cut against the narrative urgency, especially when she’s joking or crabbing about the book’s cast as if they’re all in a play together rather than continually facing their own deaths. At such moments, she seems not to have grown during her adventures, reverting to being a comic type rather than a fully-shaped protagonist. That makes the novel feel long, even as it’s entertaining: If she’s not taking the situations seriously, readers will be tempted to join her. The saps, villains, monsters, and occasional upstanding folks she encounter also prove memorable, driven by their own coherent but interesting motivations.

Blurb: A fast-talking actress makes her scrappy way across the wasteland, surviving by her wits — and shaping empires with her lies. Imagine a vivid high fantasy, full of beasts and sieges and cults, narrated with the wit of Anita Loos.

Date Submitted: August 14, 2020

 

Booklife Contest: Princess of Asylum, Update

So here goes… I’ve entered my unpublished novel, Princess of Asylum into the Booklife Contest.   It’s a legit contest.  All the entries get a professional review, which you can use, or bury forever in a lead lined vault, depending on how the review turns out. Some of them are pretty scathing, I gather, looking at previous comments (complaints).  After the initial round there’s the quarterly finals, the semi-finals and then a First prize of $5000.00.

Anyway, I got my review back….

Blurb: A fast-talking actress makes her scrappy way across the wasteland, surviving by her wits — and shaping empires with her lies. Imagine a vivid high fantasy, full of beasts and sieges and cults, narrated with the wit of Anita Loos.

Plot: D.G. Valdron’s bold, funny, fast-moving fantasy The Princess of Asylum follows quick-witted actress Dae Zea Lors after the destruction of her city. Dae survives in the wasteland by improvising a series of increasingly outlandish lies and personae, convincing bandits and orgus and more that she’s, variably, a princess, or an expert in jewel magic, and eventually a priestess. The story’s scope is epic, with airships and military sieges galore, but its tone is light and its perspective intimate, always tied to Dae. Inevitably, the hero’s lies make her a leader, and she’s surprised to discover herself caring about people beyond herself. The novel opens as a picaresque, with Dae bumbling from encounter to encounter, but by the end, as the plot takes shape, readers will actually care for Dae’s world and companions. The sense of urgency that powers the novel’s final third, though, is sometimes missing in the book’s middle, especially in the occasional cases when the balance between comedy and fantasy storytelling proves uncertain.

Prose/Style: Valdron excels at both the narrative perspective of his protagonist, a savvy actress who finds being on a fantasy adventure something of a comic imposition, and at the demands of epic fantasy storytelling. His worldbuilding is memorable and unique but communicated to readers in Dae’s offhand observations; his descriptions of the fantastic or terrifying are quick and powerful. Much of the novel is driven by dialogue, as Dae improvises new selves and lies to stay alive; at times, the characters she’s hoodwinking, such are written as if they’re willing participants in a comedy routine, such as the tyrant who apologizes for scheduling conflicts with her upcoming execution. The novel’s pleasures and occasional problems rise from the same source: the tricky balance between the comedy of Dae’s improvisations and the threatening reality around her. For the most part, though, Valdron aces that balance.

Originality: It is rare for a fantasy novel to center on such an exciting new character and idea. Besides the strength of the premise and Dae’s general delightfulness, the world of The Princess of Asylum is itself original, wrought with care, and revealed in tantalizing glimpses.

Character Development: There’s no doubt about it: Dae is a character readers will love, and her wit and sensibility drive the book. She faces hard choices, makes surprising sacrifices, and movingly comes to care about more than her own life. At times, especially in the novel’s middle, the complaints and patter of Dae’s inner monologue cut against the narrative urgency, especially when she’s joking or crabbing about the book’s cast as if they’re all in a play together rather than continually facing their own deaths. At such moments, she seems not to have grown during her adventures, reverting to being a comic type rather than a fully-shaped protagonist. That makes the novel feel long, even as it’s entertaining: If she’s not taking the situations seriously, readers will be tempted to join her. The saps, villains, monsters, and occasional upstanding folks she encounter also prove memorable, driven by their own coherent but interesting motivations.

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Local Heroes: R. J. Hore

I first noticed Ron (R.J.) Hore at a small local comic convention held at the Lord Gort Hotel.  This wasn’t one of those conventions which goes on forever, with thousands of people, hundreds of dealers, galleries of artists and cosplayers and celebrity guests.  This was just one of those piddly comic conventions, where it’s nostly actually comics – local stores, local toys, collectors looking to thin out their collections.

There in the middle of it all was Ron, a friendly, grandfatherly man holding court, at a table with a crystal ball, a saber tooth tiger skull, and a load of books, the Mousetrap Chronicles as I recall.  A local writer. I chatted politely, bought a book, made him sign it and went along with my day.  Hey, local guy, trying to sell his book.  You want to support that.  If we don’t support our local writers, who will?

Damn though, if I didn’t run across Ron at craft shows, and at Keycon, and the big ComicCon, at gaming cons, anime cons, local shows.  If there was an event selling tables, and sci fi and fantasy had half a chance, there’d be Ron, charming and gentlemanly, taking his ease and selling his books.  And he always seemed to have a new book out.  Ron was practically a fixture at these cons and shows, a welcome presence.  I’ve pretty much got all his books by now, but he just keeps writing them.

Whether he sold one book or dozens, he’s always retained his sunny disposition.  He’s a man who enjoys every part of the craft of writing. “I’m retired, so I have to do something,” he told me once.  “I told my wife that writing is cheaper than golf.”

So here’s R.J. Hore, in his own words…

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Rethinking: King Kong Meets Dracula

Image by SteveIrwinfan96, borrowed

First up, let me shout out to BigJack Films, a youthful youtuber who seems utterly fascinated by all things King Kong. He seems barely out of his teens, if at all, with a bad haircut and a reedy voice, which suggests that puberty was cruel. But he’s prolific as hell, and his videos ring with a level or research and genuine enthusiasm that can’t be faked.

And he’s got a lot of fascinating King Kong-iana. The skinny on abortive Kong projects, including the 1960’s Hammer films attempt which failed, but somehow resulted in Jim Danforth’s ‘King Kong’s Volkswagon commercial’, commentary on Universal Studios exhibitions, and surveys of giant apes generally.

He’s so comprehensive in his approach, that he even catalogues and reviews King Kong fan films.

Who even knew there was such a thing?

I’m interested in fan films, and I see them as relevant works in their own right. Fan films are seldom, if ever perfect, and quite often, many of them are flat out terrible. But every single one of them is made with love, and that counts for a lot. So I was very intrigued by his reviews.

Generally, King Kong fan films fall neatly into two categories.

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Review: Fear the Walking Dead, an Apocalyptic Rant

I’ll be honest, I haven’t watched Fear the Walking Dead for a couple of seasons now. I understand that just about all the original cast of characters are dead, and while I celebrate this fact, it’s not enough to make me watch the show.

I really hated it. The only thing that kept me watching the first few seasons was utter hatred. Every episode, it just kept getting more loathsome. Towards the end, I’d be sitting there as it played, my lips drawn into a rictus of grin, teeth grinding, muscles seized up, ever fibre of my being screaming at the television.

The problem with the show, is that it’s the worst celebration of White Privilege, I’ve ever seen.

Literally, this was a show that had Karen before Karens were a thing.

And here’s the thing, as far as I know, they were all completely unconscious of the suffocating racism and classism that permeated just about every single episode. Literally, how could you be that offensive, and that consistently offensive, by accident? Who the hell was writing this thing? Didn’t any of the actors ever come up and say “Hey, we’re practically the Swiss Family Klansmen, what’s up with that?”

Let me back up a little bit.

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Review: James Batman, I’m not Kidding

I don’t know if I’ve mentioned this: I’ve never seen E.T. I’ve picked it up of course. It’s a cultural touchstone, and the defining movie of the Spielberg era. I just figured Steven Spielberg didn’t need my eight bucks.

I think I might be a contrarian. Sometimes where everyone else Zigs, I Zag. It’s not a point of pride. I’m not out there in a black trenchcoat, pontificating about how much better I am than all the heathen masses. Sometimes I just don’t feel the need to follow the crowd.

And I find I’m interested in the hidden gems, the diamonds in the rough, the obscure beauties, flowers growing in the concrete. There’s a gentle sweetness to these discoveries, I want to share them, not crow over them.

Which brings me to one of the stranger things I’ve run across lately: James Batman, a full length black and white Batman movie, also starring James Bond, made in 1966, currently available on Youtube, in subtitles and everything.

Let me tell you, I was shocked at the existence of this movie, and I’ve watched the Mexican Batwoman, Turkish Star Wars and Turkish Star Trek, among many other cinematic oddities. But I’d, honest to god, never even heard of this. So I was thrilled to discover it, and to be able to watch it.

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Chapbook Odyssey

Anybody remember chapbooks? Also known as chapter books, or chapel books?

Well, before self publishing was a big thing, they were a thing. And therein lies a tale. One that, I’m sad to say, makes me feel a little old. But here goes.

Chapbooks were basically a collection regular eight and a half paper sheets, folded in the middle, with a cardstock cover, and stapled in the middle (saddle stapled). This resulted in a 5×8 publication, which was digest sized. Small press and zine publishers used the format, and before the advent of eBooks, computers, modern printers and POD, it was the route to self publishing. Some of them were quite nice with glossy covers and high end art. Some of them were works of art by themselves with handmaid paper, and hand sewn fabric stitching.

I first came across chapbooks at a local bookstore, McNally Robinson. Three collections of sci fi poetry and short stories by a local film maker, Perry Stratychuk. Back then I was doing a fanzine for a local sci fi club, and I was intrigued enough to interview him. He was a nice guy, he worked for the National Film Board, and he’d written, produced and directed a ‘no budget’ post apocalyptic sci fi epic called ‘Roc Saga.’

That was my introduction. Something off the beaten path, something cool. But not something I was interested in following. At that time I was writing short stories, lots of them, and sending them out steadily. Self publishing seemed like a dead end – I’d get a few copies in bookstores and…. so what?

Then shortly after, in September, 1994, the World Science Fiction Convention came to Winnipeg.

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