I've liked everything I've read by Steven Brust, so the fact that I liked this one as well is no surprise. Just like the rest, Issola was a quick read, full of action and sarcastic wit. Brust has a real knack for characterization—not only have I enjoyed the recurring lead characters throughout the series, but he also brings in new ones with each installment, or expands on smaller characters from previous novels, that also get to me. It's that skill that makes the poignant ending of Issola effective—much in the same way that it did in Teckla and Athyra, two of my favorites in the series. I'm looking forward to the next one.

Started: 2006-07-26 | Finished: 2006-07-29

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I haven't thought about Steven Brust's work in a while, but a Penny Arcade strip last month reminded me and the ensuing wave of nostalgia prompted me to spend a few weeks rereading his entire Vlad Taltos series. Of course, since the last time I'd read one of these novels two more had been written and I had to go and get those as well. I was a little surprised to find that the series held up just as well upon rereading as it did in my memory—possibly even better. Brust created a world that is just as intriguing to me as Middle Earth or The Land, but where Tolkien and Donaldson went for the mythic and epic, Brust wrote more colloquially. His characters end up feeling more real to me and more well-rounded—they have senses of humor, for one thing. It makes for a really fun read.

Started: 2006-07-23 | Finished: 2006-07-25

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If you caught the previews for this one, the first thing you probably noticed was the fact that it's animated. More specifically, it's rotoscoped—live actors were filmed and then each frame was drawn over by a computer. And unlike other, older rotoscoped films, the animation in this one was highly stylized, using thick lines and very odd shading and colors. If you're anything like me, the idea would make you immediately skeptical. It works, though. The film, as well as the Philip K. Dick novel on which it's based, is set in a not-too-distant future in which a new narcotic called "Substance D" has escalated the war on drugs to truly dystopian proportions. The story is told from the perspective of an undercover narcotics officer—played by Keanu Reeves—who, in the course of his investigation, becomes addicted to Substance D. A good deal of the film is taken up with depictions of the drug culture, from the paranoia and inanity of the characters' conversations to the hallucinations brought on by the deterioration of the protagonist's brain. This is where the animation comes in so beautifully: the comic-book coloring and the constantly shifting lines produce a very unsettling feeling. Combined with the spot-on dialogue and performances—especially from Robert Downey Jr. and Woody Harrelson—makes the film feel quite authentic while still being intensely surreal. I might have wished that Reeves' and Winona Ryder's characters had been cast differently, but they didn't really do all that badly. I think I'm definitely going to have to check out the book.

Viewed: 2006-07-22 | Released: 2006-07-06 | Score: B

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Askaninja.com has a pretty funny review of this movie up. I can't say I entirely disagree with their assessment, actually. The crux of it all is that Dead Man's Chest is not a standalone story—it is the middle volume of a trilogy. In that light, the fact that nothing actually gets resolved during the entire two and a half hours is, perhaps, somewhat forgivable. What may not be forgivable, though, is that this episode really brought nothing new to the table. Nearly all of the comedy was just a rehash of stuff we already saw in The Curse of the Black Pearl. Even Johnny Depp's performance came off as pretty stale. I am going to see the next one, but it's more because I feel a need for closure than because I particularly liked this one.

Viewed: 2006-07-13 | Released: 2006-06-23 | Score: C

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I'm a little torn on the score I'm giving this one. You see, on the strength of the writing alone I'd have to say this deserved two stars, possibly even one. The plot was pretty thin, and didn't mesh well with itself. That is, there were two major components to the story: a character-driven story about a man coming to terms with a past tragedy and a quest story about a fairy creature trying to get home. The second is what the film pays attention to, but the first is what the story is really about, and I didn't feel that was done skillfully enough. On top of that, there was a lot of jarringly goofy comic relief that didn't match up well at all with the more fable-like tone of the rest of the movie. On the other hand, the performances taken by themselves would have gotten four stars. Paul Giamatti, especially, did some really amazing work in this movie. I don't think I can give his performance in the climactic scene enough praise. And I always like Jeffrey Wright—he always manages to bring a quirky realism to even the smallest roles. Even M. Night Shyamalan did a pretty good job, stepping it up a few notches from his normally wooden self. So I guess I have to split the difference and give it three stars, which I find quite unsatisfying for not reflecting either part well.

Viewed: 2006-07-20 | Released: 2006-07-20 | Score: B

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The main downside, in my experience, to the military SF genre is that it doesn't really give you much to think about. The novels are fun, but for the most part they tend to focus on the action. That's not a bad thing if that's what you're looking for—indeed, I quite often find myself in the mood for that sort of story. Still, it's nice to find a member of the genre that isn't just a less-philosophical rehash of Starship Troopers. (By the way, I do quite like most of the Heinlein I've read, including Starship Troopers. I just like a little variety now and then.) This one is right up there with Armor and Ender's Game as one of the best examples of the genre. It might even be better. The writing style is just as good, but where those other two stories operate on a bit more of a fairy-tale-ish level, The Forever War has a much grittier realism to it—not surprising from an author who is also a Vietnam veteran. I guess whether or not that makes it "better" is open to interpretation—all I know is that I really liked it.

Started: 2006-06-29 | Finished: 2006-07-03

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When D.C. Comics decided—back in '93—to kill off Superman, the response (among those who took notice of the event) seemed to fall into two general categories: those who found it tragic and moving, and those who thought it was just another ploy to get us to buy the comic. So, when I tell you that I was pretty solidly in the former camp, it should tell you something about the biases I have in approaching a movie like this. In any case, I loved it. In reading some other reviews, I've noticed that a lot of people are complaining that the movie wasn't fresh enough, that there wasn't enough of a new spin. But consider: Superman is quite possibly the single most iconic figure in the entire history of American pop culture. I have a hard time imagining a way in which a studio could "update" the story that wouldn't just be wrong. Director Bryan Singer seems to agree with me, since Superman Returns is so obviously reverent toward the source material. Not to say that it's exactly the same as the comic or the first two films (we can just pretend that the second two never happened)—there are some significant differences from D.C.'s established chronology. But in the important ways, especially with the characters and the overall tone, Singer stayed faithful to the film's roots. Lest you think I've let me fanboyism run away, I will say that the film was not without its faults. Kate Bosworth as Lois Lane was pretty flat, but even at that I noticed a lot of growth in her skills since Win a Date with Tad Hamilton. Brandon Routh drew very heavily on Christopher Reeve's work for the basis of his own performance, which had its ups and downs. On the one hand, he did a pretty good job of reincarnating Reeve's Superman, which appealed to my sense of nostalgia. On the other hand, Routh is not as good an actor as Reeve was, and it shows the most in the scenes where he plays Clark Kent. Reeve was so good that you could almost believe that Kent and Superman were different people. Not so much with Routh. He was also a little hurt by the fact that he looks so young. Reeve was the same age when he started working on the 1978 film—a mere 26—but somehow he still looked like a grown-up instead of a teenager. Finally, if my experience talking to some of my friends is any guide, people who aren't familiar with the genre may find it a little campy. I thought it had a good balance of comic relief and dramatic intensity, but your mileage may vary.

Viewed: 2006-06-29 | Released: 2006-06-20 | Score: A

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The final Hornblower novel, alas. As you know, I've really enjoyed this series, so I'm a bit sad to come to its end. This last book sees Hornblower as the admiral in command of the West Indian fleet. Like many of the later-written books in the series—especially Mr. Midshipman Hornblower this one is highly episodic in structure. Each chapter presents a more or less unrelated scenario to the previous one, and a lot of time passes in between chapters. As with any episodic story, this made for a fair amount of action but not much in the way of a cohesive narrative arc. Admiral Hornblower certainly wasn't my favorite, but even at that I still enjoyed it enough that I'd say it made for a decent capstone to a great series.

Started: 2006-06-18 | Finished: 2006-06-27

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On Saturday, Juliette and I went up to LA to see a performance by a friend of ours. On the way, we stopped at the Grove to have dinner at the Farmer's Market. For those of you who are unfamiliar with LA landmarks, the Grove is a swanky shopping mall that was built about 5 or 6 years ago around the site of the historic LA Farmer's Market. The market portion of the Farmer's Market is still there, and is home to some excellent food stands as well as some neat little specialty shops and grocers.

Anyway, we had hardly gotten out of the parking lot before I was wrinkling my nose at the overwhelming consumerism and image consciousness displayed by the mall patrons. It's been over a year now since we left Orange County and I guess I've gotten re-sensitized. It seemed like everyone I saw was wearing designer clothes or huge sunglasses or had perfectly styled hair and nails, and I couldn't stop thinking "Ew!" every few seconds. Plus, the place was packed; you could hardly walk ten feet without bumping into someone. I kept thinking of that line from Rent: "When you're living in America, you're what you own."

The irony is, of course, that the very next day I went on a shopping rampage because I was flush with birthday cash that was burning a hole in my pocket. We spent more or less the entire afternoon looking for stuff for me to buy. And now I'm not sure if the funk I'm feeling myself entering is self-disgust or just regret that I can't keep spending. I'm trying to keep my self esteem intact by reminding myself that I only shop for myself twice a year.

But, on to the purchases.

One of my birthday purchases was a pair of Philips SBC HN050 Noise-Cancelling Headphones. I was a little hesitant about buying a set of headphones that requires a battery, but I've been intrigued by active noise cancelling for a while now. Unfortunately, I've discovered that activating the noise cancelling function messes with my ears in a very odd way. Even without music turned on, I feel a strange "pressure" in my left ear that quickly spreads to my left temple. After thirty seconds or so, that's followed by a disoriented, dizzy feeling and mild nausea that's reminiscent of being ever so slightly carsick. It's quite disappointing, because this sensation makes it more or less impossible for me to use that feature. Still, the earpieces are reasonably comfortable when positioned properly and the sound quality is more than adequate to my non-audiophilic ears, so it's not a total loss.

(Note to self: size 36 belts are not meant for people who wear size 36 pants. And, for crying out loud, try stuff on before you buy it!)

I also bought a ridiculously expensive remote control. So far, I like it, but I have to say, for $250 it should really be easier to set up. It took me the better part of an hour to program two activities, mostly due to the cumbersome web interface. What would be most intuitive to me is to have an activity represented as an editable list of actions. Perhaps you could throw in some AJAX for some drag-and-drop functionality, and add some smarts to fill in a default sequence. Instead, you get an only partially configurable list that comes after a rather convoluted wizard. I was less than impressed, even factoring in Best Buy's $50 instant rebate. On the bright side, once I did manage to beat it into submission, it seems to work pretty well.

By the way, I mentioned that we were up in LA to see a friend's performance—well, if you're in the LA area and you're intrigued by avant-garde theater, the friend's name is Elke Luyten and she's doing a corporeal mime performance called "Here Is Someone" For those of you unfamiliar with corporeal mime—I imagine that's pretty much everyone—it's quite a bit different from the "guy trapped in an invisible box" shtick you're probably imagining. Corporeal mime is a variety of movement-based performance art developed by Étienne Decroux in the early part of the 20th century as a modern (in the sense of "modernism") redefinition of the mime artform. The actor uses a codified series of movements involving the entire body as his or her medium of expression. Often times text or music is added, but this is done subsequent to the choreography and in many ways the choice of words and sounds is almost incidental. Meaning, in the traditional sense, is not made explicit, instead arising out of the synthesis of movement, text, and the audience's subjective experience.

If that sounds esoteric and "artsy fartsy" to you, well, it is. But it's also quite beautiful, just in terms of pure visual aesthetics. It can also be unsettling, confusing, intense, serene, or even playful. Elke's performance in this piece definitely falls into the "intense" category, but, lacking a more developed critical understanding of this sort of art, I'm not sure how much better I can describe it.

If you're interested, the performance is at the Son of Semele theater (3301 Beverly Blvd., Los Angeles) at 10 PM on Friday and Saturday nights from now until July 15. The performance runs about 15 minutes and admission is $5. Elke's show follows a 90-minute play by the hosting company, called King Cat Calico Finally Flies Free. If you want to see both shows, admission to the mime show is free if you buy a ticket to the play. Incidentally, the play is interesting if you like your theater on the experimental (and low budget) side—Juliette and I liked the style and performances, although not really the text. So you know, King Cat Calico is not family-friendly.

One more note: the theater is in what looked to me like a really sketchy neighborhood and street parking is all that's available. Juliette and I were a little concerned about leaving our car and even though everything turned out all right for us, I feel like I'd be remiss if I didn't mention it.

I didn't realize it at the time, but I picked up this book almost exactly a year after I started reading Jared Diamond's previous work, Guns, Germs, and Steel. In a lot of ways, Collapse is the converse of that book—where GGS examines the environmental factors contributing to societal success, Collapse looks at reasons for societal failure. I found it to be a good read—Diamond writes in a very clear, easy-to-understand style—if, perhaps, a bit distressing. Finishing it found me left with a greater sense that I ought to do my part in living an environmentally responsible life, though I suppose in all honesty it remains to be seen whether or not that will last.

Started: 2006-04-14 | Finished: 2006-06-17

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