Favorite Cult Classics (Part the Second)

Welcome back! As promised, the second half of my nostalgic, cult classic favorites for you to peruse! Let me know what you think, and feel to add some contenders of your own. Cult hits are nothing if not personal, and what constitutes a classic is open to interpretation. Okay, six to ten, here goes:

2001: A Space Odyssey:
Yes, this movie deserves top billing for being a classic! And yet, the movie really doesn’t seem to garner much appreciation from audiences, not unless they are self-professed film buffs or hard sci-fi fans. Not sure I qualify for either, but I loved this movie for the simple reason that it was packed full of mind-blowing themes. Much like Akira, it was chock-full of things that got my young mind thinking and completely shaped my outlook on science fiction.

Sure, there are those who complain that this movie is boring and esoteric, but I found all that a fitting price for the kick-ass subject matter, not to mention the mind-blowing climax. You got a mystery, speculations about human evolution, ancient aliens, space exploration, and existential singularities! All the while, the weight of the philosophical implications are weighing at your mind…

And let’s not forget how inspiration this movie proved to be. Today, the concept of ancient astronauts, aliens who came to Earth millions of years ago and tampered with human evolution, has become all the rage. From Star Trek to Stargate, Battlestar Galactica to Prometheus, the concept of ancient astronauts has played out. And frankly, 2001 has them all beat! Between Kubrick and Clarke, their concept of the aliens and how they altered the course of evolution on Earth was the most realistic I have ever seen.

But I think what I liked best about was the fact that the movie was the subtle nature of the whole thing. At once speculative, philosophical, and visually stunning, this movie was characteristic of Kubrick, who preferred to convey things visually rather than coming out and telling people what was going on. You never really quite knew what happened during that eye-popping final scene, but those who love sci-fi and imaginative filmaking were sure to have ideas!

Granted, this movie wasn’t exactly under-appreciated, but compared to the lavish attention the rest of the franchise has garnered- even though it was all downhill after Aliens – this first installment truly was the diamond in the rough. Not only did it have a cool concept, awesome set designs and a kick-ass back story, the direction and cinematography captures the story’s sense of dread and claustrophobia perfectly.

Little wonder then why this movie spawned an entire franchise, because it really did have everything. You had your blue-collar peeps working for the major interstellar company (Weyland-Yutani), a frightening discovery made on an uncharted planet, a mysterious derelict belonging to an unknown race, and a terrifying creature awakened from its slumber. And not just any kind of creature, but a complex symbiote that was designed for and possessed of a single purpose.

Or as Ash put it: “Perfect organism. Its structural perfection is matched only by its hostility.” He had a point didn’t he? In fact, all structures in this movie were pure genius, whether it was the Nostromo, the Derelict, or the Facehugger and Chestbuster combo. As with everything Scott does, attention to detail and the careful construction of a universe was paramount. Every set was richly detailed, well shot, and clearly made to elicit the right feel and impressions on the audience.

Much of the credit for this goes to H.R. Giger as well, the surrealist artist who brought Lovecraftian horror to the alien concept and set of the alien ship. Years later, I still find myself tuning in just to get a glimpse of that Gothic reconstruction, or to see the Space Jockey sitting in its chair, the tell-tale hole punching through its chest. Few movies have managed to capture that same sense of awe and wonder for me, with the possible exceptions of 2001 and Akira

Johnny Mnemonic:
Some people might think I’m crazy for listing this movie as a personal classic, but it can’t be helped! And my reasons are pretty simple. On the one hand, this movie kind of has that “so bad, it’s good” thing going on, but at the same time, I also felt it possessed some real signs of quality. Sure, the acting was pretty wooden, the fight choreography total crap, and the low-budget nature apparent throughout. But it was still a pretty faithful adaptation of Gibson’s work and introduced to that world at a still-young age. Hence why I come back to it every few years just to see it again.

Filmed in the mid-90’s, this movie is an adaptation of the short story by William Gibson and previewed a lot of what he wrote in Neuromancer. For example, you’ve got the big bad corporations, the cyberspace jockeys, freelance assassins, Yakuza, and the character Molly Millions. Things are also set in “The Sprawl”, the megapolis that stretches from Boston to Atlanta and is contained in geodesic domes, and the look and feel is definitely of the cyberpunk variety.

Into all this, Gibson introduced the revolutionary concept of mnemonic couriers, people who have “wetwire” implants in their brains that allow them to carry vast quantities of data from point A to point B. Basically, these couriers are the answer of what to do in a world where information is the most precious commodity, and all databases are vulnerable to hacking and protected by “Black ICE” – hostile Intrusion Countermeasure Electronics (aka. viruses)

And, in keeping with Gibson’s style, the story involves a titanic corporation that is fighting to maintain its monopolistic grip, while freelancers, smugglers and assorted little people are fighting to undermine them and distribute the information freely. Naturally, the main character of Johnny is an unlikely hero who is forced to take a break from looking out for number one and help others for a change. Might sound cheesy, and a little cliche, but it works and delivers on Gibson’s style. At the very least, it’s a guilty pleasure flick for me.

Now here’s a movie that’s high on the pleasure, low on the guilt. While a low-budget sci-fi flick that was (like Johnny Mnemonic) produced and filmed entirely in Canada, it had many signs of quality that immediately made it a cult hit. There’s the post-apocalyptic setting, the frightening tone, and the Cold War feel of the thing, updated for the 90’s. All the while, there is the knowledge that this is an adaptation of Philip K. Dick’s Second Variety, which sort of makes it a must-see of PKD fans.

Much like in the original story, the plot of the film involves a race of self-producing, self-upgrading machines that are designed to infiltrate enemy territory and eliminate all combatants. But of course, things begin to go awry when the people who produced them realize that they have upgraded to the point where they can impersonate human beings. And whereas the original story was set on Earth and took place between the US and Russia, the updated story takes place on Sirius 6b, a pining planet that became the front line between a the political-economic entity known as the NEB  and those who chose to resist its rule.

Personally, I felt the updated version works. Not only does the conflict seem more relevant, being between a mega-corporate entity and a coalition of workers and dissenters, but the off-world setting also feels more realistic. Perhaps it was the fact that in the post-Cold War world, nuclear war between two superpowers didn’t seem a likelihood anymore. Or it could just be that the whole NEB angle was reminiscent of Weyland-Yutani and Alien. All I know is, I liked it!

What’s more, a good deal of attention went into creating the setting and modelling the Screamers – aka. the automated machines that kill people. Designed to be the perfect terror weapons, they emit a high-pitched “scream” before making their attack, and can toy with their targets for some time before moving. This concept, combined with some good shooting, really created a sense of tension which is felt throughout. And of course, the paranoia which is engendered by the appearance of human-like machines was a very nice touch! A good movie, and a fitting adaptation which managed to capture PKD’s cautionary tale about the dangers of runaway progress.

Time Bandits:
And last, here is the classic time traveling tale that I first saw in my childhood. Recently, my wife was told by a coworker that she should ought to see it, and my memory was jogged! Yes, this is indeed a cult classic, and one which is deserving of plenty of kudos and praise. Well cast, well written, witty and poignant, it’s one of those quintessential 70’s movies which has been rediscovered by several generations of film buffs and sci-fi fans.

The story opens with an imaginative and historically-minded child who lives in an overly-bourgeois neighborhood with his materially-possessed family. But upon realizing that there is a time-portal in his wall and that people from the past and future can come through it, his world is turned upside down. Quickly, he become the unwitting companion in a group of dwarves who are traveling through time, stealing precious artifacts, and being pursued by both the “Supreme Being” and an evil sorcerer.

Immediately, one can see the layered and inspired plot taking shape here. On the one hand, you have some decidedly Judea-Christian elements, plus a tale of childhood imagination and escapism. The dichotomy of the Supreme Being who possesses the power of time travel and the sorcerer who wants it for himself are representative of God and Lucifer, after a fashion. The dwarves who stole this power for themselves are a sort of Icaran allegory, or possibly Adam and Eve once they ate from the tree of knowledge. And ultimately, the way they are saved in the end from evil represents their redemption.

All the while we are left wondering if the boy is merely dreaming, or if what he is experiencing is real, which is an element that is intrinsic to all tales of childhood fantasies. On the one hand, the protagonists flights of fancy are seen as a weakness and immaturity to those around them, whereas we tend to see as it a rare gift to see past the surface. Should it all be a fantasy, then the story is left without a formal sense of resolution; but if it is real, then the hero has been vindicated and proven right. Appropriately, the movie plays with the two possibilities, going back and forth, but then giving strong hints at the end that it was in fact real. So really, you have a story that is inspired, imaginative, and also suspenseful!


Well, that’s my top ten list for the best cult classic movies of all time. What’s yours? I know I have a few in common with some people ’round these parts, and I also know that a few were previously unheard of. Hence why I want to here from others. I have a feeling there are some which I need to see and would very much enjoy. Already, I’m poised to watch Sunshine, A Boy and His Dog, and a few others which I’ve heard good things about. And I hope that in the course of swapping lists, I might be able to find a few more I’d like to see. Take care, and enjoy the rest of the long-weekend, those of who are reading this in Canada. As for the Yanks in the audience, and the rest of the world for that matter, enjoy the work week 😉

Mona Lisa Overdrive

Welcome back to the BAMA*! At long last, I’ve come to the end of William Gibson’s Sprawl Trilogy. For those who don’t remember, this began with Neuromancer and Count Zero many months ago. I had hoped to include this third and final review in short order, unfortunately other books got in the way. And by other books, I mean a tall stack that I’ve been reading, reviewing, and putting down to make room for even more! I tell ya, being a sci-fi reader/writer/reviewer can really burn your brain somedays!

Luckily, I concluded the book just yesterday and am ready to comment on it at last. And let me begin by saying that it’s very interesting, having read every novel that Gibson has written up until this point, to look back and see how his writing began and evolved over the years. It is also interesting to see how certain thematic elements which would appear in later trilogies – i.e. The Bridge and Bigend trilogies- made their first appearances.

Elements common to cyberpunk, such as high-tech and low liing, were common to all three books in this series, but were also an intrinsic part of Virtual Light, Idoru and All Tomorrow’s Parties. The stark divide between rich and the poor and the transformative power of wealth, so important to the Bigend Trilogy, was also to be found in these earliest works. And of course, stories focusing on freelancers who find themselves in the employ of enigmatic figures, and the power plays that go on behind the scenes between various brokers, were present in all of his novels to date.

However, after completing this novel, I can honestly say that I felt let down. Prior to reading it, I was told that it was the greatest of the Sprawl Trilogy, and the reviews claimed that it was Gibson’s “most engrossing story to date”. I came away feeling that it was less than engrossing and definitely not the best of the three. For one, it seemed lacking in much of the cool elements that made Neuromancer and Count Zero so very fun and intriguing.

However, before I get into all that, I should summarize what this book is about. Here goes…

Plot Synopsis:
The story, much like all of Gibson’s works, contains multiple threads that are interrelated and come together in the end. In the first, we see a Japanese girl named Kumiko, the daughter of a Yakuza boss who has decided to send her to London in the midst of a war between the various crime families.Her only companion is a construct named Colin, a personality that inhabits a portable Maas-Neotek biochip.

Once there, she makes the acquaintance of a freelancer named Sally Shears (aka. Molly Millions) who has been hired out by her father’s people to keep her safe. In addition, Sally is being blackmailed by Swain, the head of the London mob, who has ordered her to kidnap the famous simstim star Angie Mitchell and replace her with the a body double.

In thread two, we meet the intended double, a 16-year old prostitute named Mona from Florida who travels to New York with  Eddie (her pimp) after he closes some lucrative deal. However, when they arrive, Eddie is killed and Mona is forced to undergo the surgery that will make her look exactly like Angie, whom she knows from all her simstim movies and admires greatly. Angie’s back story, about how she was the daughter of the man who invented biochips and placed bioenhancements in her brain (all of which takes place in Count Zero) is all recounted, as is her failed relationship to Bobby (aka. “The Count”).

In thread three, we learn that Angie has returned from rehab after developing an addiction to a designer drug her company was supplying. After a brief stay in Malibu, she learns that it was someone in her inner circle who was giving her the drug in the hopes that it would alter her brain chemistry, thereby disrupting her ability to access cyberspace and communicate with the AI’s now living there (the lao, or Voodoo god personas the AI’s had taken on).

In the fourth and final thread, we are introduced to three residents who live together in an abandoned factory located in “The Solitude”, an uninhabited area in the Sprawl. Gentry is the defacto owner of the place, a cyberspace jockey preoccupied with the way it has changed since events in Neuromancer where AI’s began to permeate it. Slick is his roommate, a robotics enthusiast who builds giant battledroids with the help of his friend redneck friend Bird.

Things for them become interesting when Slick’s associate, Kid Afrika, drops off a man who’s permanently jacked into cyberspace and asks them to take care of him. He leaves the man (Bobby Newmark) and a registered nurse (Cherry) with instructions to keep them safe. After examining the aleph (a biochip with immense capacity) that he’s plugged into, Gentry learns that it is an approximation of the whole data of the matrix.This is where he has been living for the past few years after breaking up with simstim star Angie Mitchell.

In the course of the story, we also learn that Lady 3Jane has died and now inhabits the aleph as a construct. At some point, Bobby stole the aleph and now inhabits it with her. After checking in with her jockey friend, Tick, in London, Molly learns that 3Jane is behind the plot to kidnap Angie Mitchell and replace her, and begins to work to unravel these plans. She travels to New York to meet with the Finn, himself a construct now, and learns that since her operation to Straylight, things have been changing drastically in cyberspace.

Now, 3Jane is looking for revenge, and Angie is intrinsic to that plot. After recruiting Swain and key members of Angie’s entourage to help her, she attempts to conduct the kidnapping while Angie is in New York. However, Molly intervenes and grabs Angie and Mona, who is being set up to replace her, and begins to travel to the Solitude. Angie, under the influence of the lao, is directed to Factory to reunite Angie with Bobby.

Meanwhile, Kumiko, who is alone in London, goes to find Tick and find out what’s going on. Ever since Molly left, she is advised by her Maas-Neotek construct Colin to seek refuge from Swain. When she finds him, she too learns about how cyberpsace is changing and how a massive data profile has entered into the matrix (which turns out to be the aleph). When they jack in, they are pulled into the aleph with 3Jane who attempts to hold them prisoner.

Things come together when Molly arrives in the Factory and Sense/Net mercenaries begin to show up to take Angie back. Meanwhile, in the aleph, Colin comes to their rescue by neutralizing 3Jane’s control over the construct. He also reveals 3Jane[‘s motivations. In the wake of her death, after a life of pettiness, greed and obsessive control, she has become jealous of Angie Mitchell and her abilities. Molly, since they know each other from the Straylight run, is pretty much on her shit list as well!

In the end, Angie Mitchell and Bobby die together, but not before their personalities come together in the aleph, to be forever joined by 3Jane and the Finn. Mona is picked up Kid Afrika who assumes that she’s Angie Mitchell, and is taken off to take over her starlet life. Molly takes the aleph and travels off into the distance while Slick and Cherry get together and head off to start a new life together. And finally, Gentry, who refused to leave Factory, stays behind to contemplate the matrix’s growing complexity.

Meanwhile, a final mystery is resolved. Inside the aleph, Angie, Colin and Bobby are picked up by the Finn who explains how and why the Matrix changed. After Neuromancer and Wintermute at the end of the first novel, the combined AI indicated that there was another like him, a construct similar to the Matrix in Alpha Centauri. Apparently, after he went there, he came back changed and divided into the lao, and the Matrix itself changed. Now, the Finn is taking them there, to meet the alien cyberspace and all the mysteries it holds…

As I may have said already, this book was my least favorite of the Sprawl Trilogy. That is not to say that I didn’t enjoy it, mind you. But it was diminished in that Gibson’s usual dark, gritty, and decidedly cyberpunk style – which ranges from opulent to gothic in its appraisal of technology and its impact on society – seemed to be watered down by a much cleaner narrative. In the end, it felt more like reading from the Bigend Trilogy, in that the settings and feel were quite similar.

Aside from taking place largely in London and New York, there was also a lot of buildup and not much in the way of action. And of course, the diversions into the fields of fashion, mass media and the cult of personality; these too felt like they would have been much more at home in the Bigend Trilogy. That was the trilogy that dealt with all these elements, whereas the Sprawl was all about the nitty-gritty, about cool gadgets, mercenaries, cyber-ninjas, deck jockeys, corporate bad guys, high-tech and low-life.

To top it all off, the ending felt quite abortive. Gibson is somewhat notorious for this, but whereas Neuromancer and Count Zero contained plenty of gun-toting and cyberspace runs, this book kept all the action til the very end. And at that point, it was complicated by a rather odd narrative structure and some pretty weak explanations. After learning that 3Jane was pulling all the strings and determined to wreak revenge, it seemed weak that it was all for the sake of punishing Angie out of jealousy.

If anything, I thought her motivations had to do with the Straylight run. That after fifteen years of waiting and plotting, she finally found Molly and decided to kill her and anyone else involved in changing the Matrix. To know that it was motivated by her jealousy of Angie’s abilities just rang hollow. In addition, I thought the usual motivations, like how the wealthy are constantly trying to cheat death, might have been a fitting motivation. I seriously thought at one point that her true intentions were to find herself a vessel, and Angie Mitchell proved to be the perfect choice due to the veves in her hand. Through these, 3Jane could simply download herself, provided she had her in custody and hooked up to the aleph… or something.

However, there was plenty of interest in between all that. While many chapters kind of dragged for me, I did enjoy the scenes where the history of the Tessier-Ashpool clan were reconstructed. The revelation about the Alpha Centauri matrix, which was only hinted at at the very end of the Neuromancer was also very cool. And the detailing of the lao and the evolution of the Matrix since Wintermute and Neuromancer came together, that too was interesting. In the end, I just wished there had been more of this.

And given that this novel did wrap up the previous two novels and brought closure to the whole Sprawl trilogy, I would highly recommend it. Regardless of whether or not it was the best or weakest of the three books, it is the final chapter and contains many important explanations and resolutions, without which the series would never be complete. On top of all that, it is hardly a weak read, and I know for a fact that many people consider it to be better than the others. So who am I to stand in anyone’s way of reading it?

Kudos to you William Gibson. I have now read every novel you wrote. I now move on to Burning Chrome and Johnny Mnemonic, plus any other bits of short fiction and thoughtful essays I can get my hands on. Despite all the little things I have come to criticize about your work, you remain one of the best and most important writers in this reader’s bookshelf! And if I really didn’t like you, why the hell do I model so much of my work on your prose? Like Aeschylus said of Homer, any work of mine dealing in cyberpunk and high-tech is pretty much the crumbs from your table!

Good day and happy reading folks!

A Tribute to Badasses!

You know those characters, people who come to us from our favorite movies, TV shows, or pop culture in general. The kinds of people who excel at kicking ass and taking  names? The kinds of people that just never seem to die, they just keep getting bigger and badder the more time passes? Yeah, we all have people like that in our collective imagination, the inspiration heroes and villain who just impressed the hell out of us and made us want to be badass like them!

Well today, I felt inspired to do a little tribute piece to characters such as these. On the one hand, this seemed like a good diversion from my usual conceptual pieces which deal with big and potentially boring stuff. I mean, outside of people like me, who really cares about planetary cultures and mega cities? On the other, it felt like an overdue acknowledgement to all the characters that were well written, well scripted and well executed over the years. Yes, today I’m paying tribute to all the people in sci-fi who were so good at being so bad, or just bad enough…

Here they are!

The main character from the short-lived by popular Hellsing series. Not to be confused with Van Hellsing, also about a vampire hunter, this series was all about an organization in the UK that was dedicated to fighting vampires, ghouls, and other hellish creatures. Their chief operative, a mysterious vampire named Alucard (Dracula backwards), was quite the epitome of badassness!

In addition to his cape, Victorian-era clothes, and massive handgun, he had the supreme confidence and “man of few words” thing going that can only come from being alive for so freaking long. As they say with most vampire series, the longer they live, the more powerful they get. And Alucard has been around for a long, long time!

Ordinarily, he would just dispatch his enemies with a few blasts of his massive double-action pistol. But when faced with truly powerful demons, he would break the really scary shit! We’re talking seriously dark, scary energies that would tear an enemy to pieces, body and soul! Though it was never made clear why he was helping humanity in the animated series, the original comic did a better job of exploring his back story and motivations.

Taking its cue from Bram Stoker’s original novel, Dracula was apparently defeated by the notorious Abraham Van Hellsing and agreed to become the family’s loyal servant. The main story takes place several hundred years, later when the latest descendent of the Hellsing family is carrying on the tradition of keeping England safe from the forces of evil.

Here we have another vampire hunter who’s more than just your average guy! Though his real name is Eric Brooks (according to the comic series), this street hunter goes by the professional name of “Blade”. Little wonder, considering that just about every weapon in his arsenal features an acid edged pig-sticker or a sharpened silver stake! But of course, the real twist comes in why he does what he does.

As if that wasn’t badass enough though, he also alternates between a Gran Torino and a motorbike, wears a leather cape over segmented body armor, and packs enough firepower to take down an entire SWAT team single-handedly! All the while, he utters his few, but cryptic lines through those big, vampire incisors.

Known ominously as the “Daywalker” to vampires who are scared shitless of him, he combines the best of both worlds when it comes to human and vampires. He is immune to silver, garlic and daylight, but can heal almost instantaneously and has super strength. His only weakness however comes in the form of the “thirst”, the need for blood which every vampire suffers from and must eventually succumb to, or die. In order to preserve his humanity, Blade relies on a synthetic “serum” which temporarily satisfies his cravings.

In a theme that has growing in popularity and familiarity since the early 80’s, Blade is a half-man, half-vampire who’s mother was bitten while pregnant with him. Tormented by his split identity, and the supposed loss of his mother, he has chosen to resolve this crisis by hunting those that made him what he is and robbed him of his human life. However, the question of what he will do once he’s rid the world of the last vampire, and what he will do when the serum stops working, are questions that remain unresolved, and help to drive the story.

Boba Fett:
When you hear the name Star Wars and the word badass, what naturally comes to mind? Assuming you know anything about Star Wars, then chances you thought of Boba Fett! This notorious bounty hunter was probably the most badass thing about the series, dwarfing Vader, Jabba, and the Emperor in terms of shear awesomeness!

Hell, this guy not only appeared repeatedly in movies two and three (with a small cameo in a deleted scene in movie one), he also had entire novels, comics, and games dedicated to him. Annnnd, if the Dark Horse series Dark Empire is to be believed, Fett even escaped the mighty sarlacc. Who else amongst the expanded cast of the Star Wars saga can boast that kind of record? Lando? HA!

Though Lucas attempted to explain Boba’s origins in the prequel movie Attack of the Clones, other stories from the expanded universe claims that Boba was in fact a former Stormtrooper of Mandalorian origin.

However, on this latter point, all sources agree. Clearly, Boba Fett was of Mandalorian origin, a warrior race that had become virtually extinct after the Sith Wars and had relegated themselves to the role of bounty hunters and mercenaries. Boba had apparently distinguished himself amongst his rivals by delivering on contracts, charging exorbitant fees, and being very hard to kill. Hell, somebody who crawled their way free of the sarlacc aint no pushover!

The Joker:
Batman’s nemesis, and Gotham’s smiling psychopath, the Joker is one of those villians you just love to hate! And yes, he’s also pretty damn badass! Though he has gone through countless renditions and adaptations over the years, all the variations revolve around the same basic theme.

Basically, the Joker is a sociopathic criminal who thrives on chaos, the perfect polar-opposite to Batman’s vigilante persona. Over the years, he has been in and out of Gotham’s Arkham Asylum, examined by doctors, but always seems to escape to stir up shit again.

In his most recent incarnation, as performed by Heath Ledger, the Joker reached new heights of popularity and badassery! Not only did he manage to rip off the mob, turn Gothamites against the Batman, drive Harvey Dent mad, commandeer the mob, bring Gotham to the brink, and stay one step ahead of the Batman and police the whole time. He managed to do it all with a twisted smile on his face! That’s an awful lot for a man who claims he doesn’t do planning!

Looking to the comics and expanded franchise, one sees even more examples of badassery! Here, as well as in the movies, new and old, the Joker is notorious for causing trouble and doing it with a shit-eating grin. In addition to the general mayhem he’s been known to cause, his credentials include turning a psychologist into his willing sidekick (Harley Quinn), kidnapping and torturing the Commissioner’s daughter, killing one of the Robin’s, and nearly killing Batman on numerous occasions. Yet somehow, he always manages to escape, survive, and live to inspire chaos another day. Malevolent? Yes. Psychotic. Oh yes! But a notorious badass as well? You betcha!

“Until a man is twenty-five, he still thinks, every so often, that under the right circumstances he could be the baddest motherfucker in the world… Hiro used to feel this way, too, but then he ran into Raven. In a way, this was liberating. He no longer has to worry about being the baddest motherfucker in the world. The position is taken.

That pretty much says it all. Taken from Neal Stephenson’s Snow Crash, Raven is one of the chief antagonists of the story and one of the baddest motherflechter’s around! An Aleut by ancestry, he is skilled in the art of harpoon throwing, knife fighting, killing people, and being untouchable. Of course, this might have a lot to do with the fact that in the sidecar on his motorbike (pretty badass in itself!) he has a thermonuclear device stashed. This, apparently, he got off a Russian sub after stowing aboard and killing the entire crew with glass knives, and its wired to go off in case anybody does the unthinkable and kills him. Hence, nobody messes with Raven, as if his size and skill with weapons weren’t intimidating enough!

People recognize Raven not only by his obvious size, leather jacket, and motorbike, but also by the words “Poor Impulse Control” tattooed on his forehead. This is a holdover from his years in the corrections system of the future, where they’ve resorted to tattooing a prisoner’s particular maladjustments directly on their forehead for all to see. But for those who’ve pissed him off, or are just on his hit list, the first indication that Raven’s around is the telltale presence of his harpoon in your chest!

Molly Millions:
Also known as “Sally Shears”, Molly is a recurring character in William Gibson’s Sprawl Trilogy. Technically, she is what is known as a “razor girl”, though cyber-ninja works just as well. Basically, she’s a gun (or razor blade) for hire who gets paid by high-rollers to take out anyone who stands between them and their objectives. This, she typically does by slashing people with razor claws that are imbedded in her fingertips, though she’s adept at hand to hand combat and wield firearms with the best of them too!

Thought tough, deadly and ruthlessly efficient, she has shown herself to have a softer, sensitive side, not to mention a sympathetic past. For instance, her first appearance is in Gibson’s short story (and film adaptation) of Johnny Mnemonic. Here, she goes beyond her usual mandate and begins to fall in love with the story’s protagonist, Johnny.

In her follow-up appearance in Neuromancer, she admits that he was the first “client” she overstepped her boundaries with and still mourns him years later. She also reveals that she began as a “meat puppet”, a form of prostitute who allows their body to be controlled by handlers while they are maintained in a blank-outed state. This is how she apparently paid for her cybernetic enhancements and became a mercenary ninja.

On top of all that, she is a fiercely loyal and levelheaded woman who, despite the nature of her job, is committed to her moral code and values the kinds of human relationships that are becoming increasingly rare in Gibson’s world. One might say that she’s tough because she has to be and would much rather live an ordinary life where love is not obsolete and murder for hire is not the only way for street people to get ahead. Still, don’t mess with her! Just because she’s got a soft side doesn’t mean she won’t fillet your ass!

Mother, warrior, humanitarian and xenocidal ass-kicker, Ellen Ripley defined female badassery for an entire generation of moviegoers! From her humble origins as a crewman aboard the Nostromo to her showdown with the mother Alien, Ripley demonstrated the full range of the heroine protagonist. She was began as a regular officer who was put into a terrifying and claustrophobic situation, a lone survivor of a xenomorph attack aboard a confined spacecraft.

But living to fight another day, she faced her vulnerability, overcame her fear, and put it all on the line to save a little girl. And in the course of that, she also strapped on some heavy artillery and kicked some serious ass! And in the end, the showdown between herself and the Alien hive queen was not only cinematic gold, it was so thick with allegory you could cut it with a knife! Two mothers, two titanic forces, coming together to fight for their young!

Let’s face it, this is what makes Sigourney Weaver and her character so awesome and sympathetic. She’s a regular woman who, when faced with treacherous odds, went above and beyond to do the right thing. And let’s not forget that her motives were purer than anyone else’s. Whereas some people were interested in their bonuses and others in shooting shit up, she fought tooth and nail to protect and save the life of a young child, a girl who reminded her of the daughter she lost.

And it worked. In the end, she outlived all the professionals who ignored her or were sent in to “protect her”. When all else failed, this lady came through and showed that you don’t come between a  mother and her child and you don’t underestimate a determined woman, or she’ll kick your ass! Yes, years later and Ripley still remains an inspiration to women everywhere, and a reminder to us boys to respect and honor the women in their lives. In the end, they are a hell of a lot tougher than you think 😉

Vampire Hunter D:
Yet another vampire hunter who’s got some questionable ancestry! Vampire Hunter D is based on a novel series with manga and anime adaptations. Taking place in the distant future, thousands of years after WWIII took place, D wanders through a pre-industrial world hunting the demons, vampires and assorted creatures that have come to plague it. Apparently, in the distant future, vampires have established themselves as a sort of Nobility that control their fiefdoms through a combination of advanced technology and magic.

Much like Alucard, D has a questionable ancestry which is gradually established as time goes on. Right off the bat, it is clear that he is a dhampire, the child of a vampire mother and a human mother. As time goes on, it becomes established that he is fact the son of the ancient Count himself. As a result, he has some pretty badass powers, which include spontaneous healing, super strength, and some pretty dark powers! Unfortunately, he also has his share of weaknesses as well. Sun-sickness, garlic; all the things that are fatal to vampires are pretty harmful to him as well.

Believing that vampires have overstepped their traditional authority, D is dedicated to sending them back to the darkness from whence they came. Though he is part vampire, he values his human side and cannot condone how vampires abuse the humans they have dominion over.

Ah, and his weapon of choice for dispatching vampires and demons? A big katana-style sword! This weapon can decapitate even the most powerful vampire, or rend him from his neck to his navel. Oh, and did I mention he also has a smartass symbiot living on his hand? Might sound weird, but this thing keeps him company, keeps him honest, and has even saved his life a few times.

Yes, I realize I’m doubling down on a single franchise. But no list of badasses would be complete without mentioning Private Vasquez. Also of Aliens fame, this woman put the  bad in badass, toting that massive smartgun and telling everybody who got smart with her where to go! Seriously, those iconic lines, “Let’s ROOOOOCK!” and “I just want to know one thing… where-they-are!” Bam! There wasn’t a single person in the audience who wasn’t get goose bumps.

Not only was she clearly a tough, take-no-prisoners kind of woman, she commanded the respect of those around her, particularly the men. Hudson, played by Bill Paxton, would get smacked down anytime he tried to sass her. Recall the lines: “Vasquez, anybody ever mistake you for a man?” “No, how about you?” Classic! And of course Private Drake, her partner in arms, practically followed her around, even though he was twice her size!

But of course, she too had a sensitive side. When Drake fell protecting their group, she took it really hard. She was even willing to go back into the den of the xenomorph’s when it became clear he was still alive. Even though it was obvious he and the others were being used as symbiotes and the odds of them making it out alive were virtually nil, she was still willing to risk her life. One seriously got the impression that she loves the big lug after all…

But mainly, she was an ice cold chick and tough as nails. When those around her began to panic and cry “game over, man!”, she raised her gun and started kicking ass! And when at last she was cornered and wounded, did she roll over and die? Hell no! She grabbed hold of that grenade and went down with a bang, taking as many of those buggers as she could buggers with her! RIP Vasquez. You rock!

Well that’s all for now. I was going to include some non sci-fi examples in this list as well, but that would made it too long to post! Stay tuned, I’m thinking I’ll save those examples of mainstream badassery for next time. And I might just have some final thoughts to offer on this whole phenomenon known as badassesness. I love inventing words! Bye!

Mega Cities!

Back with another conceptual post, this time about something which I’ve been pretty invested in lately. And it comes from the same general universe inhabited by cyberpunk and dystopian sci-fi. And that thing is the concept of the “Mega City”. As I’m sure I’ve said before, this is not only a very cool concept right out of modern science fiction, its also a genuine sociological and geographical theory.

In fact, it was a French geographer named Jean Gottmann who coined the term “megalopolis” in his 1961 book Megalopolis: The Urbanized Northeastern Seaboard of the United States. He used this term to describe the massive urban region which extended from the suburbs of Boston to those of Washington D.C. The concept quickly caught on, resulting in names like “BosWash” and “Northeast Megalopolis” when referring to the urban sprawl, and igniting the imaginations of science fiction writers and geographical planners.

However, in recent decades, this same concept has been extended to refer to several other “megalopolis'” as well. And not just in the US; such regions have been noticed developing in Canada, Mexico, Europe, East and South Asia. Wherever one urban center appears to be converging with another, through urban sprawl, connecting townships, and major highways, the roots of mega-cities are being laid!

First off, here are some more examples from North America, grouped from North to South, East to West:

Boston-Washington Megalopolis: As already noted, this baby inspired the concept of a megalopolis thanks to the post-war boom and growth of urban centers along the Eastern Seaboard of the US. In addition to having several major urban centers and ports closely linked by major transportation routes, some of the largest suburban developments in North America exist in this region, which have allowed for these major cities to converge by a very noticeable degree. All told, roughly forty-tw0 million people live in the BosWash according to a year 2000 census with projected estimates for 45 million by 2025.
Quebec-Windsor Corridor:
Looking at the nearly unbroken urban landscape which stretches from Quebec city and the Outaouis region all the way down to Windsor on Lake Erie, one could easily get the impression that a mega-city existed throughout these regions, and was merely distributed in a long line because of geographic necessity. Embracing the St.Laurence River corridor and the National Capital Region and Southern Great Lakes Region, the Quebec-Windsor Megalopolis includes such urban centers as Quebec, Montreal, Ottawa, Toronto, Hamilton, London and Winsor and boasts a population of roughly 18 million (as of 2000) and is expected to reach 21 million by 2025.
The Great Lakes Region: An alternative to the Quebec-Windsor megalopolis, which is based entirely in Canada, this megalopolis is based around the Great Lakes region and includes urban centers in in the Midwestern US, the Southern Ontario area of Canada, and parts of Pennsylvania, New York, and Quebec. The region officially extends from the Milwaukee–Chicago to the Detroit–Toronto corridor, and includes Buffalo, Cincinnati, Cleveland, Columbus, Dayton, Grand Rapids, Indianapolis, Louisville, Ottawa, Rochester, and Toledo. The region had an estimated population of 54 million, as of the 2000 Census and is expected to reach about 65 million by the year 2025.
Piedmont-Atlantic: the Southern US megalopolis, running from Charlotte, North Carolina to Memphis, Tenessee, and embracing the urban regions of Atlanta, Birmingham, Chattanooga, Columbia, and everything in between. Its population as of 2000 was estimated at a modest 15 million, at least by mega-city standards. However, it is expected to reach a good twenty million or more by 2025.
Florida: Named in honor of the fact that all its urban centers are located squarely in the state of Florida, this megalopolis incorporates the urban centers of Coral Springs, Fort Lauderdale, Jacksonville, Miami, Orlando, St. Petersburg, Tallahassee, and Tampa and has also has a relatively modest population of 15 million with expectations to reach 21 and a half by the quarter century.
Texas Triangle and the Gulf Coast: Here are two megalopolis’ that are often considered separately, but which have already converged as far their boundaries are concerned. Thus I think it’s fitting that they be considered as one. From the east, the mega-city range embraces Pensacola and Mobile and extends south and west, with New Orleans in the middle and Corpus Christi at the southernmost tip. However, at the western edge, it then extents north-west, incorporating Houston, Dallas, Fort Worth, Oklahoma City, San Antonio, Tulsa, and Wichita. Considered as one, this region boasts a hefty 28 million inhabitants and is expected to reach as high as 40 million in the near future.
So-Cal: Fans of Demolition Man ought to know this one right off the bat (if not, see below). Otherwise known as Southern California range, this region encompasses the north-south coastline and the urban regions of greater Los Angeles, San Diego, Anaheim, Tijuana, and Bakersfield, but also reaches eastward to include Las Vegas. It’s overall populated was posted at 25 million in 2000 with a projected expectation of 35 million by 2025.
Comparatively small next to its southern cousin, the Northern California Megapolitan region is still an impressive specimen. Reaching both north-south along the coast, and east-west into the interior, this region encompasses the cities of San Jose, San Francisco, Santa Rosa, Stockton, Fresno, and Sacramento. It’s total population, circa 2000, was estimated at roughly 13 million and is expected to reach close to 17 and a half by 2025.
Cascadia:Named in honor of the Cascade Mountain Range, this mega-city, like the mountains extends from north to south and incorporates the urban centers of British Columbia and the states of Washington and Oregon. Beginning with Vancouver and Victoria in Canada and reaching south to include Bellingham, Everett, Seattle, Tacoma, Olympia and Portland in the south, the region hosts a modest 10 million inhabitants and is expected to actually recede in population! Fans of space and coastal weather, travel here! You will crushed anywhere else!

The World at Large:
Blue Banana: Also known as the “European Megalopolis” or “European Backbone”, this hypothetical mega-cityscape reaches across Western Europe. Stretching along a south to north-east axis (thus forming the shape of a banana), the region runs from Milan in Italy through Southern Germany and the Low Countries and ends in northern Wales. In terms of major cities, the corridor includes Milan, Genoa, Venice, Munich, Luxembourg, Frankfurt, Brussels, London, Manchester and Leeds. It’s total population, hang onto your hats, is estimated at 92.4 million people!
Greater Mexico City: The most populous metropolitan region in the Americas, embracing the entire metropolitan area of the “Valley of Mexico” and boasting a population of over 21 million, according to a 2009 survey conducted by National Population Council of Mexico. Although it does not embrace multiple urban centers, its large landmass and density are characteristic or a mega-city.
Indo-Gangetic Plain: Also known as the “Northern Indian River Plain”, referring to its geographic boundary in Northern India along the Indus and Ganges river basins. The area is traditionally very dense due to its fertile soil and strategic locations between river basins, the Himalayan mountain chain to the east, and the Iranian plateau to the west. In terms of urban centers, this corridor extends between Pakistan and India to Bangladesh and includes the cities of Karachi, Faisalabad, Islamabad, Lahore, Delhi, Kanpur, Dhaka, and Kolkata. Overall, roughly 1 billion people – 1/7th of the world’s total population – live in this region, making it the most population dense area in the world!
Pearl River Delta: Located in Guangdong province in the People’s Republic of China, the Pearl River Delta is one of the most densely urbanised regions in the world and one of the main hubs of China’s economic growth. This is due largely to the fact that such coastal centers as Hong Kong, Guangzhou, Shenzhen, Kowloon City, and Macua are all located in this relatively small region. In addition to these tightly packed urban centers, suburban developments have led to many geographers to think of the area as a single mega-city. According to the United Nations Human Settlements Programme, the overall population of the delta region is estimated at 120 million people, and growing fast!
Taiheiyo Belt:
Over to Japan, where densely populated urban centers have been a fact of life for nearly half a century. Translated literally, the term “Taiheiyo beruto” means Pacific Belt, referring to the series of linked metropolises that are nestled on Japan’s western shores. Officially, the region extends from greater Utsonomiya in the north, through to Tokyo harbor, then follows the coastline circuitously through Yokohama, Nagoya, Kyoto, Osaka, Hiroshima, Yamaguchi, and ends at Saga on the southern island of Satsuma. These areas account for the bulk of Japan’s population, its industrial base, and its major economic centers. In addition, it packs a population of 83 million into a very narrow corridor.
Yangtze River Delta: Also known as the Golden Triangle of the Yangtze, this megalopolitan region has much in common with its cousin on the Pearl River. Here again, we see a bunch of urban centers built along one of the traditional river routes that are clustered around the mouth of it. In addition, this area also accounts for a very large and growing portion of China’s economic and industrial infrastructure. Linked by high-speed rail, major highways, bridges, and urban sprawl, this region unites the cities of Shanghai, Nanjing, Hangzhou, Suzhou, Wuxi, and a whole lot of others! In total, roughly 100 million people live in this densely packed area in addition to its many farms, factories, and transportation hubs; which, in conjunction with its location at the mouth of the Yangtze, makes it the leading cause of maritime pollution in the Pacific Ocean.

Examples in fiction:
Mega-City One: Taken from the graphic novel of Judge Dredd, MC-1 is the setting of the majority of the series. According to the series’ background info, MC-1 grew naturally out of urban sprawl between all the major cities of the East Coast US. It was only officially made into the dark, overcrowded and heavily encapsulated place that one sees in the comics after WWIII took place. It’s current population in the series is estimated at over 400 million, the majority of whom lives in massive apartment blocks that house 50,000 people apiece. And of course, just about everything is automated, all resources (including food!) are recycled, and unemployment is almost universal. Other mega-cities are mentioned in the series as well, including Mega-City Two, which encompasses the greater urban sprawl of Southern California.
Metropolis: Not to be confused with the setting for Superman, this city was the focal point for events in the classic movie of the same name. When asked where he got the idea for such a world, director Fritz Lang said that he was inspired by his first glimpse of the New York city skyline. While traveling there by ship in 1924, he saw skyscrapers for the first time, and these left quite the impression on him. This was evidenced in his conception for a massive future city where buildings were designed to look like artistic representations of the Tower of Babel, the rich lived on high in the sun and the workers lived in the dark depth below.
No-Cal/So-Cal: The setting of Gibson’s Bridge Trilogy, in which California had split into two regions, the one centering around the greater San Fransisco region in the north, and the other around the LA region in the south. Most events in the story take place in San Francisco, particularly the Golden Gate Bridge, which has become a home for indigents and squatters (hence the name of the trilogy).
San Angeles: The setting for the movie Demolition Man, in which a cryogenicaly frozen LA police officer is woken up in 2032 and told that it is now called San Angeles, which resulted from the merger of Los Angeles, Santa Barabara and San Diego after the “Big One” Earthquake of 2010 leveled most of LA and Southern California.
The Sprawl: Otherwise known as the BAMA, or Boston-Atlanta Metropolitan Axis, this mega-city serves as the setting of Neuromancer, Count Zero and Mona Lisa Overdrive by William Gibson. But unlike the Boston-Washington megalopolis which is likely to have inspired it, this axis extends as far south as Atlanta and is contained beneath a series of geodesic domes.

For starters, one can see without the need for much imagination where the concept for “Metropolis”, “Mega-City One”, “San Angeles”, and “The Sprawl” came from. For the last century, at least, megalopolis’ have been slowly becoming a reality, and this in turn has been reflected in our literature. And when it comes to dystopian science fiction, what could be more dark and gritty than a big, overcrowded cityscape? Especially one where differences in wealth and modern technology make everything just a little more interesting and dangerous? Like most people, I can’t imagine ever wanting to live in such a world, but damn if I don’t want to read about it from time to time!

Count Zero

“On receiving an interrupt, decrement the counter to zero.”
-Programming The Z80 by Rodnay Zaks (1982).

The other night, I finally finished book II in the Sprawl series by William Gibson. Kindle for iPad, not paperback, which in itself was kind of a bummer. Somehow, I still haven’t made the transition for hard copies to ebooks. Probably never will. In any case, it was a rewarding experience which reminded me why I like Gibson in the first place. After getting through the Bigend Trilogy and the Bridge Trilogy and having somewhat mixed feelings, I got back to the trilogy that started it all, and was interested by what I found…

Count Zero is number two in the series that picks up after Neuromancer, the book which started it all for Gibson and which I read first. Set in the Sprawl – a.k.a. the Boston-Atlanta Metropolitan Axis (or BAMA) – this cyberpunk story deals with themes familiar to classic Gibson fans. Cyberpsace jockeys, freelance mercenaries, corporate monopolies, the street, and people so wealthy that they are able to cheat death and transcend humanity. In between, there’s all the familiar lexicon which Gibson invented himself: microsofts, biosofts, decks, trodes, jacking, jockying, ice, black ice, icebreaker, the matrix, Turing Police, cores, and all that good stuff.

However, there were also a few elements which put me in mind of his later work. Really, I could dedicate an entire post to the parallels between this book and his Bigend Trilogy. Again, there was the notion of the transformative power of wealth, how it means so much more than just having money and the freedom to use it. Given how much importance is placed on this in the book, how it serves as a sort of motivation in itself, one would get the impression that this is a serious preoccupation of Gibson’s. But then again, it was serious preoccupations of Fitzgerald’s, and for good reason! As he and Hemingway are rumored to have said to each other:

F: “The rich are different than you and me.”
H: “Yes, they have more money.”

Plot Synopsis:
The story takes place seven years after the events of Neuromancer and centers on the lives of three people: First, a mercenary named Turner who has just recovered from a near-death experience and is beginning to question what he does. However, while attempting to flee his life, he is picked up and told he must do one final job. A scientist named Mitchell, working the company of Maas, wants to defect from his job and join the rival company of Hosaka. It’s up to Turner to pick him up and transport him back to Japan where, presumably, he will be safe to pursue his work in biosofts – a revolutionary biological form of technology. However, the run goes terribly awry when they find that the evacuee is in fact his daughter, and the company destroys its own fortress and kills Mitchell rather than let him fall into their rivals hands.

Second, we have a disgraced Parisian art dealer named Marly Krushkova who has been hired by a fabulously wealthy man named Virek to track down the maker of some mysterious art boxes. One of these boxes, which are based on Joseph Cornell’s artwork, apparently contain indication of biosoft construction. Virek, who is currently alive in a vat somewhere in Scandinavia, wants the technology so he can ressurrect his body and live forever. Using his dime and his contacts, Marly begins to follow the clues which will lead her to the abandoned station of Freeside, the once proud holding of the Tessier-Ashpool clan, where she will learn the shocking truth of the boxes.

Third, a young New Jersey boy named Bobby Newmark, hacker alias “Count Zero”, who is new to the jockeying game and comes across some “black ice” that nearly kills him. He discovers that the friend who gave it to him, “Two-A-Day”, received it from a questionable source and pawned it off on him to test it. When looking into this, he finds that Two-A-Day’s backers are a group of Haitain hackers who are interested in investigating a bunch of apparitions in cyberspace that appear as Voodoo gods. One of these “gods”, it seems, was responsible for saving Bobby’s life when he jacked and encountered the black ice, which was apparently of Maas construction. Their group must now move quickly, because it becomes clear that anyone who knows about the ice is being murdered.

Sound familiar? Well it should. This is classic Sprawl Gibson at his best!  In time, all three threads, supposedly unrelated, weave together to the point where it becomes clear that Josef Virek, the wealthy mogul is pulling all their strings. For starters, we learn that Mitchell is not the genius he was rumored to be. Apparently, he was being fed all the information he needed to produce the biosoft technology. The person feeding him this info was apparently working from Freeside, and turns out to be one of the “apparitions” that is haunting cyberspace.

In addition, this same apparition instructed Mitchell to place biosoft technology in his daughter (Angie’s) head. Turner learns of these enhancements shortly after rescuing Angie and performing a routine scan on her. As a result, she is able to access the matrix anytime she wants without the need for a deck. Often, when she’s asleep, she is heard muttering things in Creole and having odd dreams which appear to coincide with events in cyberspace. For one, she remembers helping a boy named Bobby when he was being attacked by a malicious program. In short, she is the one who saved Bobby when he got into the black ice.

Last, Marly’s adventure to discover the box maker is related to the whole Maas/apparitions thing because Virek’s true agenda is to find the maker of the biosoft technology so he can use it to repair his dying body. As is made clear early on, he is alive only in the strictest sense, his remains being vet in a vat that keeps his vitals steady, and his brain wired to a Sim-Stim link that allows him to communicate with the outside world. It is also revealed that he intervened in Mitchell’s defection by paying off some of the mercenaries. However, his plans were upset somewhat when Mitchell chose to free his daughter instead of himself. So for the remainder of the novel, it becomes a race to capture her.

In time, she asks to be brought to the Sprawl where Bobby and his Voodoo friends are holding up inside a club. When they see Angie, Bobby recognizes her as the girl who saved his life. The Voodoo hackers also recognize her as one of the chief deities they have been observing in cyberspace. With some outside help, they make a stand against Virek and the mercenary Captain that was helping him and take them down. This they do by locating them both in cyberspace and arranging for their hiding places to be destroyed.

In the course of all this, it is revealed that these “apparitions” or Voodoo deities are in fact the splintered personality of the AI’s from book I that went by the names of Wintermute and Neuromancer. After coming together at the end of the story to form the first, fully-functional AI, the combined personality split itself up into several smaller constructs so that it would not be alone in the matrix. They adopted the form of Voodoo deities because they felt these suited them best, which is what attracted the interest of the Haitain hackers in the first place.

In addition, it was they who sent the Maas icebreak down from Freeside, as part of their wider plan to smoke out Virek. Knowing that he was trying to cheat death, they decided to intervene so that he wouldn’t be able to achieve the immortality and godlike power he had been seeking. A sort of “Tower of Babel” or Icarus-type scenario there, where a god or gods punish mortals for overreaching and trying to taste divinity.

As I said before, this book reminded me of why I turned to Gibson in the first place. His abilities at world-building, at submerging the reader in a world of megacities, megacorporations and cool and potentially frightening technologies is what established him as a master of cyberpunk in the first place. I was also happy to return to his world of familiar gadgets and tools, a la simstims, microsofts, decks, jockeys and mercenaries; not to mentions shadowy agendas and double-crosses. After having read through the Bigend Trilogy where the agendas were pretty benign and unclear, and the Bridge Trilogy where the settings were kind of inconsistent and really not that dark, it was a real treat to get back to the dirty, dystopian world of the Sprawl!

However, there were some bumps along the way as well. For one, Gibson’s penchant for portraying wealthy moguls as people who have ridiculous amounts of control and influence was something I was overly-familiar with at this point. In fact, substitute a desire to cheat death with immense curiosity and Virek easily becomes Bigend. However, I could see how this was the result of reading his later works first. Had I read the Sprawl Trilogy in its entirety before tackling the more recent Bigends, I might have seen this a bit less critically.

Ah, but there was another signature Gibson trait in this book. The anti-climactic ending! After quite a bit of action in getting Turner, Angie, Bobby and the Voodoo priests all in the same place, after all the growing tension as we are told that the club is surrounded by goons, not much happens.  Bobby contacts another jockier who lost her boyfriend in the raid on Maas, because of the Mercenary Captain’s betrayal, she kills both him and Virek, and the goons dissipate as they realize the people they are working for are gone. The word “abortive” seems appropriate here, for that’s what you call an ending that is building towards and explosive climax, then fizzles out!

Still, I loved the setting, the themes, and the feel of the story. It reminds me of why I love cyberpunk and was the perfect addition to a month that has been characterized by dark, dystopian and technologically-driven literature! Much of what I had to say about Gibson’s Sprawl in my Dystopian Literature post was taken from this very book. After Neuromancer, it helped to complete the picture of what Gibson was all about in his early writing career. In building the world of tomorrow, where corporate monopolies rule, people live in dirty, overcrowded environments, where the rich are barely human and the poor struggle just to live and retain some essence of their humanity, Gibson epitomized the cyberpunk ideal of “high tech and low life”!

more cool cyberpunk wallpaper!


The second installment in William Gibson’s “The Bridge” Trilogy. Looking back, I don’t feel like I did the first book justice with the rather short review I gave it. Not to say that my overall opinion of the book has changed, but I feel like there were elements and angles that I should have delved into a little more. But since this book took place within the same general framework as the first, I shall rectify that here! So much better than re-editing old posts, don’t you think?

What can I say about Gibson’s second “Bridge” novel? Well, for starters, I liked it! It was much more developed and intriguing than the first, to be honest. While Virtual Light was concerned with the sense of post-millennial shock, the disintegration of California and the US and the massive privatization thereof – calling to mind other books by Gibson and Stephenson’s Snow CrashIdoru dealt mainly with the concept of celebrity and the nature of modern media. Although it is set just a few years after the events in the first novel, far less attention is given this time around to either the Pacific west coast or Japan’s experience of the big earthquake. It’s still there, just operating in the background and popping up on occasion to set the scene.

In addition, Kowloon’s Walled City makes an even bigger appearance this time around. In the first book, it is listed as the inspiration for The Bridge – aka. the Golden Gate Bridge that has become a community unto itself. This time though, it has matured into a cyberspace VR construct where people port in and live out their lives in a virtual environment. Like the original Walled City, it is a place for hackers, Otaku, and cyberpunks, people who live on the fringes of society in this day in age. In keeping with all of Gibson’s pre-Bigend novels, this is indicative of the disappearance of the middle class and the emergence of cyber communities as a form of resistance. This tribalistic behavior, taken into the digital realm, is not so much political as it is cultural.

This is best exemplified by the character Chia Pet McKenzie, a teenager who also happens to be a member of the Lo/Rez fan club. Lo/Rez is a Japanese band, a clever pun on Low-res (i.e. low resolution), and the fan site is an international community that communicates via cyberspace. The concept of “nodal points” is also introduced via the character of Laney, a man who is apparently adept at finding these nodes in information patterns. After leaving a company named SlitScan, a media giant renowned for ruining celebrities by exposing their secrets, he is hired because his unique abilities make him useful to anyone looking to find these patterns. These two characters and the plot strands that involve them come together when Rez, half of Lo/Rez, announces he wants to marry Rei Toei, the Idoru (Japanese for Idol). The Idoru is a virtual creation, a holographic person, who is apparently achieved a measure of sentience. Laney is hired to find out, via Lo/Rez’s info, why he could be doing this and/or if anyone is manipulating him (like the Idoru’s people). Chia is similarly flown to Japan to determine the cause of this as well, but on behalf of the fan club. In any case, the two finally find a way to consummate their union by obtaining nanotechnology, apparently so they can fashion her a physical body. This, however, is left open, we never see if they pulled it off or not.

All of this calls to mind several familiar Gibson themes. For starters, the concept of data mining, which makes an appearance in many of his novels. According to Gibson, the character of Laney is a fictitious rendering of himself, his ability being a metaphor for what Gibson dose on a regular basis in order to predict the future. This seems clear enough given that the theme has come up again and again in Gibson’s works (Cayce Pollard, another main character, did much the same thing in Pattern Recognition). Also, there is the concept of AI’s, digital sentience, and the increasingly blurred line between artificial and authentic. In addition, the influence of the mass media, the culture of celebrity, and the massive influence these two things plays on our society is featured throughout this book. In short, it asks the question of why people are obsessed with celebrities, want to be them, what it takes to be one, and why we want to ruin them so badly! It is also quite Warholian in how it addresses how fame has changed over time and how it is the industry that seems to determine who is famous, why, and for how long.

Selling Points:
Overall, I could see why this book was hailed as the book that cemented Gibson’s reputation. There’s a lot going on in this book! One can see many layers of technological, cultural and social commentary, punctuated as always by Gibson’s love of sub-culture, street life, and cutting edge things. In fact, this book was quite influential in the way it predicted virtual personalities, which is something that became quite big in Japan on or around the time of the book’s publication. It was also rather prescient in the way it delved into the kinds of tribalism that have become incredibly common with the internet. On top of all that, his delving into the world of media, celebrity and the dividing line between what is real and fake (exemplified by the marriage of Rei Toei) was executed with his usual subtle genius. That was one of the things I liked best about this novel. At no point was someone saying “You can’t marry a program! It’s immoral, unnatural!” Nor was anyone arguing in favor of it by saying “Look at the world today! There IS no line between real and fake anymore!” Everyone was concerned, most people thought he’d either lost his mind or was being manipulated, but no one came right out and ANNOUNCED it. This is something that people like the makers of S1mOne, who were clearly imitating Gibson, did do (just look at that title! What an obvious binary reference!).

Weak Points:
For one, the open ending. That applied to more than just whether or not Rez and Rei Toei ever achieved a physical union. That much I could understand given that it was the idea of it that was important, the exploration of whether or not it would ever be possible for a human and digital person to cross that boundary. But it also applied to other aspects of the story as well. For one, Laney’s ex-boss shows up deep into the story to blackmail him, and she is apparently disappeared by Lo/Rez’s head of security. We never find out if he really did anything to her or if he just scared her off. The plot thread involving her just disappears like it had become inconvenient and Gibson wanted to get rid of it. Perhaps it comes up in book three, but here, it was like a final act cut-off. This is something this book has in common with Stephenson too, ironically enough; the quick, choppy endings!

And of course, some familiar old patterns also emerge in this book and have become apparent in this trilogy as well. The first pattern is one I’ve seen in every Gibson book I’ve read yet: having one man and one woman as main characters and either hooking them up, or pairing them off with secondary characters. Some examples include Chase and Molly in Neuromancer (who hooked up with each other), Hollis and Milgrim in Zero History (who had separate hook-ups), Chevette and Rydel in Virtual Light (together), and now Laney and Chia (separate). Mind you, I’m not calling this a weakness. In fact, most people would call it a convention; interesting stories need some degree of romance to keep them from being totally dry! But it does seem just the slightest bit repetitive this time around. He also switches main characters in the second book in this trilogy, which he did with the Bigend Trilogy too, but not the Sprawl one for some reason.

Overall, a good book and a fun, fascinating read. I definitely recommend it for anyone interested in classic sci-fi or who, like me, is interesting in charting the course of cyber/post-cyberpunk literature. You see? This is the kind of treatment Virtual Light should have gotten! I’ll be sure to be this thorough from now on!