Author: Christian Sauvé

  • Scarface (1983)

    Scarface (1983)

    ByChristian Sauvé Movie Review

    (On DVD, August 2008) This film has escaped conventional film criticism to become a pop-culture symbol, so the shock for an uninformed viewer seeing this for the first time is how lengthy the film feels: As a rags-to-riches story of a Miami drug dealer, there’s plenty of time for duller scenes and lengthier moment in-between the scenes and quotes that everyone remembers so well. Fortunately, one of Al Pacino’s best performances ties the entire film together, along with a savvy script by Oliver Stone and what must still be one of Brian de Palma’s most accomplished films. It’s a big and grandiose story, driven by cinematographic excesses that match the featured protagonist. But it’s also emptier and lazier than its fans are willing to acknowledge: with a running time that almost reaches three hours, you can bet that there’s a lot to material to forget even as the rest is so memorable. The anniversary DVD edition makes a competent job at portraying the production of the film and describing what’s so memorable about it. (Unfortunately, it almost starts believing its own hype, especially when it starts talking about its own video game.). Sadly, there are no audio commentaries.

  • Pineapple Express (2008)

    Pineapple Express (2008)

    ByChristian Sauvé Movie Review

    (In theaters, August 2008) Stoner comedies are not created equal, and if the idea of putting a weed-enjoying dude in a standard thriller plot worked well in The Big Lebowski, the makers of Pineapple Express seem to have indulged in soft drugs so often enough that they couldn’t be bothered to understand the genius of the Coen Brother’s film. Instead, we get repellent stoners stuck in a tale of violent drug dealing, filled with harsh language and gory violence that only serves to highlight the immaturity of the picture. The characters feel like kids playing around with dangerous toys, leading less to empathy than to feelings of pity toward the mentally retarded. The obvious counterargument is that you have to be under the influence to like this film, but think about it real hard: does it make sense to voluntarily diminish one’s mental capabilities in order to enjoy a film? More to the point, doesn’t it nullify whatever advantage this film may have over just about any of Hollywood’s dumbest films of late?

  • Journey To The Center Of The Earth (2008)

    Journey To The Center Of The Earth (2008)

    ByChristian Sauvé Movie Review

    (In theaters, August 2008) The best thing I can say about this film is that it’s a pretty good roller-coaster ride, especially if you see it in 3D. Otherwise, well, there just isn’t much left for discussion. The plot mechanics are serviceable, the situation improbable, and the actors unmemorable. A very loose adaptation of Jules Verne’s work (a copy of which is used as a guide by the characters), this film isn’t much more than a technology demonstration for the polarized “Real 3D” process installed in so many theaters lately. It exists to feed the screens that have been adapted to show this type of film, but like most technology demos, it’s likely to be baffling to those who don’t have the equipment to see that the fuss is about: I actually question the value of seeing this on a non-3D setup. In terms of adventure, it’s weak stuff, and the plot is just a thread between 3D showcases. I don’t give it much of a life on DVD, as people with even the fanciest home theater setups will be wondering why the actors keep poking things at their faces. Hey, at least there are a few references to Ottawa, Canada.

  • Deep Storm, Lincoln Child

    Deep Storm, Lincoln Child

    ByChristian Sauvé Book Review

    Doubleday, 2007, 370 pages, C$30.00 hc, ISBN 978-0-385-51550-4

    Long-suffering regular readers of these reviews are probably aware of my fascination for genre boundaries, and books that look as if they work according to a particular set of genre protocols but actually end up working from another set of rules. Sometimes it’s clever genre-bending, sometimes it’s sheer cluelessness for inexperienced authors. Sometimes, too, it’s simply hammering a cool but unusual story in a framework that faithful fans are ready to accept.

    So it is that Lincoln Child’s Deep Storm, for the longest time, is a textbook example of a techno-thriller that eventually twists itself in a science-fiction loop before disappearing in a puff of mainstream cowardice. It’s half a superb book, and half a middling one.

    Warning; a full discussion of the book requires spoilers. Readers sensitive to untimely revelations about the novel’s ultimate nature may want to skip ahead to the last paragraph of this review.

    As a genre reader, I must admit that I am in awe of the book’s first section, which sets up a mystery, then brings a capable protagonist to a remote high-tech environment in order to gradually learn about that mystery. As a techno-thriller element, it’s a well-worn plot device: The hero flies into a new environment, gets a guided tour and gradually learns a few things that don’t make sense. As the story and the threat both develop, the mystery is revealed in time for everyone to run for their lives.

    In Deep Storm‘s case, the prologue sets up a deep-sea drilling operation that produces unexpected results. Nearly two years later, medical specialist Peter Crane is flown on-board the deep-sea station, then taken down to the new underwater headquarters of a brand-new, ultra-high-tech research station. As you may expect, things aren’t going well: researchers are being driven crazy by some mysterious forces, and there are hints of traitors inside and outside the station.

    This hero-visits-research-station plot sequence is deeply embedded in the DNA of the techno-thriller genre, but Child is a reliable professional, and the first hundred pages of Deep Storm have the reassuring hum of well-maintained machinery. It creates anticipation for what’s to come, and sets up (sometimes quite obviously) everything we need to learn in the adventures to come.

    The mystery at the heart of Deep Storm (LAST WARNING: HUGE SPOILERS) is actually quite intriguing: There’s a cache of alien weapons hidden under the Earth’s crust, and plenty of ultra-high-tech warning devices buried on top of it. As a science-fictional idea, it sustains scrutiny for about the length of a short story before the holes becomes apparent (such as, well, why not hide weapons in a place that is far less volatile than a geologically active planet with a virulently aggressive biosphere?), but it’s still a neat SF surprise at the heart of what was marketed as a mainstream thriller.

    But there’s no fooling experience genre readers: The main difference between techno-thrillers and science-fiction, as genre, is not one of setting but of attitude. If the threatening breakthrough is understood, domesticated and becomes part of the human experience, it’s SF. If it’s destroyed with a naive assurance that no one will put those equations and components together ever again, then it’s a techno-thriller. Deep Storm, nods in the direction of SF with an extra kick in its epilogue, but tips its hand to the mainstream Child fans by destroying the station and the access path to below. To quote a character, “It’s a tragedy, but it’s over now. There’s no need to worry about others accessing the site. No foreign government can approach the dig interface; it’s too heavily irradiated.” [P.368] So it goes.

    Genre-definition neepery aside, Deep Storm proves that Child has the thriller-writing business down pat. This is a book that cries out for a movie, and it plays to genre expectations beautifully until it gets stuck with an idea too good for its own intended audience. It may not be entirely satisfying after a moment’s thought, but it’s thrilling beach reading from beginning to end.

  • Gia (1998)

    Gia (1998)

    ByChristian Sauvé Movie Review

    (On DVD, August 2008) There wouldn’t be any interest for this film nowadays if it wasn’t for the headlining presence of Angelina Jolie in one of her first striking roles as the titular fashion model. The plot is your basic story of addiction, fame, tangled relationships and tragic death. There’s a pseudo-documentary frame that more or less work, but it’s the fictional segments featuring Jolie that really pull the film together. The cinematography is a bit above what you may expect from a straight-to-TV feature, but it doesn’t take much to show the limits of the film’s budget. The look at the New York fashion industry during the late seventies is intriguing, but leaves viewers wanting more. As a biopic, it feels familiar: see it for Jolie’s performance.

  • Death Race (2008)

    Death Race (2008)

    ByChristian Sauvé Movie Review

    (In theaters, August 2008) No one will be surprised to learn that this remake of a classic B-grade picture has twice the mayhem and none of the (thin) social commentary of the original. After all, it’s become somewhat of a signature move for modern remakes to go for the flash and forget the substance of what worked in the original. The inevitable result of such cutting, of course, is a lifeless piece of action cinema that barely manages to engage its audience. So it is with Death Race, which takes a nasty social premise and hammers it in a prison environment TV show where there’s no chance that any real issues can be discussed. Jason Statham is up to his usual gruff standards as a good tough guy manipulated in causing considerable violence, but the rest of the picture around him is as monotone as the processed industrial look given to the picture. Joan Allen is wasted as the mastermind behind the race, but then again most of the talent in this picture is similarly wasted. Director Paul W.S. Anderson is a certifiable idiot, but at least he manages to find half a dozen good sequences and images out of this whole over-edited mess. Among the film’s least admirable misogynistic traits is the use of young women as race navigators, only to conveniently forget them during the various crashes and deaths that follow –at one gruesome exception. You don’t need to know much more about this strictly routine film: it’s going to be straight to the DVD bargain bin for this title, and then on to “I didn’t even know they’d remade Death Race” obscurity.

  • Leatherheads (2008)

    Leatherheads (2008)

    ByChristian Sauvé Movie Review

    (In-flight, August 2008) I had good hopes for this film: I’m fond of screwball comedies, and well-disposed toward George Clooney’s work. But while Leatherheads isn’t objectively bad, it does lack a crucial spark of interest and that emptiness seems only more damning in a genre that seems to difficult to screw up. The late-twenties era is credibly recreated, but it’s more difficult to pin down the genre of this film as it reaches for football, comedy, romance and war stories journalism. Both Clooney and Renée Zellweger are fine as the leads, but “fine” is as far as it goes: the script seems unable to bring up the energy level of the picture to what we could expect: only a mid-film sequence featuring them escaping from an illicit bar seems to tap into the possibilities of the concept. Otherwise, it’s a mildly amusing film without highlights, but so well-intentioned that it’s difficult to be mad at it. Old-fashioned to a fault, it manages to be disappointing without being frustrating.

  • Death at a Funeral (2007)

    Death at a Funeral (2007)

    ByChristian Sauvé Movie Review

    (On DVD, August 2008) This is not going to be a long review: Amiable funeral farce in which an ensemble of British-accented actors deal with a would-be blackmailer and accidental drug trips. Despite the language and the seemingly-dark theme, this is an innocuous and friendly film that mixes gross laughs with more emotionally complex moments to produce a hard-to-dislike comedy film. The actors are fine (with Alan Tudyk a highlight), the direction is unobtrusive and the script is a little wonder of weaving subplots. Not a bad choice for a comfortable movie night. The DVD contains a director’s audio commentary that’s impossible to dislike.

  • Flawless (2007)

    Flawless (2007)

    ByChristian Sauvé Movie Review

    (In-flight, August 2008) The easy pun here is that Flawless isn’t, but it’s actually more difficult than one would expect to find explicit flaws with this heist film. The most one can say is that the film is duller than it ought to be, what with a look at swinging sixties London in which a diamond company executive (Demi Moore, back after a lengthy absence) conspires with a knowledgeable janitor (Michael Caine, as good as ever) to rob a few diamonds off the vaults of their mutual employer. Alas, the action is all low-key, and the period details never seem to cohere. Moore herself is bland in a role that could have been handled by anyone else, while the film itself never has any fun at all. While the plot developments are enough to hold anyone’s attention, there isn’t much to process once the credits roll. At best, it’s a competent heist thriller that pays attention to its characters and satisfies the indulgent viewer. But it’s hard to avoid feeling that it could have been much better.

  • The Afghan, Frederick Forsyth

    The Afghan, Frederick Forsyth

    ByChristian Sauvé Book Review

    Putnam, 2006, 343 pages, C$35.50 hc, ISBN 0-399-15394-2

    In an industry when a decade-long career is enough to earn writers the “veteran” qualifier, it’s sobering to realize that Frederick Forsyth has been a best-selling author for longer than many of his readers (including this one) have been alive. Since 1971’s The Day of the Jackal (which was adapted as a movie twice), Forsyth has been a reliable thriller writer, churning out complex but intensely readable novels every few years. While his best-selling glory days of the seventies and early eighties have evaporated, Forsyth has remained an elder statesmen of genre fiction, with a sideline in cranky conservative commentary for a variety of outlets.

    As such, he’s entitled to a bit of slack in discussing The Afghan. It’s the latest Forsyth, for goodness’ sake. So what if it turns out to be a paranoid tract that spends more time describing how things happen than dramatizing the action? It’s still a fascinating book, one that hints at the indulgences that professional authors with a long track record can enjoy if it suits their fancy.

    A laconic plot summary doesn’t do justice to the book. Evil Al-Quaeda plot; heroic British operative; desperate infiltration mission. You can probably guess where it goes from there, and you wouldn’t be wrong: there’s been scores of lone-wolf-against-terrorists stories in the past decades, and The Afghan is certainly one of them.

    But as most reviewers understand, it’s all in the execution.

    For instance, one thing that Forsyth does extremely well is to write a thriller according to the right-wing understanding of the world: Al-Quaeda is a real force, they actively plot against Western interests, and they’ve got both ruthlessness and a ton of money. Against them, government operatives with steely gazes and absolute moral authority are justified in using every mean necessary to protect the ignorant sheep against the gathering threat. Sacrifice, honor and shooting terrorists in the head: those are the values that Forsyth hold self-evident. Surprisingly, it works pretty well even for readers who don’t share the same world-view: Once he established the deeply paranoid world in which his characters live, the rest takes care of itself.

    But where Forsyth really distinguishes himself with this novel is the intentionally didactic tone he chooses to use. I’m not talking about Tom-Clancyesque exposition in the middle of the action (although, to be fair, Forsyth was expositioning at length a dozen years before Clancy), but almost constant technical explanations, uninterrupted by the niceties of dialogue, for pages on end. The impact is more profound than you may think: Not only does the steady flow of specialized information lend an almost-unimpeachable credibility to the tale (the staggering amount of research this novel must have required…), it also gives it a Voice-of-God quality that distracts from the novel’s most egregious shortcomings.

    Problems such as simple plotting (Hero is trained and sent somewhere, where he stops the attack. The End.), thin characters and unforgivable coincidences —from a bin Laden cameo to a preposterously unlucky plane crash. More fundamentally, the ultra-omniscient narration also paints itself in corners when comes the time to withhold information from the reader in order to create suspense. While Forsyth still manages a few outstanding scenes, such as the finale or the very cool “He’s in Canada, sir. / Take the shot, Sergeant.” exchange [P.295], they’re still held at arm’s length from the reader thanks to the dispassionate, matter-of-fact narration.

    But Forsyth’s greatest trick may be to make this narration the centerpiece of the book, the unusual quirk that comes to attract all attention notwithstanding the problems with the rest of the book. Now that’s what an old wizened veteran can do when he”s indulging himself.

  • Heart-Shaped Box, Joe Hill

    Heart-Shaped Box, Joe Hill

    ByChristian Sauvé Book Review

    Morrow, 2007, 374 pages, C$29.95 hc, ISBN 978-0-06-114793-7

    A lot of people think it’s easy to write a horror novel. Just grab a disgusting monster, sick it on unsuspecting characters and let the deaths pile up. But that’s the kind of assumption that leads to formulaic extruded product and exactly the kind of thinking that practically destroyed horror as a genre publishing category in the early nineties. The monster-kills-people type of horror is only the easiest story the genre can tell, and the best examples of the genres manage to do a lot more than that.

    Joe Hill’s debut Heart-Shaped Box is exactly the kind of novel that the horror genre should aspire to: It’s recognizably a horror story (what with a vengeful ghost and all), but it uses the framework of an implacable menace to take its characters on a deeper journey of self-discovery. Along the way, it touches upon other sub-genres: It’s a rock-and-roll novel, a road novel and a southern gothic family tragedy.

    It starts off with a strong lead character, a heavy-metal icon way past his prime living out a quiet life in upstate New York. After years on tour, Judas Coyne has settled for semi-retirement, collecting disposable girlfriends and macabre mementos. All harmless enough, until -one day- Judas end up buying a ghost on-line, and having it delivered to his house. Unlike most eBay hoaxes, this one is for real, and it has a very personal issue to settle with Judas.

    Heart-Shaped Box being a novel rather than a short story, getting rid of the ghost will take more than burning up his suit and taking to the road: As Judas discovers alongside a girlfriend who proves less disposable than he thought, the road to the ghost’s secrets is leading them south, to Florida and then to Louisiana, where Judas’ family lives. There are many terrifying moments along the way, and considerable personal injury.

    But what raises Heart-Shaped Box above the usual horror schlock-fests are the ways in which it ties itself and its horrors to deeper human concerns. Judas may be stuck with a vengeful ghost who simply wants him dead, but the story ties up Judas’ own worst excesses, the sordid history of another family, his complicated relationship with his girlfriend and the broken ties with his own parents. Hill is able to blend all of those elements together without seeming too mechanistic or deliberate about it, and the way the novel gradually moves on to a bigger canvas than just a horror story is part of the book’s delight.

    Lest this review launches itself in incomprehensible praise about “the human spirit” of the novel, it should also point out that this is a wonderfully readable and entertaining piece of work. Hill’s invention keeps things going, and his ability to set his horror in believable contemporary American location (including Denny’s restaurants) seems effortless, yet escapes a lot of other horror writers.

    In short, it’s a pretty fascinating debut from a bright young light of the horror genre. Shortly after the publication of the novel, it was revealed that Joe Hill is Stephen King’s son, and while the revelation add little to the book’s already striking qualities, it does highlight that Hill’s ability to mix the mundane and the supernatural, to use familiar elements of American culture to strengthen the horrific aspects of his story are indeed reminiscent of King’s best work. Still, Hill is already forging himself a distinct reputation: his work is solid, and readers will have a hard time waiting for his next novel.

  • The Automatic Detective, A. Lee Martinez

    The Automatic Detective, A. Lee Martinez

    ByChristian Sauvé Book Review

    Tor, 2008, 317 pages, C$16.95 tpb, ISBN 978-0-7653-1834-3

    One of the most interesting things about our genre-saturated entertainment culture is that everyone has at least some basic understanding of the specialized protocols that drive, say, mysteries or Science Fiction. We’ve caught enough TV shows rehashing the same plots, seen enough movies riffing off past ideas, read enough genre books that some useful fiction plot devices have become ingrained in our imagination. Talk about a robot, and everyone will picture a humanoid hulk of metal. Mention a Private Investigator, and everyone will see a smoke-filled office, a middle-aged guy in a trench-coat and a beautiful blonde asking for a simple favor.

    For a satirist like A. Lee Martinez, it’s a natural vein to exploit. Why not combine the clichés on SF and hard-boiled mystery fiction to create a parody of both genres? Martinez’s novels so far, starting with Gil’s All-Fright Diner, have been amusing take-offs on popular segments of genre fantasy and horror. The Automatic Detective is his first look at SF clichés, but the same instincts that have served him so well on previous books are once more displayed here.

    Mack Megaton is the hero of the story: a big, red robot designed to destroy but now trying to fit into normal society. Mack’s got anger issues, and his job as a taxi driver isn’t helping much. So when bad things happen to his neighbors and even worse things threaten Empire City, he opts for a career re-alignment and decides to do a little private investigation.

    The Automatic Detective is not meant to be serious Science Fiction. Empire City and its citizen are straight out of Pulp SF clichés, with easy jokes, silly world-building and the obvious use of familiar tropes. The narration itself is pure hard-boiled machismo made metal, with Megaton and friends worrying about oil changes, electrical charges and rusting plates. Mutants, aliens and fancy technology all make appearances, highlighting the deeper truth that this is surface SF, maybe even science-fantasy, playing with quasi-outdated SF gadgets not because they make sense, but because they’re familiar to everyone. (There’s an intriguing comparison to be made here between this book and Charles Stross’ Saturn’s Children, which attempts to re-cast familiar SF archetypes in a plausible modern world-view.)

    This sounds like a criticism of Martinez’s approach and it isn’t: From the way he piles up more and more of these references, it’s obvious that he doesn’t mean to pass this off as contemporary SF with deeper meaning: he’s out to write a romp, and he manages to reach his objective. The Automatic Detective is a good read, one that makes good use of its initial premises. Mack is a sympathetic character, and it’s not tough to cheer for him as his investigation continues. Martinez knows how to plot, and the book holds together well once the reader’s usual hard-SF nitpicking circuits are deactivated.

    In lesser hands, this could have been a mess of surface SF, with gadgets used nilly-wily without any attention to plausibility. Here, there is some rigor and a sense that Martinez’ voluntarily pulpish milieu is tied into the conceptual framework of his jokes. It’s also a fast read, which helps smooth out some of the background inconsistencies that arise when blending together so many SF devices. Purely and simply, it’s a romp and it should make a number of readers smile regardless of whether they can quote chapter and verse from Asimov and Chandler.

    For Martinez, it’s another solid hit that should solidify and broaden his reputation as one of SF&F’s most entertaining satirist. It’s not enough to have jokes: he’s able to beef up amusing premises with solid plotting, good characters and smooth writing. Best of all, his books should be accessible to a wider public who’s already familiar with the genres being parodied, whether they realize it or not.

  • The Uglies Series, Scott Westerfeld

    The Uglies Series, Scott Westerfeld

    ByChristian Sauvé Book Review

    Simon Pulse, 2005-2007, ???? pages, C$??.?? tpb, ISBN Various

    Uglies, Simon Pulse, 2005, 425 pages, C$10.50 pb, ISBN 978-0-689-86538-1
    Pretties, Simon Pulse, 2005, 370 pages, C$10.50 pb, ISBN 978-0-689-86539-8
    Specials, Simon Pulse, 2006, 372 pages, C$11.50 pb, ISBN 978-1-4169-4795-0
    Extras, Simon Pulse, 2007, 417 pages, C$19.99 hc, ISBN 978-1-4169-5117-9

    If we’re to believe those with access to Bookscan sales numbers, Scott Westerfeld has become one of the best-selling SF author of the past decade without much attention from the genre SF community. Cannily, he’s been able to pass unnoticed by tapping the young adult market: Thanks to publishing silos, most YA publishing used to pass unnoticed from the adult fiction pundits. Things have improved somewhat over the past few years as YA’s bigger sales have shamed adult SF numbers, and one of the landmark works in the field has been Westerfeld’s Uglies trilogy, which was ideally poised to benefit from the success of Westerfeld’s previous Peeps series.

    In the spirit of reportage, your fearless reviewer dared plunge into the unfamiliar murk of the YA section to bring back a boxed set of the Uglies trilogy (Uglies, Pretties and Specials) along with a standalone fourth book (Extras) set in the same universe. How does it stack up next to the adult fiction? Should we all make a stop at the YA shelves from now on? Are the kids reading this going to grow up to be good SF fans? Keep reading.

    One of the distinguishing characteristics of YA fiction is that it usually features younger protagonists, and so the initial Uglies trilogy stars Tally Youngblood, a teenage girl living in a world where there’s been quite a few changes to human society: Isolated cities exist in a post-apocalyptic landscape, and the stages of life have been formalized into distinct stages: “Littlies” grow up to be “Uglies” until their sixteenth birthday, at which point they are medically transformed into “Pretties” who enjoy a vacuous life until they grow older and become “Crumblies”. The city in which Tally lives is segregated by age, which leads to the usual hijinks in which the young ones try to see how the glamorous older set lives.

    But Tally’s not the kind of person to go with how things usually go, and so she quickly discovers life outside the city, along with hints of a past catastrophe, an underground for rebels and the disturbing secret of the medical procedures that transform Uglies into Pretties. In latter volumes, she goes through the “Pretties” transformation herself, then reluctantly gets recruited to become a “Special” operative to act on behalf of the city government. Before she’s through she’ll have time to love a few boys, start a war and completely re-shape the society she lives in. What fun!

    (The fourth volume, Extras, takes place years later with a fresh new social system and involves a largely different set of characters, though its perspective on Tally is intriguingly detached.)

    From an adult SF reader’s perspective, the series holds up a certain interest: The extrapolation of various trends in entertaining, and Tally makes for a good narrator. Where it differs from adult SF is that the explanations are more laborious and take far more time to be revealed: savvy SF readers will guess most of the twists ahead of time, and roll their eyes at the falsely-frantic pace that doesn’t lead anywhere. On the other hand, readers unfamiliar with SF in general may not find a better series to learn the particularities of the genre.

    The first volume is most interesting, as the stakes are clear and there’s an entirely new world to understand. The second volume is a notable step back, as the protagonist’s goals are less clearly defined. The third volume is bigger and more interesting, while the unplanned fourth book is an acceptable epilogue with enough space for some new ideas.

    If that’s the kind of SF that the kids are reading today, we’re in good hands: it’s not dumb, it’s not dull and it’s not fantasy dressed up in silver costumes. It’s also quite different from the Heinlein juveniles, and that ought to be a lesson for whoever wants to write SF for teens: they don’t want regurgitated ideas from the fifties, they want stories that speak to the hyper-connected present. One of the best legacies of Westerfeld’s success so far has been to open up the YA market to the adult audience, ensuring that we’ll be able to recognize the best SF authors regardless of who they’re writing for. And who knows; maybe the infusion of contemporary SF tropes will even invigorate the sometimes-moribund adult genre…

  • Multireal, David Louis Edelman

    Multireal, David Louis Edelman

    ByChristian Sauvé Book Review

    Pyr, 2008, 522 pages, US$15.00 tpb, ISBN 978-1-59102-647-1

    As a follow-up to David Louis Edelman’s debut novel Infoquake, Multireal improves upon a few problems from the first book, runs aground on the usual shoals of second-volumes-in-a-trilogy and promises much for the conclusion of the series. Fans of Edelman’s previous novel won’t be disappointed, and some skeptics will be reassured about the fate of the “Jump 225 Trilogy”.

    Readers will remember that Infoquake ended with a mind-bending technology demo of “Multireal”, a technology that allowed control over future possibilities, allowing an individual to predict and select the best outcomes of the many choices confronted on a moment-to-moment basis. Multireal focuses upon this technology while following the adventures of the driven entrepreneur Natch and the rest of the group he brings together to manage the release of this new technology product. Things aren’t looking good for him as the novel begins: beyond the usual business rivals and rabid media aggressiveness, Natch also has to contend with officials who can’t bear to see a technology as promising as Multireal stay in private hands, and hidden enemies who can’t wait to see the much-damned Natch fail at something for once.

    Perhaps the best things about Multireal, from a genre SF fan’s perspective, is how it manages to deal effectively with the possibilities of Multireal. The novel offers a series of showcases for the technology, from a flechette gunfight that ends in a perfect draw, to a stroll through London foot traffic, to a wild soccer demonstration to life-saving heroics in desperate circumstances. What seemed so far-fetched in the first volume seems natural, even inevitable this time around, which is a testament to Edelman’s growing confidence as a writer.

    It’s not the only aspect of Multireal that feels improved upon its predecessor. Many of the less-believable aspects of Edelman’s imagined future are either refined or left unmentioned, lending greater credibility to a setting that almost looked like a parody at first glance. Many of the monolithic organizations that so bothered picky readers in the first volume are now fractured and inefficient in this follow-up: The government forces are notably more nuanced thanks to infighting and power plays, adding some much-needed complexity to the “Jump 225” world.

    From a more conventional standpoint, Edelman may leave a lot of things hanging in mid-air by the end of this second volume, but he doesn’t hesitate to throw them there. Natch’s journey through this book goes from bad to worse as he suffers from black code implanted deep in his brain, loses almost every single source of support and struggles with his own beliefs. By the time A-type Natch is “reeling with ethical vertigo” on page 400, readers can be excused if they want to stand up and cheer; clearly, things are evolving. At the same time, Jara fans will be intrigued by her dramatic trajectory through the novel, as she emerges as a protagonist in her own right, trying to save the fiefdom from all enemies while trying to put away her infatuation for her former boss.

    All in all, it amounts to a strong second novel that shows how Edelman is growing as a writer. As high-tech SF novels go, this is one of the year’s good choices. It’s fun to read, interesting to think about and suggests that the third volume of the trilogy will be even better.

    [July 2007: Sharp-eyed readers will notice that a certain “Christian Suave” is hidden among the many, many Multireal blurbers. It’s my first printed blurb, and my name is misspelled. It’s a triumph both for both my ego and my integrity!]

  • Succubus in the City, Nina Harper

    Succubus in the City, Nina Harper

    ByChristian Sauvé Book Review

    Del Rey, 2008, 392 pages, C$8.99 mmpb, ISBN 978-0-345-49506-8

    I should probably start by saying that I’ve known Nina Harper for a few years as nodding acquaintances (back when she didn’t even call herself Nina Harper) and that I really wanted to enjoy this book. I should also make it clear, for calibration’s sake, that I read very little paranormal romance even though it has become one of the hottest SF&F sub-genre over the past few years.

    At first glance, Succubus in the City is the kind of book with which I wouldn’t want to be caught. A mixture between Sex and the City and The Devil Wears Prada, this novel is narrated by a succubus who’s contract-bound to deliver victims to hell after sex. But don’t worry: she’s a good girl who takes delight in sending the bad kind of men downward, and who enjoys spending time with her three demonic girlfriends when she’s not busy working at a fashion magazine. She may be three thousand years old, but she certainly appreciates the amenities of Manhattan, from designer clothes to high-end ice cream.

    In many ways, this reads like pure wish-fulfillment fantasy for the female urban professional set: Long litanies of expensive labels, blunt descriptions of shopping, sinful food, a heroine with an obligation to sleep around and send unworthy lovers to hell… Succubus in the City sometimes feels like a self-aware attempt to meld and exploit the tropes of paranormal romance with chick-lit. Not being among the target audience, I’m not sure how well it works, but I can tell you that it’s absolutely fascinating: There are probably a hundred pages in this novel that could have been cut without harming the plot, but the accumulation of brand names, hip references and upper-upper-class Manhattanite living makes for a neat reading experience: This may be an alien culture to me, but wish-fulfillment jumps gender barriers better than I expected.

    But Nina Harper is smarter than you and I, and so Succubus in the City is more than a litany of Things Women Want: there’s a fairly sophisticated mythology at play here, one where angels and demons are two sides of the same coin, where hell lives up to modern management techniques and where Satan’s top lieutenants have been at this game for thousands of years. The narrator is a three-thousand-year-old minor princess, and Harper’s take on modern society via the eyes of someone who has seen it all can be more amusing than you’d expect. This is a lighthearted novel, after all, one where Satan’s reputation exceeds his worst traits, one where the victims all deserve it and one where hell’s minions have access to their own version of LiveJournal called MagicMirror. (“Meph” is a foodie with his own restaurant reviews.) Everything is handled with a light touch and a professionals’ eye for decent plot mechanics. The details of the novel are where it works best: I was particularly happy with the character of Azz, a librarian with the look and temperament of a cat.

    Where the novel doesn’t work as well is when it tries to piece everything together. Narrator Lily and her friends are fun to hear, but it’s hard to reconcile some of their conversations with the personality of people who have lived through entire civilizations: the banter works for Sex and the City (which is explicitly referenced; the narrator thinks she’s Samantha), but for characters with that much experience in the ways of humanity… not so much. There are other issues of verisimilitude, starting from the curious lack of repercussions from taking so many people out of circulation. Most of those issues are hand-waved away with an omnipotent “Authority” that raises more questions than it satisfies: the real answer, of course, is that this is the type of fantasy where we’re not meant to ask too many questions. Which is a shame, considering the fun of Harper’s vision of hell and its servants.

    I haven’t said much about the plot so far because it doesn’t seem particularly important, even to the characters who take off to Aruba, are temporarily stumped by Google and can’t be bothered to exhibit the appropriate paranoid response at the suggestion that one of their own is conspiring against them. Trying to put a thriller plot framework on a light-hearted wish-fulfillment romantic fantasy can be tricky, especially considering the breaks for extravagant consumption.

    Add to that the considerable frustration of discovering that this is the first part of a series: the story doesn’t end as much as it is interrupted on the last page. What could have been forgivable with a “Book One of the Sexxubus Trilogy” warning ends up being a problem, at least until we are able to order the rest of the series.

    Not that this makes this novel any less fascinating to read, even when I can feel the commercial imperatives of the genre being deliberately tweaked by the author. Some authors may talk about paranormal romance as female empowerment, but Harper is the one that writes about sending unsatisfactory lovers straight to hell. Even guys like me can learn something from this book.

    [May 2009: Second volume Succubus Takes Manhattan is more of the same, with a few uneven differences: More descriptions of satanic rituals, more palace plotting amongst Hell’s minions, and a strengthened romantic intrigue between heroine Lily and her two men. On the other hand, the core strengths of the series remain: Harper doesn’t miss an occasion to go on virtual spees of wish-fulfilling indulgence. It’s all good fun, but those who haven’t been seduced by the first volume won’t have their minds changed by this follow-up.]