Another book, another map!
NOW AVAILABLE – ONLY ON AMAZON!
Thirty years have passed since Britannia voted to throw off the Roman yoke. Now, the old world crumbles. Pirates roam the seas, bandits threaten the highways, and barbarian refugees land at Britannia’s shores, uninvited. The rich profit from the chaos, while the poor suffer. A new Dark Age is approaching – but all is not lost.
Ash is a Seaborn, a Saxon child found on the beach with nothing but a precious stone at his neck and a memory of a distant war from which his people have fled. Raised on the estate of a Briton nobleman, trained in warfare and ancient knowledge, he soon becomes embroiled in the machinations and intrigues at the court of Wortigern, the Dux of Londinium, a struggle that is about to determine the future of all Britannia.
A child of Saxon blood, an heir to Roman family, his is a destiny like no other: to forge a new world from the ruins of the old.
The Saxon Spears is the first volume of the Song of Ash saga, perfect for fans of Bernard Cornwell’s “The Last Kingdom” series, Simon Scarrow and Conn Iggulden.
It’s been a while… Not only have I not updated this blog, I also, I’m afraid, haven’t been working as hard on the novel as I should have. Life and day job got in the way rather seriously… But now it looks like everything’s settling down at last, and I can go back to my proper job.
And what better way to get back into the whirlwind of writing in the middle of the summer than by joining Camp Nanowrimo! You can follow my progress starting (fingers crossed!) tomorrow, here. I don’t know if I will reach any sort of goal – the book is 2/3rd written as it is, so it’s mostly about finishing the project and tidying up the first draft, but, we’ll see where we get from here!
I refuse to believe for one second the rumour about Kris Marshall. He’s a nice guy and a good enough actor, but come on – this would be the most bland and vanilla choice for the Doctor in the history of Doctors. It would be just silly. Might as well recast Peter Davison.
That said, everyone’s posting their own Doctors lists, as is the custom whenever the regeneration is mentioned, so without further ado, here’s mine.
1. Tamsin Greig
At the moment, she’s my definite favourite for the role. She does funny, she does sad, she does drama and she looks good in suits.
2. Joanna Scanlan
A Thick of It alumni, she’s proven her acting chops definitely in No Offence. In that leather outfit, she’d give Eccleston a run for his money as the best Northern Doctor.
3 & 4. Nina Wadia OR Sanjeev Bhaskar
We really need an Asian Doctor, like RIGHT NOW. Either of those would do perfect. “TARDIS? I can make TARDIS at home! All I need is a black hole and a small aubergine.”
5. Sacha Dhawan
He wants the role. He played in the anniversary special. He’s got sci-fi experience. Make it happen.
6. Daniel Kaluuya
Probably too big now for BBC, after the breakout success of Get Out… But I thought that of Peter Capaldi, so I’ve been wrong before.
7. Reece Shearsmith
We’re in the white dudes territory now, but Reece Shearsmith could play as literally anyone – imagine the Doctor in a different costume every episode… Reece would probably make a better Master, though.
8. Julian Barratt
Noel Fielding is always bandied about in these lists, but Julian Barratt is the better actor of the two, and does “alien” far more effortlessly.
9. Michaela Coel
Was the casting call for Bill Potts “somebody like Michaela Coel”? Plus, she’s already played an alien.
10. Benedict Wong
He’s just about the right age now, and the right face… and he’s got the Hollywood clout now.
- No time to write anything substantial on the blog lately. Busy writing the new book!
- On that note – 80k words on the first draft of the “Proud Tyrant“. At this pace, the final count will be well over 120k. And I worried it wouldn’t be long enough!
- Reminder: The Year of the Dragon, 5-8 is now available for sale at all online retailers… as are all the other books in the now-finished series.
- The Italian translation of the “Shadow of Black Wings” – “L’Ombra del Drago Nero” is at long last available on Amazon and in other places, if you’ve been longing to read it in Italian 🙂
- Over and out.
Scorsese’s Silence is a movie naturally within my sphere of interest, so of course I knew I had to see it, but between this and that, it took me over a month before I found time for it. Was it worth it? Weeeell…. kinda.
First, the good bits: the visuals are verging on genius. Rodrigo Prieto fully deserves his second Oscar nomination for cinematography. Japan (or rather, Taiwan playing the part) hasn’t looked that bleak, cold and unwelcoming on screen in a long while. It’s a welcome change from the usual way of portraying its landscape, especially in western cinema. You can feel every lashing of the cruel ocean, every damp waft of fog; the light, the wind, the rain, all play at least as much part in the first half of the movie as the actors themselves (it did help that the weather in London these past few days was the bleakest I remember). Somewhat jarring in all this is the use of sounds associated with Japan’s hot, dry summer – cicadas, summer birds – for the ambience, but I’m guessing it’s not something most viewers would notice.
Speaking of actors: there’s no bad acting in Silence (it is a Scorsese, after all) but of the three Westerners, a woefully underused Adam Driver steals every scene he’s in – I won’t be the first reviewer to note he should’ve gotten the lead; Andrew Garfield is mostly adequate – though he comes into his own the nearer the climax we get – and Liam Neeson plays “Liam Neeson’s priestly figure” – though more Qui-gon Jinn than Father Fielding. The entire middle act of the movie hinges on the performances of the Japanese, and what performances they are! A veteran comedian Issei Ogata is ridiculously brilliant as “Inquisitor” Inoue – easily a role of his life. Tadanobu Asano, here without his trademark goatee, is almost his equal, his polite, disarming smile hiding the cold, ruthless efficiency of a government official; it’s lucky he came in to replace Ken Watanabe, whose overbearing charisma would likely imbalance the scenes with the interpreter. Yosuke Kubozuka‘s Kichijiro is a shining light of the movie, a tragically comic character of which we learn tantalizingly little: a movie with him as the main protagonist would make a much more compelling story, if not exactly the story either Endo or Scorsese wished to tell.
So in terms of pure cinema craftsmanship, from cinematography to acting, Silence is a very good movie. Where it fails is the script – a script which Scorsese and his pet writer Cocks developed for decades, but which nonetheless suffers from several major drawbacks.
The deadliest sin is the use of narration. Ironically for a movie titled “Silence”, there’s barely any silence at all, especially in the first and third act. There were moments where I prayed for Andrew Garfield to just shut up and contemplate his predicament quietly for a while. I haven’t seen a voiceover narration this pointless and distracting since the producer’s cut of Blade Runner. There is virtually nothing that the voiceover adds to what’s already shown on the screen; at times, comically so, when we are literally told what’s happening before our eyes, as in the scene where some prisoners are given sake and the narrator comments: “they were given sake”. Scorsese keeps slavishly to how Endo’s book is written – the narration follows Father Rodrigues’s letters and diaries at first, then the voiceover keeps quiet where the book is written in third person, to return to voiceover at the end, just as Endo returns again to letters. I can’t fathom what made Scorsese film it this way, as if forgetting he was making a movie, not an illustrated audio-book.
The script is too uneven to be fully enjoyed; the movie’s a little bit too long, a little too repetitive at times, and the climax falls flat due to pacing problems. Its treatment of Driver’s Father Garrpe is criminal. A potentially crucial secondary character is reduced to a few bits, and in the end, it’s not even certain why he was there in the first place. I can see why Garrpe is important in the book, but in the adaptation his role fizzles out with barely any consequence to the plot or character development. Again, it seems like a matter of slavishly following the written source: Garrpa’s in the book, so he must be in the movie, even if his presence amounts to almost nothing. (Father Ferreira is similarly underused, though his role in the plot is more clear; Liam Neeson fails to switch between two versions of his character, and if his decision has any negative consequences, they are never clearly shown. He may have wanted to play it subtle, but subtlety at this point was not necessary.)
The one moment where Scorsese decides to modify the story – the final scene – belies both the message of the source material and the movie itself. The ending is far too unambiguous, far too easy, considering the complex and multi-layered psychology of everything told before. And, I feel important to note, it is a false ending, at least as far as the history of Christianity in Japan, and the Far East in general, is concerned. The sapling did not take root in the swamp, other than in the hearts of a tiny minority whom Endo himself represented.
What other problems I have with Silence are problems with both Shusaku Endo’s narrative and Christianity in general, so they don’t belong in this review. Despite these criticisms, it’s still a good movie – and definitely worth seeing on the big screen, if at all; I really can’t praise the visuals enough. It’s just a pity that it falls short of the brilliance it could have been if only Scorsese had more faith in his own skill as a cinematic storyteller (I mean, come on! You’re Martin Fuckin’ Scorsese!) and less devotion to the source material; although judging by that change to the last few seconds of Rodrigues’s story, even that’s not certain.
This is, most likely, the last solid bit of publishing news regarding The Year of the Dragon* series.
After finishing the series with The Last Dragon King, we’re now releasing the second bundled volume of the entire saga, containing Books 5-8:
As with Bundle I (1-4), this one also contains some additional exclusive content, all the maps from the four books, and an exclusive new cover created by the same artist, the brilliant Collette J. Ellis. Fittingly, like my very first cover, this one also shows Bran himself, but for the first time with his faithful dragon, Emrys!
So this is it, friends. The final, final book. One day I might return to this world for another story, but for now I’m focused on a whole new, completely different project, of which I might start telling you in a few months.
HERE ARE THE PURCHASE LINKS:
*) ebooks. There will be paperbacks soon, I promise!
So this has been doing the rounds around the internet recently: ten albums that mattered to you the most in your teenage years.
My teenage years, as defined by the meme, fall between 1991 and 1997, which is not an all too shabby period to have grown up to. I mean, it starts with Nevermind and ends with OK Computer: what more could you ask for? It’s certainly the last time music was any good, if you ask me, but then, that’s what everyone says about the music from their youth.
It was also a period of transformation from tapes to CD, so these first albums I’ve consciously listened to were also the first CDs I ever bought… although by the end I would switch again, to downloading mp3s (1998 – Audiogalaxy!) I admit, my memory being what it is, I had to google a bit to find out when the albums I remember best were released, and it turned out that some of my all-time favourites either haven’t been around until 1998 or were already released before 1991, so don’t fall into this meme’s remit. With this in mind, here’s the list (I’d say feel free to add your favourites in the comments, but nobody ever comments on this blog 😉 :
Sting – Soul Cages (1991)
A toss up between this and George Michael’s “Listen Without Prejudice“: two final pop albums of the 1980s, released the same year as Nevermind, both marking a change in the air. A definite ending of an era in music.
Bjork – Debut (1993)
This is such a powerful album, still! There’s not a single song here that’s not a timeless work of genius. Not much to say, except that, through Post and Homogenic, Bjork was always a key presence in my soundtrack all through the 90s.
Smashing Pumpkins – Siamese Dreams (1993)
Like most people, I missed Smashing Pumpkins first album, and only heard of them when they released “Today” video, but it was only when I started exploring their back catalogue after Mellon Collie that I got hooked up on Siamese Dreams. As you can tell from this and the next few selections, 1994-96 was definitely the culmination of my Emo Teenage phase.
Nirvana – Unplugged (1993)
No, I wasn’t that unaware of contemporary music to not notice the fucking Nirvana until 1993. It’s just that, somehow, I was more of a Pearl Jam kid for the first couple of years. It wasn’t until In Utero that I began switching my allegiance, and of course, Unplugged was the one that finally made me see the light – just a little bit too late.
Nine Inch Nails – The Downward Spiral (1994)
Yeah, it doesn’t really get any happier, does it? This is the “Hurt” one. For a moment this was my most-listened to album of all time. I actually had this in a double CD, with “Further Down the Spiral” remixes, most of which I vastly preferred to the original. This version of Piggy is from the remix album:
Body Count – Born Dead (1994)
Ice-T‘s Body Count was a gateway drug to hip-hop for all the white kids hooked on grunge and metal. If you liked Rage Against the Machine or Atari Teenage Riot (and who didn’t?), Body Count was the next thing to bang your head to. And then you’d start to wonder, what else did this guy record? Wait, you mean there’s more?
Tricky & co. – Nearly God (1996)
The ultimate trip-hop album, and possibly the weirdest thing to listen to in the mid-90s. I was deep, deep into trip-hop at the time, but this one was definitely my favourite one of the lot. A bizarre project led by Tricky off of Massive Attack, but with co-singers like Terry Hall of the Specials, Siouxie Sioux or Alison Moyet. Trippy and dark as fuck.
Radiohead – OK Computer (1997)
The greatest album of the 90s? Yeah, I believe so. 2nd most acclaimed of the decade after Nevermind, apparently (and no other than these two in top 30 of all time). Nothing was ever the same after OK Computer. This is where the 90s end the 2000s begin in music.
Yoko Kanno – Vision of Escaflowne OST (1996)
1996-97 is when I start to listen to anime soundtracks and J-Pop/J-Rock, downloaded from primitive early internet. By chance, it’s also the time when some of the best anime soundtracks of all time become available: Kenji Kawai‘s Ghost in the Shell and Yoko Kanno’s Vision of Escaflowne. Later on, I’ll start discovering the classical influences behind this music, while Yoko Kanno would go on to produce the masterpiece that was Cowboy Bebop soundtrack, but at the time, as far as I was concerned, this was as good as music got:
Genesis – Selling England by the Pound (1974)
I have to mention this one, or my story of the 90s music wouldn’t be complete: it’s also the time when I was introduced (by my then gf) to progressive rock, in the form of the first four Genesis albums (FGtR doesn’t count!). Unlike our relationship, this was the love affair that would last for the rest of my life.