Why Isn’t Marvel’s Netflix Strategy Working?

It’s no secret that Netflix doesn’t dish out its audience numbers, but new data shows a trend that, until the cancellation of Iron Fist and Luke Cage, was somewhat of a secret: people aren’t watching Marvel-Netflix shows like they used to. Is this a reflection of the overall streaming climate, or of the superhero genre?

Jumpshot, a San Francisco-based analytics company, says Netflix viewership for Marvel shows has steadily decreased since Daredevil Season 2 (via ScreenRant). Anyone who calls themselves a comic book nerd has noticed the trending discussion and hype around each series has noticeably declined over the years, even if a show is great (like Daredevil Season 3). So why aren’t even the most devoted of comic book fans tuning in for every Marvel Netflix show?

It may be that Marvel is asking too much. There’s essentially two separate cinematic universes: the film universe and the Netflix universe. Each universe is sequential. Yes, you could watch each movie or show individually, but it’s not the optimal experience. And even if you don’t miss anything, you’d think you were missing something. That chase used to be half the fun, but now keeping up with Easter eggs and references and inside jokes between shows feels like a chore. And a two hour Marvel film is a much more approachable, and action-packed, universe to follow than a Netflix TV show spanning 13-hours.

“I’m already behind, I couldn’t get through Iron Fist or Defenders and I have one more Luke Cage episode,” said one disgruntled Newsgeek staffer. And it’s not an uncommon sentiment.

Binging TV can be great, but it can be daunting too. One look at the Netflix home screen is all the reminder one needs that there’s just too much to watch. Back in 2015, when Daredevil kicked things off, Marvel wasn’t as ubiquitous and Netflix had far less original content. Now, Netflix has six original superhero shows (and even more streaming, such as The CW’s offerings). That’s not to mention more options across overlapping fandoms like science fiction, anime, fantasy and adaptations. Catching up with Luke Cage to watch The Defenders to watch Daredevil Season 3 is too much work…why not just watch Maniac instead?

Another major disadvantage of the binge-watching formula; you have to wait a year—often longer—before the next season comes out. There was a three-year gap between Jessica Jones Seasons 1 and 2. The act of binge-watching also affects how these shows are covered. For better or worse, traditional weekly broadcasts allow hype to build, creating more excitement for the next episode. The Marvel-Netflix formula does not allow for that type of ingestion, no matter how good the show is. DC’s new streaming service plans to stick to a weekly schedule. Going forward it will be interesting to see how each platform’s original shows are received by fans. Is bulk delivery of episodes the problem, or is the streaming audience simply oversaturated with superhero stories?

Streaming platforms seem to be reaching a breaking point. There’s just too much, too many apps, too many providers. It’s arguably more annoying keeping track of them all, and all the separate release dates, than forking up the extra bucks for cable. Marvel’s about to make it even harder with the upcoming launch of the Disney streaming service. The Marvel-Netflix approach attempted to replicate the successful design of the MCU, and according to Jumpshot’s data, it hasn’t worked in the long-run. That being said, everything good must come to an end, and if the end of this era means ditching the past to advance the oversaturated superhero formula, than so be it.

Thoughts? Sound off in the comments. 

p:last-of-type::after, .node-type-slideshow .article-body > p:last-of-type::aftercontent:none]]>Source: https://www.newsweek.com/marvel-netflix-shows-cancellation-strategy-disney-streaming-service-1202032

Behind the unsettling sci-fi landscapes of Simon Stalenhag’s ‘Electric State’

A boxy blue car, like the old Volvo my dad used to drive, sits parked in a desolate lot in one of Simon Stålenhag’s dystopian illustrations. Fastened to its roof rack is a kayak. A young woman in white sweatpants, a hooded leather jacket, and red backpack stands on a nearby hill.

It’s a familiar scene from my 90’s childhood — except the girl is holding hands with a bobble-headed robot and staring up at four animatronic ducks riddled with bullet holes from some recent wargame. One of the duck’s heads is blasted straight through. Dust gathers in the distance. As with a lot of Stålenhag’s work, it’s a haunting image that carries an air of tranquility. The focal point isn’t the devastated ducks but the gentle embrace of the human and her robot.

behind the unsettling sci fi landscapes of simon stalenhags electric state electricstate 7

It’s been a big year for Stålenhag, a Swedish digital artist who’s gained something of a cult (and Kickstarter) following for his evocative depictions of rural and suburban landscapes mixed with eerie science fiction elements. In July, it was announced that Amazon Studios would adapt his breakout artbook, Tales from the Loop (2015), into a television series. In September, Stålenhag’s most recent work, The Electric State (2017), was released in the United States.

The narrative artbook follows the journey of a young traveler, Michelle, and her robot, Skip, as they head west to the Pacific coast through an alternative America torn apart by civil war and the trappings of military-grade virtual reality. Along their journey they encounter colossal warships that loom over the horizon like metal mountains and dead VR addicts still plugged into their headsets. Set in the 90s, the story mixes one-part nostalgia with one-part sci-fi into a captivating cocktail.

We spoke to Stålenhag about his inspiration for the book, his creative process, and whether he considers The Electric State a cautionary tale. The interview has been edited and condensed for clarity.

With Amazon purchasing rights to Tales from the Loop, knowledge of your work has gone more mainstream. But, for people who aren’t familiar, how would you describe the scenes you create?

Simon Stålenhag: My art is basically science-fiction-themed landscape painting. I try to approach scenes as if they’re real, as if I’m actually seeing these things. I’m more inspired by landscape artists and wildlife art than science fiction art. Although, I am also very inspired by science fiction.

When did you decide to place robots and spaceships into images of rolling hills?

I started with landscape and wildlife art. I drew birds and Swedish wildlife when I was a kid. That was my big passion. I always wanted to paint things that I see in my everyday life. And then I started working in the video game industry and I learned to draw all these the robot and monsters and science fiction themed stuff, and it just kind of bubbled out while I was doing the landscape.

I’ve had two passions, really. I had landscape and wildlife interests, and then rediscovered all these science fiction classics of the 80s, of my childhood, when I was in my early 20s. All the nostalgia of that era. It’s like I wanted to do two projects — one science fiction and one landscape — but I didn’t have time, so I had to combine them. It always felt natural to mix them together.

That’s one of the aspects that makes your work so gripping — it combines real, nostalgic, sort of rural settings with a kind of a high-tech alternative reality. It’s foreign things surrounded by the familiar.

Yeah, it’s like a two-part trick. The natural and familiar elements are like a trick to get you to buy into this science fiction stuff. But also, in terms of my own passions, I kind of use the science fiction stuff to trick people into seeing the ordinary stuff. Like, Oh yeah that’s how those cars looked like. To me, I’m not sure which part of it I enjoy the most or which part I want people to look at the most. Sometimes it’s the regular stuff, the ordinary and everyday items that I want people to look bit extra at. Sometimes you have to use some tricks to get people to do that.

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What comes first for your creative process? Is it the story or the scene?

Most of the time it’s actually music. I make music playlists and I kind of see it play out as a film. I scrape the whole concept, the whole aesthetic from the playlist. With The Electric State I made this 90’s alternative rock playlist with Nirvana and Smashing Pumpkins and Marilyn Manson and Rage [Against the Machine]. A wide variety of music that spoke to the characters and attitude I wanted use. My previous books were much more the 80s and early 90s, more of that kind of innocent childhood nostalgia. With the Electric State I wanted to do something that was grungier and more about alienated youth culture. This is basically my Kurt Cobain book.

At one point I actually called main character “Negative Creep,” from the Nirvana song. I put that character in this creepy, weird version of the mid-90s U.S. This was before I did the actual research and the actual road trip that Michelle goes on in the book. I did the three-week road trip with my wife and mom. I wasn’t sure what exact landscapes and what exact settings I would use, but I knew I was going to see stuff that was going to fill my head and make me want to paint. I already had the character and the mood.

You’ve said previously that your work is very personal to you. I’m curious how the character Michelle develops as a personal character. You took this road trip, so that has a personal element but I’m wondering if there’s more.

The road trip was like the opposite of the book. It was a very happy experience. We were kind of singing along in the car. But the personal experience that I drew from were my own teenage years. When it comes to her story and memory flashbacks, they weren’t autobiographical but I’ve been on those similar situations. I wasn’t a foster kid and I didn’t have it as bad as she had it, but I’m a divorce kid and I kind of try to draw from those experiences of feeling abandoned.

The relationship with Skip was inspired by my older sister who took care of me when our parents divorced. She was eight years older than me and she was a taking care of me and my older brother. I wanted get that love into the book but place it in a very dark world. You can’t have everything be gloomy and dystopian. To me it has to have some kind of hope. That was the challenge — to make that relationship seem real.

With the backdrop of gloom in the story, it really magnifies things like hope and love. It makes them kind of pop.

Yeah, in a way it became easier to make that stand out because having a very grim setting and then having this girl speaking very compassionately to the tin-can robot.

I’m curious about your idea behind Sentre, the conglomerate that sells VR headsets to consumers but is also a part of the military industrial complex. Where did your idea for this company come from?

Sentre was inspired by the way a lot of our information technology, like the internet and computers, seem to come from the defense budget. We wouldn’t have this technology if it wasn’t for some defense projects back in the 50s or 60s. I wanted to mirror how cell phones and the internet became a consumer commodity but how they came from something else. How they came from within the war machine.

behind the unsettling sci fi landscapes of simon stalenhags electric state electricstate 18

It’s meant to be satirical in a way. I wanted to make fun of the mid-90’s crazy boom in consumer information technology and all the advertising and the general tone of the home consumer electronics tech that we were flooded with in that era. I wanted to have fun with that aesthetic and make it into a kind of zombie thing.

Is the story a cautionary tale?

It’s more of a satire. It’s not too serious. There is a serious threat inherent in our technology but it’s almost cliché by now. Nuclear energy is a source of energy but you could also destroy the planet. Social media is a similar thing. It connects people in oppressed parts of the world and it can be used for good and bad. Right now it feels like it’s out of control and used in undemocratic ways. But this book isn’t about that. It’s more satirical.

But I am scared by technology and the way it’s used right now. I also don’t think there’s any other way out of our problems. I think technology is the only way to go. We just have to learn and get better at using it responsibly. I’m not the person to say how that should be done. But that’s the big question and problem of our age.  I sometimes feel like if I really would have wanted to address that problem, I wouldn’t do a book like The Electric State, which is much more personal. It’s about family. The backdrop of a dystopian high-tech world is just the way I do it.

What are you working on right now?

I’m working on a very proper post-apocalyptic work. It’s claustrophobic, much more confined, set in a bunker. We get to see some flashbacks. But it’s much more of a war traumatized world. My main idea right now is to capture the confusion of all of the trauma of the apocalypse and try to get stories about some characters. It’s definitely a darker story than the Electric State.

When do you think you’ll release that?

Hopefully late next year.

Do you have a working title?

Right now it’s called the Labyrinth.

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Source: https://www.digitaltrends.com/cool-tech/behind-the-unsettling-sci-fi-landscapes-of-simon-stalenhags-electric-state/

Computers will soon outsmart us. Does that make an AI rebellion inevitable?

The question, “Will Computers Revolt?” is really many different questions rolled into one. Will computers become the dominant intelligence on the planet and will they take our place? What does being “dominant” mean? Will computers and humans be in conflict? Will that conflict be violent? Will intelligent computers take jobs and resources from humans?

Most AI experts agree that computers will eventually exceed humans in thinking ability.  But then, even more questions arise. When will it happen? What would it be like to ‘exceed humans in thinking ability’? Will computer intelligence be just like human intelligence—only faster? Or will it be radically different?

Although today’s AI systems have remarkable abilities, they are not “thinking” in any general sense of the word.  Accordingly, we now use the terms AGI (Artificial General Intelligence), Strong AI, True AI, and others to differentiate the idea of true thinking from today’s AI systems which have tremendous capabilities but more limited scope.

With the coming of AGI, many new risks will emerge but before exploring these, let’s consider how far in the future this is likely to happen.

When Will AGI Happen?

Sooner than you think!  Why don’t we already have AGI? Two issues hold us back:

  1. Creating the computational power needed for AGI
  2. Knowing what software to write for AGI

AI experts have come up with differing estimates of the computational power of the human brain and predictions of increasing computational power of CPUs. The lines eventually cross at a “singularity” (coined by Ray Kurzweil) with CPUs exceeding brains in terms of brute-force computation in ten years, or twenty, or half a century, depending on the underlying assumptions.

But this may be the wrong question. We all know that lightning-fast searches on a properly-indexed database can produce results a million- or billion-fold faster than the brute-force approach. What portion of AGI will be amenable to this type of software efficiency?

How the Giants of Science Fiction Helped America’s World War II Effort

Astounding” is author Alec Navala-Lee’s groundbreaking history of science fiction in America. Rather than give a cursory overview to the entire history of how stories published in pulp magazines transformed into an important literary genre, Nevala-Lee takes an in-depth look at “Astounding” magazine editor John W. Campbell and three of his most famous disciples: Isaac Asimov, Robert Heinlein and L. Ron Hubbard.

Campbell didn’t write many stories himself, instead assigning most of his best ideas to his writers at the magazine, although his brilliant novella “Who Goes There?” inspired the 1951 sci-fi movie classic “The Thing From Another World” and its 1982 and 2011 remakes as “The Thing.”

Asimov and Heinlein remain on the short list of science fiction’s greatest authors, while Hubbard mostly abandoned the genre after World War II when he developed that ideas that eventually led him to found Scientology as a religion.

Both Heinlein and Hubbard are Navy veterans and Asimov worked as a civilian researcher in support of the war effort. What happened during World War II plays a huge role in Nevala-Lee’s story and we’ve got an excerpt that details Heinlein and Asimov’s time working at the Philadelphia Navy Yard. 

Health issues prevented Heinlein from returning to active duty during the war and his wife Leslyn worked alongside him at the complex. Hubbard was pursuing a checkered Navy career that’s heavily detailed in “Astounding.” 

Other characters mentioned in this excerpt include Asimov’s wife Gertrude, science fiction author Frederik Pohl, Lt. Cmdr. Buddy Scoles (assistant chief engineer for materials at the Navy Yard), science fiction author and fellow Navy Yard worker L. Sprague de Camp and Campbell’s daughter Peedee.

Selection from Chapter 7: A Cold Fury

During the war, one issue that was never far from anyone’s mind was the problem of rationing. Gertrude smoked, but neither she nor Asimov drank, and they became used to their friends asking if they had any extra liquor stamps. Their lack of interest in drinking was another quality that kept them socially apart. Asimov’s idea of indulging himself after moving to Philadelphia had been to consume a huge bottle of soda on his own, which only made him sick, and Gertrude wrote to Pohl, “Try as I may, propriety and dullness must be my lot.”

Another object of rationing was gas. The preferred mode of transportation at the Navy Yard was by bicycle, and Heinlein could often be seen pedaling between the buildings in his suit and tie. One day, as a joke, a coworker removed the tags from a few tea bags and stopped Heinlein in the hallway, offering to sell him some illicit gasoline stamps. After examining the paper slips, Heinlein handed them back coldly. “You’re lucky they weren’t real.”

He wasn’t inclined to make light of wartime sacrifices, and there were moments when the courtly mask that he cultivated so carefully seemed to crack. On his arrival at the Navy Yard, he had been assigned to the Altitude Chamber and Cold Room, which were used to test materials under conditions of low pressure and temperature. He supervised their construction before handing them over to de Camp, who was a lieutenant in the Naval Reserve. Heinlein was suffering from his usual medical problems—his back and kidneys were acting up—and he felt buried by paperwork.

Scoles, who admired his competence, assigned him additional administrative duties, which Heinlein accepted against his will. He wrote to Campbell, “I hate my job. There is plenty of important work being done here but I am not doing it. Instead I do the unimportant work in order that others with truly important things to do may not be bothered with it.”

He derisively called himself “the perfect private secretary,” but he was also good at it. Tension between civilians and officers often ran high, and Heinlein was respected by both groups, advising the inexperienced de Camp, who could irritate others, to “clip those beetling brows.” De Camp recalled, “It must have irked Heinlein to be working as a civilian while I, green to Navy ways, went about with pretty gold stripes on my sleeve. But he was a good sport about it, and I am sure his advice saved me from making a bigger ass of myself than I otherwise might have.”

Heinlein’s basic trouble—which Hubbard shared to an even greater degree—was that he was too imaginative to fully commit himself to the work that had to be done, even as he feared that they were losing the war. He learned to deal with it, but only by consciously willing himself into the attitude of patience that came naturally to Asimov. “A war requires subordination,” Heinlein wrote to Campbell, “and I take a bitter pride in subordinating myself.”

This remark was aimed directly at the editor. Months after their meeting with Scoles, Campbell’s status was still up in the air. Early on, he had been enthusiastic about the Navy Yard, writing to Robert Swisher that Scoles was recruiting science fiction writers “as the type of men wanted for real research today.” The editor added, “I have the satisfaction of already having succeeded in contributing a suggested line of attack that yielded results on one project.” He even reached out to del Rey about taking over the magazine in the event that he was drawn into war work.

Campbell remained unsure of his prospects for getting a reserve commission, however, citing a list of ailments, including bad vision in his left eye, a poorly healed appendectomy scar, an irregular heartbeat, and what he called “fear syndrome” in his psychiatric records. Ultimately, he didn’t even take the physical. His attempts to find a position at the National Defense Research Committee faltered—his contact was often out of town—and it became clear that his limited lab experience made him less desirable than the most recent crop of engineering graduates.

Heinlein told him that if money were an issue, he and Leslyn would be happy to contribute a stipend for Peedee, but he conceded, “Truthfully, we aren’t shorthanded enough to recommend it.” But he also advised:

I strongly recommend for your own present and futurepeace of mind and as an example to your associates that you find some volunteer work. . . . I predict that it will seem deadly dull, poorly organized, and largely useless. . . .I am faced with that impasse daily and it nearly drives me nuts.

He anticipated many of Campbell’s objections: “Remember, it does not have to be work that you want to do, nor work that you approve of. It suffices that it is work which established authority considers necessary to the war.” And he concluded pointedly, “But find yourself some work, John. Otherwise you will spend the rest of your life in self-justification.”

Campbell never did. He found it hard to subordinate himself to duties that didn’t utilize his talents, and he was disinclined to make the sacrifice that Heinlein had bitterly accepted. In the end, he decided to stay with his magazines, a civilian role with a high priority rating because of its perceived importance to morale. Heinlein never forgave him, speaking years later of “working my heart out and ruining my health during the war while he was publishing Astounding.”

The Heinleins still remained outwardly friendly toward the Campbells, as well as the de Camps, and they occasionally walked the two miles to visit Asimov and Gertrude. At work, their social life centered on the Navy Yard cafeteria, which was known without affection as Ulcer Gulch. Heinlein and Leslyn worked in different buildings—she had landed a job as a junior radio inspector— but they ate together every afternoon. Asimov became part of the lunch crowd when Gertrude left on a trip to clarify her immigration status, and after her return, Heinlein asked him to stay. Asimov resented the pressure, but finally consented “with poor grace.”

At the cafeteria, the food was terrible, and Asimov didn’t get along with Leslyn. She struck him as brittle and tense, and her constant smoking—she used her plate as an ashtray—soured him forever on cigarettes. Leslyn didn’t care for him, either. His years at the candy store had left him with the habit of devouring his food in silence, and when he popped half of a boiled egg in his mouth, she couldn’t contain her disgust: “Don’t do that. You turn my stomach.”

Asimov thought she was speaking to someone else. “Are you talking to me, Leslyn?”

When she confirmed that she was, he asked what he had done wrong—and swallowed the second half. She shrieked, “You did it again!”

His comments about the food grated on Heinlein, who decreed that anyone who complained had to contribute a nickel toward a war bond. Asimov knew that this was a message to him. “Well, then, suppose I figure out a way of complaining about the food that isn’t complaining. Will you call it off?”

After Heinlein said that he would Asimov tried to think of ways to get around it. One day, as he sawed through the haddock on his plate, he asked, in mock innocence, “Is there such a thing as tough fish?”

It was another battle of wills, and Heinlein wasn’t about to back down. “That will be five cents, Isaac.”

This time Asimov held his ground. “It’s only a point of information, Bob.”

“That will be five cents, Isaac,” Heinlein repeated. “The implication is clear.”

Asimov was saved when another employee, unaware of the rule, took a bite of ham and remarked, “Boy, this food is awful.” Rising to his feet, Asimov pronounced, “Gentlemen, I disagree with every word my friend here has said, but I will defend with my life his right to say it.” Heinlein dropped the system of fines. It was a victory, but a small one.

On September 25, 1943, the Soviets marched back into Smolensk. Two days later, a communiqué said that Petrovichi had been retaken after years under German rule. When Heinlein heard the news, he shook Asimov’s hand and congratulated him gravely. For the moment, at least, they were equals.

Word finally came of Leslyn’s family in the Philippines. Her sister, Keith, was interned with her two sons in Manila, but her brother-in-law, Mark Hubbard, had vanished. Until then, Leslyn had liked her job, but she began working so hard—”Just doing everything she could to shorten the misery of her sister,” a friend recalled—that it affected her health. She became the personnel manager for a machine shop with six hundred employees, and although she was suited for it—she was the only administrator who made a point of wearing the same uniform as the female workers— it caused her to drink more heavily.

Heinlein was also feeling the pressure. He sometimes felt like returning to fiction, and when he mentioned this to Campbell, the editor thought that it implied that his work was either going well or “shapfu,” in which the “hap” stood for “hopelessly and permanently.” It was closer to the latter, and in the end, he didn’t do any writing at all. He developed hemorrhoids that his doctor treated with injections, leading to an abscess “in a location where I could not see but was acutely aware of it.” The Navy clearly had no intention of reactivating him, so he decided to try for the Merchant Marine, undergoing an operation to resolve his medical issues that he compared to “having your asshole cut out with an apple corer.”

He was left with “no rectum to speak of,” and he was recovering in the hospital in January 1944 when Leslyn heard from the Red Cross. Mark Hubbard was missing, but Keith and her sons were aboard the Swedish mercy ship MS Gripsholm—Leslyn had been sending money to pay for their safe passage. It took them seventy days to get from Goa to New York. After their arrival, the two boys were sent to New Jersey to live with the Campbells, where they stayed for months, until their mother had recovered. The stress led Leslyn’s weight to fall below ninety pounds, and she began sleeping for up to twelve hours a day.

From ASTOUNDING by Alec Nevala-Lee, published by Dey Street Books. Copyright © 2018 by Alec Nevala-Lee. Reprinted courtesy of HarperCollins Publishers. https://www.harpercollins.com/9780062571946/astounding/

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Source: https://www.military.com/undertheradar/2018/11/05/how-giants-science-fiction-helped-americas-world-war-ii-effort.html

2018 BookNest Fantasy Awards Winners

Winners of the 2018 BookNest Fantasy Awards have been announced:

Best Traditionally Published Novel

Best Self-Published Novel

Best Debut Novel

Best Imprint

  • WINNER: Harper Voyager
  • Del Rey
  • Gollancz
  • Orbit
  • Tor

The BookNest Fantasy Awards longlist was created “with the help of nine popular Fantasy Blogs;” fantasy imprints Gollancz, Harper Voyager, and Orbit; and agents Joshua Bilmes and John Jarrold. The shortlist and winners were chosen by public vote. The winner in each category receives an engraved sword.

For more information, see the BookNest website.

[via File 770]


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Source: https://locusmag.com/2018/11/2018-booknest-fantasy-awards-winners/

Winter Is Coming, So Here Are All the Best New Sci-Fi and Fantasy Books Out This November

Detail from the cover of Molly Tanzer’s Creatures of Want and Ruin.
Image: John Joseph Adams/Mariner Books

Halloween is over, and you’ve got a brief window of time before holiday-related activities take over all your free time. Now is the time to pounce on new books by George R.R. Martin (alas, not the one we’re all waiting for), M.R. Carey, and many others. Here’s our list of November releases to look out for.

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How to Fracture a Fairy Tale by Jane Yolen

The fantasy author (The Devil’s Arithmetic) presents a collection of old and new tales for all ages inspired by fairy tales and legends, with new author notes and original poems to accompany each. (Nov. 5)

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An Agent of Utopia: New and Selected Stories by Andy Duncan

Two new short stories (including the title tale, which concerns Sir Thomas More) top off this collection of works by the author, which takes on subjects as wonderfully weird as “an aging UFO contactee, a haunted Mohawk steelworker, a time-traveling prizefighter, a yam-eating Zombie, and a child who loves a frizzled chicken.” (Nov. 6)

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Diamond Fire by Illona Andrews

On the eve of her older sister’s wedding—when the use of magic is strictly forbidden—maid of honor Catalina wonders if she should break the rule in order to make sure the increasingly endangered fairy-tale celebration goes off without a hitch. (Nov. 6)

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Kingdom of the Blazing Phoenix by Julie C. Dao

In this sequel to East Asian-inspired fairy tale Forest of a Thousand Lanterns, Princess Jade must learn to embrace her birthright, including the crown she doesn’t really want, and gather her strength to defeat the Serpent God and free her people once and for all. (Nov. 6)

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Nothing to Devour by Glen Hirshberg

The Motherless Children horror trilogy comes to an end as a group of people across America—including a compassionate vampire and a woman who creates “monsters” like her—are drawn together for a variety of reasons, including (but not limited to) revenge. (Nov. 6)

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Skyward by Brandon Sanderson

The prolific fantasy author kicks off a new series with this tale of a young girl who dreams of being a pilot to help fight the aliens that have been the enemy of her world for generations. But a dark chapter in her family’s past may keep her grounded. You can read an excerpt here. (Nov. 6)

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Someone Like Me by M.R. Carey

The author of The Girl With All the Gifts leaves zombies behind to investigate a new terror: a devoted mom who will stop at nothing to get what she wants, and isn’t above activating her secret dark side to stay in control. (Nov. 6)

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Static Ruin by Corey J. White

The Voidwitch saga concludes with Mars Xi on the run and with a hefty price on her head. To complicate matters, she’s got her mutant pet cat and a fellow “human weapon,” a young boy who can’t control his deadly powers, in tow. Can her long-estranged father, living somewhere on the edge of the galaxy, help her make things right? (Nov. 6)

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They Promised Me the Gun Wasn’t Loaded by James Alan Gardner

In this sequel that picks up just days after the events of All Those Explosions Were Someone Else’s Fault, Jools and her gang of freshly-minted superhero buddies get drawn into the wild scramble to find a villain’s inconveniently misplaced super-gun. (Nov. 6)

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Bedfellow by Jeremy C. Shipp

In this dark fantasy, a beastly “thing” attaches itself to an ordinary family and forces them to make increasingly horrifying sacrifices on its behalf. If they stick together, can they break free from its grasp? (Nov. 13)

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Creatures of Want and Ruin by Molly Tanzer

It’s the time of Prohibition, and a woman who’s helping put her brother through college counts on the money she earns from bootlegging booze. Her good intentions go sideways, however, when a batch of mushroom moonshine has some terrifying effects on those who imbibe it. (Nov. 13)

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Lies Sleeping by Ben Aaronovitch

In this seventh Rivers of London installment, Peter Grant—detective and wizard-in-training—must seek the help of a disgraced former colleague to catch a slippery murderer known as the Faceless Man, whose sinister grand scheme threatens the entire city. (Nov. 13)

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Not One of Us: Stories of Aliens on Earth edited by Neil Clarke

This reprint anthology gathers stories by Cixin Liu, Ken Liu, Nancy Kress, Ted Chiang, Kelly Robson, and others, all writing about clashes between humankind and extraterrestrial life (as well as all the things aliens have come to represent in science fiction). (Nov. 13)

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A Rising Moon by Stephen Leigh

This sequel to A Fading Sun follows Orla, a freedom fighter in alt-history ancient Britain, who struggles to find her place after the death of her mother, a powerful warrior. (Nov. 13)

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Terran Tomorrow by Nancy Kress

The story that began in the Nebula-winning novella Yesterday’s Kin, and continued with If Tomorrow Comes, wraps up in Terran Tomorrow. The Earth scientists who only barely escaped the plague they encountered in space return home to find deadly spores have wiped out almost all of humanity in their absence. (Nov. 13)

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Vita Nostra by Sergiy Dyachenko and Maryna Shyrshova-Dyachenko

Magic, suspense, horror, and science combine in this fantasy adventure, a Russian best-seller that’s now getting a definitive English language translation. It’s about a teenage girl who meets a mysterious and manipulative man, eventually enrolling (at his behest) in a strange school that teaches “special technologies” that test everything she knows about space and time. (Nov. 13)

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City of Broken Magic by Mirah Bolender

In this fantasy debut, non-magical humans called sweepers are trained to destroy magic weapons. It’s a dirty job, and dangerously deadly—facts that become all too clear for one rookie who suddenly finds herself serving as the last line of defense for her city. (Nov. 20)

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The Dark Days Deceit by Alison Goodman

The Lady Helen trilogy comes to a close with one more adventure, as the demon-hunter gets sidetracked during wedding planning by the even more towering task of defeating a terrible force that threatens to wipe out humankind. (Nov. 20)

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Dragonshadow by Elle Katherine White

This sequel to Heartstone picks up that novel’s Pride and Prejudice-goes-fantasy story, as newlywed dragonriders Aliza and Alastair cut their honeymoon short to help fight an ancient evil that’s sparking a terrible new war. (Nov. 20)

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Fire and Blood: 300 Years Before Game of Thrones (A Targaryen History) by George R.R. Martin

The author behind Game of Thrones—perhaps you’ve heard of him—takes a deep dive into Targaryen history in the first of two volumes all about the legendary dragonlords. (Nov. 20)

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My Sister, the Serial Killer by Oyinkan Braithwaite

A Nigerian woman comes to the unsettling realization that her beautiful younger sister is killing her boyfriends—and then becomes her unwilling accomplice, at least until her longtime crush takes an interest in her deadly sibling. (Nov. 20)

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Willful Child: The Search for Spark by Steven Erikson

The parody series (of guess-which towering sci-fi franchise?) continues with more deep-space adventures for the starship A.S.F. Willful Child. (Nov. 20)

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Bright Light: Star Carrier by Ian Douglas

The eighth volume in the author’s nine-part military sci-fi series finds hero Trevor Gray demoted just as Earth is about to fall to a race of technologically-advanced aliens. But he comes to realize that his new circumstances are all part of a plan, cooked up by a super-powerful AI, that might end up saving humanity. (Nov. 27)

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Hazards of Time Travel by Joyce Carol Oates

In an oppressive future world, a rebellious girl is exiled 80 years into the past to be taught a severe lesson—but what she finds there isn’t exactly the punishment her contemporaries imagined for her. (Nov. 27)

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The Mortal Word by Genevieve Cogman

The new Invisible Library installment begins with the murder of a dragon—amid a secret a dragon-Fae peace summit, no less. Librarian spies Vale and Irene begin their murder investigation by traveling back in time to 1890s Paris. (Nov. 27)

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The Razor by J. Barton Mitchell

An engineer incarcerated on a prison planet must rally the galaxy’s worst criminals to work together when they’re stranded ahead of an impending disaster. (Nov. 27)

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Rewrite: Loops in the Timescape by Gregory Benford

This “thematic sequel” to the author’s Nebula-winning Timescape sends a history professor back to 1968, where his 16-year-old self connects with some big names (Albert Einstein, Philip K. Dick) who share his ability to time travel. (Nov. 27)

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The Spectral City by Lianna Renee Hieber

In the early 20th century, a teenage medium heads up “the Ghost Precinct,” helping the New York City police solve crimes of a supernatural nature—until a sinister new mystery that challenges her powers means she must pierce the veil to find answers. (Nov. 27)

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The Dinosaur Tourist by Caitlín R. Kiernan

The author releases her 15th short fiction collection with this collection of 19 tales that “explore that treacherous gulf between what we suppose the world to be and what might actually be waiting out beyond the edges of our day-to-day experience.” (Nov. 30)

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Source: https://io9.gizmodo.com/winter-is-coming-so-here-are-all-the-best-new-sci-fi-a-1829974264

Astronomers suggest shooting a laser into space to attract aliens to Earth like a ‘porch light’

Science fiction has taught us for decades that when alien arrive on Earth, it’s going to be a bad day for mankind. Those fictional horror stories haven’t deterred some scientists from thinking up ways that we might attract alien civilizations to Earth, and a new feasibility study suggests that we could send a laser beam into the cosmos to act like a beacon for alien life to find.

The work, which was published in The Astrophysical Journal, suggests that existing technology could be used to produce an infrared beam bright enough to be spotted by intelligent alien civilizations. Once discovered, it would be like a bread crumb trail pointing right back to Earth, and extraterrestrials could come calling.

“This would be a challenging project but not an impossible one,” James Clark, author of the study, said in a statement. “The kinds of lasers and telescopes that are being built today can produce a detectable signal, so that an astronomer could take one look at our star and immediately see something unusual about its spectrum. I don’t know if intelligent creatures around the sun would be their first guess, but it would certainly attract further attention.”

The biggest challenge in creating a beacon that could be spotted by alien is making it bold enough to be spotted from a long distance, even with the Sun doing its best to outshine it. The paper explains that a 1- to 2-megawatt laser could be sufficient if it were shot through a telescope as large as 45 meters.

Now, feasibility aside, there are plenty of voices in the scientific community that aren’t all that bullish on the idea of meeting up with aliens in the first place. Discovering intelligent life outside of Earth would be a monumental event, obviously, but the potential consequences of inviting a space-faring race to Earth is potentially risky. There is legitimate concern that Earth’s resources could be too tempting to resist, and that we might invite our own extinction by luring extraterrestrials to our neck of the woods.

It’s important to note here that there are no actual plans to put such a “porch light” into action. Mankind has sent probes with directions to Earth into interstellar space already, hoping against hope that something might find the spacecraft and take a road trip to our planet. Eventually, something might find us, either by one of these means or entirely by chance. Let’s just hope they’re in a good mood when they do.

Source: https://bgr.com/2018/11/05/alien-porch-light-laser-beam-space/

New Star Trek: Discovery Photos Reveal A Bearded Spock And Number One

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Today at New York Comic-Con, a new trailer for the upcoming second season of Star Trek: Discovery dropped, bringing with it a tease at the intriguing storyline that’ll fuel the sophomore run of the CBS All-Access series as well our first looks at some of the fresh faces joining the crew of the U.S.S. Discovery. Now, we’ve got some great images which allow us to study these newcomers a little closer, including Ethan Peck’s version of the one and only Spock.

As seen at the end of the trailer, Peck’s Spock is depicted with a healthy beard. Typically, seeing the character with facial hair means we’re dealing with his evil doppelganger from the Mirror Universe but, though Discovery already pulled that trick last season, we’re pretty sure this one’s the real deal and his unshaven state is just due to him being stranded in space on his quest to track down the mysterious “red angel.”

The rest of the photos offer a couple of new looks at protagonist – and Spock’s foster sister – Lieutenant Michael Burnham (Sonequa Martin-Green), with one of her cavorting about a planet in a spacesuit and another capturing her own encounter with Spock’s spectral angel. Michelle Yeoh’s Captain Phillipa Georgiou is also depicted here in a photo which sees her make a return to the bridge of the Discovery, alongside Anson Mount’s Captain Christopher Pike.

Pike, of course, was originally from TOS‘ pilot episode “The Cage.” Another character from that episode is Number One, now played by X-Men‘s Rebecca Romijn, who we see arriving on the ship in one of the shots. Finally, the other images depict the Discovery stuck in a spot of bother, as it appears to be trapped in an asteroid field, while another has the crew surrounding a device holding a fragment of one of these asteroids.

When put together with that aforementioned trailer, we’re finally starting to get a good idea of what’s in store for us with Star Trek: Discovery season 2 and can’t wait for it to premiere onto CBS All-Access on January 17th, 2019.

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Source: Trek Movie

Source: https://wegotthiscovered.com/tv/star-trek-discovery-images-reveal-first-look-ethan-pecks-spock/

Silent Disco Parties Aren’t Just For Fun, They Can Also Help With Social Anxiety

However, there is a difference between the therapeutic use of music and music therapy — and that distinction is crucial, as Ariel Weissberger, board certified music therapist and licensed creative arts therapist, points out. Weissberger, who is the founder and primary therapist at Berko Music Therapy in New York, explains that “music therapy is the clinical use of music to achieve individualized goals within a therapeutic relationship by a credentialed music therapist.” The therapeutic use of music, like silent disco, isn’t a replacement for music therapy or even traditional therapy, but the elements of these events certainly carry therapeutic effects, he says.Source: https://www.refinery29.com/en-us/silent-disco-mental-health

Behind the unsettling sci-fi landscapes of Simon Stalenhag’s ‘Electric State’

A boxy blue car, like the old Volvo my dad used to drive, sits parked in a desolate lot in one of Simon Stålenhag’s dystopian illustrations. Fastened to its roof rack is a kayak. A young woman in white sweatpants, a hooded leather jacket, and red backpack stands on a nearby hill.

It’s a familiar scene from my 90’s childhood — except the girl is holding hands with a bobble-headed robot and staring up at four animatronic ducks riddled with bullet holes from some recent wargame. One of the duck’s heads is blasted straight through. Dust gathers in the distance. As with a lot of Stålenhag’s work, it’s a haunting image that carries an air of tranquility. The focal point isn’t the devastated ducks but the gentle embrace of the human and her robot.

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It’s been a big year for Stålenhag, a Swedish digital artist who’s gained something of a cult (and Kickstarter) following for his evocative depictions of rural and suburban landscapes mixed with eerie science fiction elements. In July, it was announced that Amazon Studios would adapt his breakout artbook, Tales from the Loop (2015), into a television series. In September, Stålenhag’s most recent work, The Electric State (2017), was released in the United States.

The narrative artbook follows the journey of a young traveler, Michelle, and her robot, Skip, as they head west to the Pacific coast through an alternative America torn apart by civil war and the trappings of military-grade virtual reality. Along their journey they encounter colossal warships that loom over the horizon like metal mountains and dead VR addicts still plugged into their headsets. Set in the 90s, the story mixes one-part nostalgia with one-part sci-fi into a captivating cocktail.

We spoke to Stålenhag about his inspiration for the book, his creative process, and whether he considers The Electric State a cautionary tale. The interview has been edited and condensed for clarity.

With Amazon purchasing rights to Tales from the Loop, knowledge of your work has gone more mainstream. But, for people who aren’t familiar, how would you describe the scenes you create?

Simon Stålenhag: My art is basically science-fiction-themed landscape painting. I try to approach scenes as if they’re real, as if I’m actually seeing these things. I’m more inspired by landscape artists and wildlife art than science fiction art. Although, I am also very inspired by science fiction.

When did you decide to place robots and spaceships into images of rolling hills?

I started with landscape and wildlife art. I drew birds and Swedish wildlife when I was a kid. That was my big passion. I always wanted to paint things that I see in my everyday life. And then I started working in the video game industry and I learned to draw all these the robot and monsters and science fiction themed stuff, and it just kind of bubbled out while I was doing the landscape.

I’ve had two passions, really. I had landscape and wildlife interests, and then rediscovered all these science fiction classics of the 80s, of my childhood, when I was in my early 20s. All the nostalgia of that era. It’s like I wanted to do two projects — one science fiction and one landscape — but I didn’t have time, so I had to combine them. It always felt natural to mix them together.

That’s one of the aspects that makes your work so gripping — it combines real, nostalgic, sort of rural settings with a kind of a high-tech alternative reality. It’s foreign things surrounded by the familiar.

Yeah, it’s like a two-part trick. The natural and familiar elements are like a trick to get you to buy into this science fiction stuff. But also, in terms of my own passions, I kind of use the science fiction stuff to trick people into seeing the ordinary stuff. Like, Oh yeah that’s how those cars looked like. To me, I’m not sure which part of it I enjoy the most or which part I want people to look at the most. Sometimes it’s the regular stuff, the ordinary and everyday items that I want people to look bit extra at. Sometimes you have to use some tricks to get people to do that.

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What comes first for your creative process? Is it the story or the scene?

Most of the time it’s actually music. I make music playlists and I kind of see it play out as a film. I scrape the whole concept, the whole aesthetic from the playlist. With The Electric State I made this 90’s alternative rock playlist with Nirvana and Smashing Pumpkins and Marilyn Manson and Rage [Against the Machine]. A wide variety of music that spoke to the characters and attitude I wanted use. My previous books were much more the 80s and early 90s, more of that kind of innocent childhood nostalgia. With the Electric State I wanted to do something that was grungier and more about alienated youth culture. This is basically my Kurt Cobain book.

At one point I actually called main character “Negative Creep,” from the Nirvana song. I put that character in this creepy, weird version of the mid-90s U.S. This was before I did the actual research and the actual road trip that Michelle goes on in the book. I did the three-week road trip with my wife and mom. I wasn’t sure what exact landscapes and what exact settings I would use, but I knew I was going to see stuff that was going to fill my head and make me want to paint. I already had the character and the mood.

You’ve said previously that your work is very personal to you. I’m curious how the character Michelle develops as a personal character. You took this road trip, so that has a personal element but I’m wondering if there’s more.

The road trip was like the opposite of the book. It was a very happy experience. We were kind of singing along in the car. But the personal experience that I drew from were my own teenage years. When it comes to her story and memory flashbacks, they weren’t autobiographical but I’ve been on those similar situations. I wasn’t a foster kid and I didn’t have it as bad as she had it, but I’m a divorce kid and I kind of try to draw from those experiences of feeling abandoned.

The relationship with Skip was inspired by my older sister who took care of me when our parents divorced. She was eight years older than me and she was a taking care of me and my older brother. I wanted get that love into the book but place it in a very dark world. You can’t have everything be gloomy and dystopian. To me it has to have some kind of hope. That was the challenge — to make that relationship seem real.

With the backdrop of gloom in the story, it really magnifies things like hope and love. It makes them kind of pop.

Yeah, in a way it became easier to make that stand out because having a very grim setting and then having this girl speaking very compassionately to the tin-can robot.

I’m curious about your idea behind Sentre, the conglomerate that sells VR headsets to consumers but is also a part of the military industrial complex. Where did your idea for this company come from?

Sentre was inspired by the way a lot of our information technology, like the internet and computers, seem to come from the defense budget. We wouldn’t have this technology if it wasn’t for some defense projects back in the 50s or 60s. I wanted to mirror how cell phones and the internet became a consumer commodity but how they came from something else. How they came from within the war machine.

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It’s meant to be satirical in a way. I wanted to make fun of the mid-90’s crazy boom in consumer information technology and all the advertising and the general tone of the home consumer electronics tech that we were flooded with in that era. I wanted to have fun with that aesthetic and make it into a kind of zombie thing.

Is the story a cautionary tale?

It’s more of a satire. It’s not too serious. There is a serious threat inherent in our technology but it’s almost cliché by now. Nuclear energy is a source of energy but you could also destroy the planet. Social media is a similar thing. It connects people in oppressed parts of the world and it can be used for good and bad. Right now it feels like it’s out of control and used in undemocratic ways. But this book isn’t about that. It’s more satirical.

But I am scared by technology and the way it’s used right now. I also don’t think there’s any other way out of our problems. I think technology is the only way to go. We just have to learn and get better at using it responsibly. I’m not the person to say how that should be done. But that’s the big question and problem of our age.  I sometimes feel like if I really would have wanted to address that problem, I wouldn’t do a book like The Electric State, which is much more personal. It’s about family. The backdrop of a dystopian high-tech world is just the way I do it.

What are you working on right now?

I’m working on a very proper post-apocalyptic work. It’s claustrophobic, much more confined, set in a bunker. We get to see some flashbacks. But it’s much more of a war traumatized world. My main idea right now is to capture the confusion of all of the trauma of the apocalypse and try to get stories about some characters. It’s definitely a darker story than the Electric State.

When do you think you’ll release that?

Hopefully late next year.

Do you have a working title?

Right now it’s called the Labyrinth.

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Source: https://www.digitaltrends.com/cool-tech/behind-the-unsettling-sci-fi-landscapes-of-simon-stalenhags-electric-state/