![Chung fung dui liu feng gaai tau [EU Strike Force aka Big Bullet] (1996)](https://www.christian-sauve.com/wp-content/uploads//big-bullet-1996-200x300.jpg)
(On TV, August 2000) Good action, sharp characters, funny scenes and a well-defined (if minimalist) plot make up the strengths of this action film. The hero is strong without being too tragic for the light-hearted framework of the film, not too many characters die, everyone gets to shine in the ensemble cast and the directing is non-obtrusive. Definitely worth a look for fans of Hong Kong action cinema.
(In theaters, August 2000) I can usually forgive a lot of silly stuff if the offending film is willing to push the envelope of cinematic audacity. Certainly, the trailers to The Cell will try to tell you that you’re about to see An Event, a film which will show you things you’ve never seen before. While it is not deceptive advertising, it is at least far too enthusiastic; one of the mixed reactions I had at the end of the film has that despite the pretty pictures, The Cell wasn’t nearly as innovative, nor as strange as it wanted to become. But that’s not the most offensive thing about the film: That would be the simplistic script used to string along these pictures. Consider: Serial killer is apprehended but fails to reveal location of latest victim, police investigator interrogates killer and gets crucial clue, policeman frees victim before she dies, the end. Nowhere in this plot summary is any mention of the character played by the nominal “star” of the film, Jennifer Lopez. That’s because she may be incredibly hot, but her character does absolutely nothing to solve the case, save get captured and require rescue by the policeman. Ouch! Fortunately, there are still a few pretty pictures to look at thanks to director Tarsem Singh’s passion for visuals. But they’re not enough.
(On VHS, August 2000) There’s a lot to love about this film: The lush backdrops of the south-Asian jungle, the expensive sets, the great actors, the superb premise of wartime defiance by typically British soldiers forced to work for the Japanese. The script is very good for most of the film’s duration, presenting issues of ethics and conduct yet not browbeating anyone with them. All throughout the film, there’s a palpable sympathy with the bridge-building team, which makes things worse when the film decides that war is hell and that there can be no such thing as a fun wartime adventure. That’s when people start dying and the last-minute attempt to instill a Profound Message falls flat. Too bad, because the rest of the film is classic material.
(Second Viewing, On Cable TV, April 2021) Considering that it’s been twenty years since I first saw The Bridge on the River Kwai and can now put it in context (of Hollywood’s thirst for spectacle at a decade when TV was entering households, in the context of epic director David Lean’s career, in the context of Alec Guinness and William Holden and the shifting context of war movies over the decades), I was curious to see what I would make out of a second view. While I wasn’t completely bowled over by the result, it’s still quite a remarkable film – perhaps the most entertaining of Lean’s epics (I meant: you can admire Lawrence of Arabia, but it’s not quite as much fun as this one), certainly one of Guinness’ landmark roles as a depiction of a British stereotype, a great turn from Holden and a shining illustration of what 1950s filmmaking could do when it was allowed to spend some time and money shooting on location. The portrayal of a British officer under pressure to do something good (like building a bridge) under bad circumstances (such as being a prisoner of war) in service of something distasteful (such as facilitating military transports) is suitably complex. The similarities to Apocalypse Now go much farther than opposing, “Madness!” to “The horror!” – if The Bridge on the River Kwai has aged so well, it’s in large part because it has a grim attitude toward war that would resonate just as well with later generations. As an older viewer, I now understand far better the grim conclusion and how it works in the context of the film as more than a downbeat tragedy or a spectacular sequence. I still think that the film is too long, that it meanders, that it’s unbalanced between its two leads. But it still works well enough, and it’s still worth a look.
(On VHS, August 2000) Though calling this film “good” would be an overstatement, it’s somewhat better than average for horror films in a series. Several bits of self-aware references (such as gags on previous Chucky films, Hellraiser, others…) add to the dynamic directing (by an ex-Hong Kong action film director) and a few good lines to make this a rather fun post-slasher movie. The death scenes (make-or-break time for this type of film) are handled with a certain deftness and if the result doesn’t transcend the genre, it works with a certain efficiency and delivers a better film than one would expect. A dark comedy rather than an out-and-out horror film.
(In theaters, August 2000) Truly great movies are never outdated, which is why we’re still able to look at The Big Sleep nearly fifty years later and wonder why they don’t make’em like this any more. Crunchy dialogue (you could pull quotes from this one forever), wonderful characters, a Byzantine plot, constant reversals (not much suspense, but plenty of surprises!) and several of the world’s loveliest women soft-shot in glorious black and white, including one librarian (Dorothy Malone) that has definitely not gone out of style. Add to that a great, unashamedly-macho performance by Humphrey Bogart, and you’ve got yourself a classic. You will want to watch it again, if only to understand the plot.
(Second viewing, On Cable TV, November 2020) I first saw The Big Sleep in a repertory theatre roughly twenty years ago, well before I started being interested in Humphrey Bogart, Howard Hawks, noir or even the classic film period. So, I was curious to see it again and see if my perspective had changed in any way. There are a few things I remembered from my first viewing that I revisited with as much joy this time around: Dorothy Malone’s super-sexy one-scene wonder as a librarian, for instance, is even better a second time around knowing the direction that Malone’s career would take later on. Something that I was definitely anticipating this second time around was the sheer scene-to-scene narrative appeal of director Hawks’ approach. Among other things, his ideal of “the Hawksian woman” leads to three very strong female roles—beyond Malone’s character, we also get two very confident sisters, each playing the events on their own terms. For modern viewers, the Hawksian women always feel more interesting than other female roles at the time, even in the notoriously female-empowered noir subgenre. This being said, I suspect that the marquee appeal of The Big Sleep will remain elsewhere—namely, one of Bogart’s most striking performances as private detective Philip Marlowe, the trenchcoat and overdone narration exemplifying the core of his screen persona. Considering this assortment of riches almost entirely unrelated to the plot, it’s no surprise to realize, once again, that The Big Sleep is best appreciated as a mood scene: the plot is so infamously complex that even the filmmakers had trouble keeping it straight, which means that viewers are advised to soak in the film’s atmosphere, even enjoy individual self-contained scenes, and not worry too much about whether it all makes sense. Fortunately, there’s enough atmosphere, bon mots and acting moments to reward viewers throughout even after they’ve stopped worrying about keeping the entire story in their heads at once. Given the twenty-year gap between both of my viewings, I’m nearly sure that the version I’ve seen in theatres was the 1997 re-release of the 1945 original cut and so was this Turner Classic Movies broadcast… but I can’t be too sure, and I don’t care all that much: If you ask me, The Big Sleep is about Bogey looking frumpy and talking tough, Malone and her glasses, Hawks making sure that the female characters were interesting, and the pure encapsulated iconography of noir on full display.
Ace, 1996, 309 pages, C$7.99 mmpb, ISBN 0-441-00433-4
Writer’s Digest, 1993, 314 pages, C$26.99 hc, ISBN 0-89879-536-2
The very existence of certain books can tell you more than you wished to know about the world. Go to your nearest mega-bookstore and look around at the book categories. Who could have thought that there could be so many new-age freaks, needlepoint enthusiasts or (bookshelves!) amateur gardeners?
You may think you know all about interest groups, but really; had imagined that there could be a whole series of books for wannabee SF writers? I’m not kidding; Writer’s Digest Books has a series of books aimed specifically at the beginning science-fiction writer. Books on how to create alien societies or create typically “Science-fictive” effects. In hardcover, no less.
The Writer’s Guide to Creating a Science-fiction Universe has a self-explanatory title. The authors aim to provide any new and struggling writers with an array of facts, thoughts and technique with which to create a believable backdrop for any serious science-fiction story.
In truth, this is pretty much the only thing a prospective writer has to know in order to write good SF. Whereas good writing techniques can be adopted from almost any other type of fiction writing, the essence of SF is in its creation of imaginary, yet plausible worlds that can withstand the scrutiny of even the most demanding readers. The authors are careful to ground prospective writers in the SF ethos of imaginary realism and the result is a book that’s not only useful, but well-intentioned: They not only give out specific information, but also encourage the writer to develop a true sense of what is meaningful in the genre.
It is a measure of how useful this guide is that you can not only read it cover to cover, but also use it as a reference work. The first part of the book is more or less a snappy overview of essential scientific knowledge required to write adequate SF, and one can easily refer to selected excerpts to ensure that they haven’t screwed up. Even though the book dates from 1993, it has aged well so far, mostly due to its reliance on general overviews rather than advanced research (see Charles Sheffield’s Borderlands of Science for a book that fails on this level.)
And even for those not really interested in writing SF, this Guide can fulfill another purpose: The writing is clear and direct, lively but detailed, so that it can serve as a general science vulgarization book, with occasional asides to recommended SF (in a scientific context) as well as an introduction to the whole idea of SF-as-fictional-study-of-change. There is, easily, a freshmen-level college course in general science to be distilled from this book.
Interestingly enough, George’s Ochoa bibliography is a marvel of scholarly eclectism, with dozens of books on a wide range of subject, from movies to history, public library answer books to sound recordings. One gets the feeling that be brought the same vulgarization abilities and professionalism to The Writer’s Guide to Creating a Science-Fiction Universe. The result is worth it.
Pocket, 1997, 382 pages, C$8.99 mmpb, ISBN 0-671-00394-1
Most law-abiding citizen are, at one degree or another, fascinated by criminal behavior. Temptation from the dark side? Vicarious living through the illegal actions of others? Reassurance that being a criminal is always a bad idea? Whatever the reason, the publishing industry has responded in kind: a whole new non-fiction category (“True Crime”) has been created to satisfy a lucrative need.
Of all types of criminal activities, serial killing must be one of the most incomprehensible to the ordinary mind. One can rationalize theft, fraud, assault or even accidental homicide, but repeated cold-blooded murders are out of anyone’s conceptual framework. And yet, some people make it their job to get into the mind of serial killers. John Douglas is probably the best-known of them, having long been director of the FBI’s profiling unit, which specializes in establishing psychological portraits of typical serial killers. Journey into Darkness is an account of his work, his methods and various cases in which Douglas has some expertise.
This isn’t Douglas and Olshaker’s first book together, (They also previously wrote Mindhunter) and this has some effect on the book’s ultimate impact. While Journey into Darkness remains a good read, it seems to skirt on a few important issues and suffers from a structure that doesn’t flow as naturally as it should. One get the feeling that this is more of a sequel to a previous book in which all the introductory elements have been explained. Journey into Darkness must assume that most of its readers are already familiar with the basis of profiling, serial killer definition and the high-profile cases in the specialty.
Even then, however, the book remains worthwhile. For a newcomer to the profiling work, it’s fascinating to see how, from a few clues, specialized FBI agents can deduce or narrow down some characteristics of the killer’s environment, behavior and socioeconomic situation. Douglas explains that most serial murderers are intelligent young white males with few social contacts. They have low self-esteem, often live at home with a relative, have a history of abuse, pyromania and cruelty to animals. They know how to manipulate people and often return to crime scenes.
Douglas establishes these base elements early on, then use them to show how real profiles can use clues from crime scenes to form a profile. No traces of struggle? The victim must have known the killer. White victims? White killer. Mutilations? History of sexual violence.
Most of the book is composed of case studies of serial murder cases as examined by Douglas and Olshaker. The writing style is brisk and efficient, allowing for a glimpse in the mind of both criminals and policemen. Of particular interest is the analysis of the O.J. Simpson case. Douglas’ conclusion? Guilty, guilty, guilty…
Unfortunately, as mentioned before, the book has a few structural problems. One case study is dragged on over several chapters, and however sympathetic the victim was, the book so far had dealt with individual cases in a matter of pages, not chapters. Another source of problems is inherent in the subject matter itself; however fascinating the subject matter is, and despite the good work in presenting the subject, this repetition of true human evil gets repulsive with time even though the interest level remains high.
We should thankful for people like John Douglas, willing to explore the criminal mind to take away as many of them possible off the street. Journey into Darkness is a good exposition of the work practiced by his equivalents, and the results they get. Even though Mindhunter is probably the best introduction to the subject, don’t hesitate to pick up this one if the subjects fascinates you. And chances are it will.
[February 2005: Indeed, Mindhunter is almost a prerequisite to Journey into Darkness. Not only does the prequel offer considerable background on John Douglas and the way the FBI profiling program was established, but it also describes how those “rules” of profiling were developped over time. Read it first if you can.]
Bantam Spectra, 1999, 401 pages, C$20.95 tpb, ISBN 0-553-37894-5
Is it possible for a sequel to be… better… than the original?
Depends on what you mean by sequel. It’s certainly more reasonable to assume that books planned from the onset to be a sequel to a first volume (say, as part of the series) has chances to be more ambitious than the first volume than a book cooked a few years later as a sequel to an initially stand-alone novel. Compare cinema with literature on this point, and after you’ve compared HIGHLANDER 2 with, say, SPEAKER FOR THE DEAD, I’ll rest my case. (Though XENOCIDE could be compared with SUPERMAN III and set off a whole new debate.)
I was not a big fan of Charles Sheffield’s Aftermath. Partly because it felt more like a disaster novel than science-fiction, partly because it was filled with unsympathetic characters that spent their time discussing various sexual dysfunctions, partly because, frankly, it just wasn’t very interesting. Aftermath, however, was obviously the first volume in a series; the ending, with its last-minute curveball, seemed explicitly designed to whet readers’ expectations.
I happened, a year later, to grab Starfire off my local library’s shelves. No sense in spending money to read a sequel to a book I didn’t really like.
Surprisingly, even though I can’t really say that Starfire is all that good, it’s certainly more interesting and more enjoyable than its prequel.
For one thing, it certainly feels closer to science-fiction than the previous volume. At the end of Aftermath, scientists discovered that they had twenty-five years to prepare a shield to protect them from a serious particle storm headed for Earth. In Starfire, the twenty-five years are up and the final elements of the shield race to completion before the storm hits. But, ah-ha, things suddenly look much worse than previously; the particle storm arrives earlier than expected, packs more punch, and faces a shield that’s dogged by budgetary constraints and sabotage. Seems like, as usual in hard-SF, wacky religious groups just keep wanting the end of Earth.
As if that wasn’t enough, most of the essential robots of the shield project are controlled by a maniacal dwarf (is there any other kind of dwarf, I ask?), who sends a traitorous woman (is there…?) to seduce a straight-laced engineer (is there…?) Even better; to solve a series of murders on a space station, a shadowy operative contacts a genius ex-serial murderer. (Now, you know that all serial murderers are geniuses.)
A lot of stuff, mostly already seen elsewhere, but it keeps things moving at a decent pace. The constant sexual obsession of the first volume is considerably toned down and even though some characters approach cliché, it does seem as if they’re a rather more pleasant bunch than in the previous book.
The details are a mixed bunch. As could be expected from a scientist/hard-SF writer like Sheffield, the science is adequate even though the “one single smart scientist figures it all out” cliché is once again taken for a walk. The political details, however, sound naive and far too convenient, a flaw shared by many similar novels. Political unlikeliness isn’t the only type of doubtful developments in Starfire, however; the whole ending (along with the dinosaur stuff) struck me as essentially preposterous.
But, even though Starfire isn’t too good, it lends itself to a quick reading, and represents a step up from its predecessor. Unfortunately, it still represents another sub-par novel from Sheffield, who’s shown himself capable of both the best and the worst, often in successive books. Certainly, seeing him turn out two or three novels a year doesn’t do much to inspire confidence; is he spreading himself too thin?
In any case, those readers who slogged through Aftermath deserve something to lessen the bad taste of it; Starfire might fit the bill. And if you haven’t read the first volume, well, it’s not essential for enjoying this one.
Ace, 1992, 230 pages, C$5.99 mmpb, ISBN 0-441-14273-7
Each revolutionary artistic current has its host of routine imitators, not necessarily incompetent poseurs, but averagely talented artists who are either fascinated by a new style without being able to faithfully render it, or otherwise tempted by easy monetary gain on the coattails of more innovative material.
Cyberpunk crashed into science-fiction in the eighties and eventually faded out in the nineties as the world finally caught up to the fiction. William Gibson et al’s vision of tech-smart street people, decaying cities, dominating corporations and “dirty tech” was an all-too-common concern in the Internet-dominated nineties, and if only for this reason, cyberpunk faded out as a genre, though it radically re-energized SF in the process. (Indeed, some of the most successful SF works of the decade managed to incorporate cyberpunk’s native energy, manic invention and fascination with information technology as elements -not keystones- in a larger future tapestry. Interested scholars can look at the career of Bruce Sterling as a perfect illustration of this metamorphosis.)
In this context, Richard Paul Russo’s Destroying Angel stands as an example of a strictly average cyberpunk novel coming almost at the genre’s death march. It is not bad -or inferior- per se, but it doesn’t really exhibit any superior qualities.
Certainly, the plot is immediately familiar. In a downtrodden and rodent-ridden San Francisco, an ex-cop with a bad past manages to earn a living as a smuggler. But a serial murderer once thought dead reappears in the City and starts killing again, bringing back the ex-cop straight back to where he had quit the police force.
In a few words, it’s your standard serial killer plot, along with the flawed hero, noir atmosphere times ten stirred in with the usual cyberpunk gadgets. Any more ordinary and you’d get a book put together with excerpts of previously published stories.
But I’m being too harsh, because once you’re into the story, Destroying Angel is enjoyable in a strictly-entertainment fashion. The writing is pretty good, Russo creates an acceptable hard-boiled atmosphere, scenes move with a certain efficiency, and it’s hard not to sympathize with the tortured protagonist. Several nice touches, such as the opera-signing ghetto lady, enliven an otherwise routine narrative.
Only a somewhat useless subplot about a young girl named Sookie drags down the book from its straight-ahead narrative. (Sookie eventually becomes vital to the plot, but the rest of her story smacks of padding in order to obtain a novel-length manuscript.)
As with any genre, Science-Fiction’s got its blockbusters, its work of art, its true stinkers and total failures. Then there’s the overwhelming majority of the total SF production; wholly average novels that are neither really good or really bad. That’s where Destroying Angel goes; in the vast masses of the averages. To its credit, it doesn’t try to be anything more pretentious than it is; the writing is clean and obviously tries to be entertaining. It’s an acceptable thriller.
It’s worth a look if ever you come across it at a used book sale and if you don’t have anything more pressing to read. Otherwise, it’s one of those books you can safely skip without missing anything essential to the evolution of the genre. Hopefully, the book brought money to Russo and allowed him to buy a few nice things.
And sometimes, artistic innovation be damned, that’s all you can ask for: entertainment for the reader and money for the author.
Berkley, 1993, 449 pages, C$8.99 mmpb, ISBN 0-425-14563-8
As somewhat of a genre reader, I rarely get to read books that make it to bestseller lists. Aside from Tom Clancy, most of the current best-selling authors aren’t favorites of mine. Robin Cook is one of these best-selling authors; Though I was aware that he wrote medical thrillers, the two book from him that I had read before in translation (Fever and Brain) didn’t make enough of an impression on me to lead on to further readings. (Unlike, say, Robert B. Parker—but I digress)
The literary circles I frequent often resent “bestsellers” as an inferior form of writing, as if being popular required bad writing, simple plot and cardboard characters. Right. Say what you want about the general dumbing-down of the American public (myth!) but truly bad novels go on the slushpile, not the top-ten lists which at worst might be filled with formulaic plotting and familiar characters, but not incompetence.
After reading Fatal Cure, I’m ready to revise this opinion.
If you’re somewhat familiar with medical thrillers, you already know the plot: Young couple is lured to a hospital in a city far way from home. But! Patients start dying mysteriously, the hospital’s administrators don’t want to talk about it and, of course, our protagonists are quickly threatened as soon as they investigate further.
Oh, I’m sure that most readers who paid good money to buy this book and put it on the charts really liked what they read. Maybe they’re just less demanding. Maybe they really like medical thrillers. Mostly they don’t read 150+ books a year like I do.
Because everything in Fatal Cure reads like a re-run of these 150+ books. With time, avid readers start building up standard templates of familiar stories, and less tolerance for those authors which can’t or won’t surprise them with fresh twist.
For instance: One of the thrills of crime fiction is to keep guessing the identity of the murderer. Ironically, if the reader figures out the mystery before it’s revealed, it definitely lessens the book’s impact, and takes away from the fun of reading the book.
Yes, I did figure out the identity of the bad guy in Fatal Cure. Pretty much from the first scene on; it’s that transparent.
The rest of the book isn’t much better. Every tired plot thread is used shamelessly, from the sick daughter to the sexual harassment subplot to the local sheriff in cahoots with the chief conspirators. So-called “clues” are so obvious that from their very first mention, you can guess how they’ll play later on in the book. So, the young couple buys a house whose owner mysteriously disappeared, but notice a strange smell in the basement. Gee, I wonder what that smell could possibly be…? Not so annoying if they would immediately discover the body, but rather more annoying when no less that 104 pages (69 to 173) pass between smell and body.
It gets worse; not only is the plot clichéd in every conceivable way, but it is also wrapped in an unsubtle authorial message about how bad HMOs truly are and why Americans shouldn’t support such initiatives. (Hey, in Fatal Cure HMOs breed killer administrators. And that too can be guessed early on.)
And yet… and yet… Even though most copies of Fatal Cure could spontaneously combust with nary a tear from me (provided the rest of the libraries stay intact), it should be said that once you make it through the first half of the book, it doesn’t get better but it can be read fairly easily, especially if you’re adept at diagonal reading; most of what is expected to happen, happens, and if you enjoy that type of thing, I can see Fatal Cure as average beach reading.
On the other hand, there’s never a single element to convince me to read another Robin Cook book ever again. Somehow, I don’t think he’ll feel the pain very much.
![Ekkusu [X] (1996)](https://www.christian-sauve.com/wp-content/uploads//x-the-movie-1996-200x300.jpg)
(In theaters, July 2000) Japanese animation works according to its own very peculiar rules, and Ekkusu demonstrates this above everything else. A choppy story of good-versus-evil ultimate combat, this is perhaps the most unintentionally funny film you’ll see on any given year: Divided either between hilarious straight exposition (which isn’t helped by the sarcastic attitude) and over-dramatic action scenes, Ekkusu contains such gems as “I came to save you and you were here to protect me, but it didn’t turn out that way” (said after half the characters dies). Ekkusu‘s faults might be exacerbated by a poor dubbing, but most probably find their source both in the typical anime tics, and the ultra-compressed adaptation of the story from a massive manga series. In any case, this film is best rented with a group of guys as so to enjoy the curvy female characters, gory action scenes and what may be one of the most unintentionally hilarious death scene ever.
(In theaters, July 2000) When all will have been said and done, the biggest measure of X-Men‘s success is how it didn’t disappoint the legions of fans and hordes of non-fans that went to see it. It’s incredibly hard to make a film about iconic figures, but X-Men manages to pull it off. The script wisely focuses on only a few characters, grounds the fanciful comic elements in reality (such as the black leather uniforms rather than yellow spandex) and plays around the ever-popular theme of discrimination, almost bringing some actual thought in the process. Director Bryan Singer does a decent job on most of the film, but his action scenes clearly show his lack of experience with special effects and action editing: They feel disjointed, don’t flow nearly as well as they should and rarely use wide-angle shots that would firmly establish the action flow in viewers’ mind. Nevertheless, the film is enjoyable, features a breakout performance by Hugh Jackman (as fanboy favourite Wolverine) and delivers value for the money. Not a bad performance for a summer blockbuster.
Baen, 1999, 405 pages, C$35.50 hc, ISBN 0-671-57827-8
Many nasty things can be said about series of science-fiction books set in the same shared universe. They’re exercise in marketing over art; they repudiate the spirit of unbounded imagination that is at the core of SF; they allow authors to be lazy; they require less mental effort from their readers; they often repeat the same themes over and over…
Which is why it’s so rewarding to find a series of novels that’s genuinely good. Nearly all of Lois McMaster Bujold’s fiction output so far (minus a couple of short stories and one fantasy novel, The Spirit Ring) has been linked to the “Vorkosigan Universe”, named from the family around which most adventures of the series seem to take place.
It’s not easy to isolate the secret of Bujold’s success with critics and readers (She has brought home an unprecedented 4 Best Novel Hugos for the series so far) because it appears so transparent; great characters, memorable plotlines, superb dialogue all moved along with crystal-clear writing. But the simplicity of Bujold’s work is deceptive, because it hides in plain view an astonishing mastery of her art.
The depths upon which the Vorkosigan series are constructed becomes more apparent when considering A Civil Campaign and its two immediate predecessors, Memory and Komarr. Memory was, in many respect, a big important book, both for Bujold and her protagonist Miles Vorkosigan, as he saw himself forced to abandon covert military service and learn to cope with his family obligations in a more direct fashion than previously. At the same time, Bujold was cutting away the important military/action roots of her series. Few authors have the guts to try something as definitive.
Komarr is often seen as something of a “simple adventure” in the Vorkosigan Universe, a simple matter of Miles investigating a crime in his new job as Imperial Auditor. But A Civil Campaign highlights the importance of the novel in introducing Ekaterin Vorsoisson, who quickly becomes the object of Miles’ affection.
In war as in love, there are no certitudes, and if Miles Vorkosigan’s first adventures were military in nature, A Civil Campaign is a love saga, blending seamlessly the conventions of regency romance with the Barrayaran aristocracy, a compatible match if ever there was one. (Along with the usual everything-goes-wrong tendency of the Vorkosigan adventures.)
Everyone who’s read as much as one Bujold novel already know how funny she can be. A Civil Campaign allows her to run wild with comedic scenes. Readers with some attachment to the characters will find themselves swept along, slapping their forehead in embarrassment, grinning ferociously at the witty developments and even shouting out loud whoops of satisfaction at what are known in the trade as “the cool scenes” (of which there are, as usual, many) Few novels, few authors are able to pull in readers as efficiently as Bujold, and for that alone, she deserves special attention.
In short, it’s really hard to be anything but enthusiastic about the latest Bujold novel, especially when it’s one of her better ones such as A Civil Campaign. On the other hand, like most of Bujold’s novels (Barrayar comes to mind) it’s not a novel that depends as much on its science-fiction elements as other works. Some readers will call it “slight SF”, and in a sense they are right. Even though Bujold’s output is excellent fiction, it’s definitely not strong SF, which explains some of the mixed sentiments about Bujold’s regular Hugo nominations.
And yet, under the surface, look closer and you’ll find serious SF material nearly everywhere in A Civil Campaign. From the biotechnology of the “butter bugs” (and impact thereof on Barrayaran ecology) to the biotechnology of Lord Dono’s solution (and impact thereof on Barrayaran aristocracy) to the biotechnology of Lord Vormuir’s semi-cloned daughters (and impact thereof on Barrayaran society)… there is no doubt that A Civil Campaign is definitely SF.
In the meantime, put these esoteric considerations out of your mind and get the latest Bujold. If you haven’t yet started the series, well, it’s not too late to begin…
(On VHS, July 2000) Charming, little-known comedy about an undertaker being caught in the middle of a mafia family war. Romantic -and possibly fatal- complications ensue. Sympathetic central characters, gorgeous actresses, fun conclusion and a few funny scenes make this an entirely acceptable, if not essential rental.