Showing posts with label china mieville. Show all posts
Showing posts with label china mieville. Show all posts

Wednesday, 5 June 2024

China Miéville completes 1,000-page new novel

Wired has published an interview with British genre author China Miéville about his upcoming collaboration with actor-musician-icon Keanu Reeves, but also touching on his other projects.

As related previously, Miéville has joined forces with Reeves to write The Book of Elsewhere, a tie-in novel to Reeves' BRZRKR comic book franchise. Miéville agreed to tackle the project because he thought it would be interesting to work within the constraints of someone else's fictional universe whilst also delivering a satisfying narrative. The novel will be published on 23 July this year.

However, Miéville fans frustrated with his lack of output in the last decade will be pleased to hear he has a new solo novel in the works as well, and not just in-progress but completed and sent to the publisher. Miéville's last novel was Railsea, published in 2012. He did publish two novellas, This Census-Taker and The Last Days of New Paris, in 2016, and a short story collection, Three Moments of an Explosion, in 2015. However, his fans have been crying out for a new solo novel.

Miéville doesn't reveal much about the new book but at over a thousand pages, it will be his longest book to date (and books like Perdito Street Station and The Scar are not exactly slight novels). Presumably it will be published in 2025, but hopefully we'll get more news soon.

Wednesday, 10 January 2024

Keanu Reeves and China Miéville to collaborate on new novel

Actor/icon Keanu Reeves is to co-write his first novel with British genre author China Miéville. The novel is called The Book of Elsewhere and is set in the BRZRKR universe co-created by Reeves for a comic series, which was published in 2021.


China Miéville is one of Britain's most acclaimed science fiction and fantasy authors. He began his career with King Rat in 1998 but made his name with Perdido Street Station (2000), the start of his loosely-connected Bas-Lag series (also comprising 2002's The Scar and 2004's Iron Council). His other works include the novels Un Lun Dun (2007), The City and The City (2009), Kraken (2011), Embassytown (2011), Railsea (2012) and the novellas The Tain (2002), This Census-Taker (2016) and The Last Days of New Paris (2016).

Miéville went on a hiatus from writing fiction to focus on academic work, writing October: The Story of the Russian Revolution (2017) and A Spectre, Haunting: On the Communist Manifesto (2022). The Book of Elsewhere will be his first published fiction in eight years and his first novel in twelve years. I don't think anyone would have bet money on his eagerly-awaited return to fiction being in the company of Keanu Reeves.


Reeves, obviously, is an acclaimed and iconic actor best-known for playing the titular character in the John Wick franchise (now at four films and a prequel TV show), Neo in the four Matrix movies and Johnny Silverhand in the video game Cyberpunk 2077 and its recent expansion, Phantom Liberty. BRZRKR is a 12-issue limited series focusing on an enigmatic warrior character called the Berzerker, who is immortal and fights his way across time. Reeves developed the title with Matt Kindt, with Ron Garney providing the artwork. 

The Book of Elsewhere will be published on 23 July this year. BRZRKR is also in development as a live-action Netflix project and an animated show.

Friday, 20 July 2018

PATHFINDER: KINGMAKER gets a release date

Pathfinder: Kingmaker, an expansive computer RPG set in the signature Pathfinder world of Golarion, will be out on 25 September this year.


Kingmaker is a Baldur's Gate-inspired CRPG which allows you to both take part in traditional roleplaying activities, like quests, monster-slaying, dungeon-delving and romances, but adds on a strategic layer of realm management (similar to the old Birthright setting for Dungeons and Dragons). As you progress through the Stolen Lands - a sort of unclaimed no-man's land in the middle of the River Kingdoms (the pen-and-paper incarnation of which was contributed to by China Mieville, slightly randomly) - you gain more control and influence over the local population, allowing you to build a town and rule over it as a tyrant or a benevolent ruler. As the game progresses your influence over the region grows.

The game's storyline was co-written by the omnipresent Chris Avellone, who has contributed to games including Fallout 2, Planescape: Torment, Icewind Dale, Neverwinter Nights 2: Mask of the Betrayer, Knights of the Old Republic II, Fallout: New Vegas, Alpha Protocol, Wasteland 2, Torment: Tides of NumeneraDivinity: Original Sin II and the forthcoming Dying Light 2.

Pathfinder was, for a while, the world's most popular pen-and-paper roleplaying game. Created as an alternative to the unpopular Dungeons and Dragons 4th Edition (which not so much threw the baby out with the bathwater but hurled it into orbit), Pathfinder developed from the D&D 3rd Edition rules and sold many hundreds of thousands of copies. After the release of the considerably better-received D&D 5th Edition, Pathfinder lost its crown for a while but is now looking to reclaim the spotlight with a 2nd Edition of its own game rules, a recently-released SF variant (Starfinder) and now its first spin-off video game.

Monday, 7 May 2018

The City and The City

Beszel and Ul Qoma are two cities that share the same space. The people, the buildings and the institutions of one city must be ignored by residents of the other, on the pain of arrest by the secret police, Breach. When a young woman from Ul Qoma is found dead in Beszel, Inspector Tyador Borlu must investigate to see if a Breach has occurred...but the case reminds him of the disappearance of his wife some years earlier. As Borlu investigates, the trail leads him to Ul Qoma and the chance to solve more than just one mystery.


China Mieville is one of Britain's finest novelists, a writer of the macabre, the strange and the weird who writes in an accessible but memorable style. The City and The City, originally published in 2009, is one of his most stripped-back and accessible novels, the weirdness dialled back to just the idea of the two cities coexisting in the same space. That backdrop is then used to explore the characters and the central murder mystery.

This 4-part BBC television adaptation is a fine take on Mieville's work. David Morrissey (Britannia, The Walking Dead) plays Tyador Borlu, imbuing him with just the right mix of world-weary cynicism, hope and even romanticism as he tries to find answers to the puzzles in his life. Katrynia, played by Laura Pulver (Sherlock), is a new addition to the story and at first glance the inclusion of a "dead/missing wife" as a motivational factor for the main character feels a bit cliche. It does help in giving Borlu a personal connection to the mysterious relationship between the two cities, rather than having it remain an abstract background phenomenon (as in the first half of the novel), and it also creates more storytelling possibilities through flashbacks.

The rest of the cast is accomplished, with Mandeep Dhillon exceptional as the sweary Constable Corwi and Maria Schrader doing a great job as Detective Dhatt, Borlu's Ul Qoman opposite number. Production is also of a high standard, with a great musical score and some very impressive set dressing to sell various parts of Liverpool and Manchester as the twin cities. Some might argue that using two of Britain's best-known cities to serve as the backdrop for a series playing initially to British audiences is a bit weird, but for the most part it works, transporting the viewer to an imaginary microstate on the borders of eastern Europe.

At four hours to adapt a 350-page novel, the drama is just the right length and doesn't outstay its welcome. There are some issues with pacing and exposition, however. The premise is unusual and the series goes pretty far in the first episode in ensuring that viewers get the idea. Given the number of viewers who reported feeling extremely confused, it clearly didn't go far enough for some, but for others (and particularly those who've read the novel), the constant reiteration of the twin cities idea and "unseeing" started getting in the way of telling the story at hand. Also, and this is really minor, the novel ends on a pitch-perfect line and I was surprised that the TV show did not do the same thing.

Overall, The City and The City (****) is a fine slice of television drama, with an accomplished cast and some great visual storytelling. The handling of the unusual premise could have been handled more elegantly, perhaps, but overall this is a great first adaptation of a China Mieville novel and hopefully not the last. The series is available on DVD in the UK and to watch via Amazon Video, but bizarrely a Blu-Ray release has not been listed. There is also no American release listed at this time.

Saturday, 7 April 2018

The BBC release all of THE CITY AND THE CITY online

The BBC has released all four episodes of The City and The City on the BBC iPlayer service. They aired the first episode in the traditional manner last night.


The BBC's impressive adaptation of China Mieville's novel has already picked up strong critical reviews, although some casual viewers were apparently confused by the bewildering premise of two cities built around and through one another where the citizens of one city cannot "see" or interact with those of the other on pain of arrest, which makes the investigation of a cross-border murder a complex affair.

Wednesday, 28 March 2018

Trailers and airdate for the TV adaptation of China Mieville's THE CITY AND THE CITY

The BBC have released the first trailers and teasers for their adaptation of China Mieville's novel The City and The City. This is a trailer for the whole series:


This is an "orientation guide" for visitors to the twin cities:


There is also an article on how Dr. Alison Long created the language of Illitan (the language used in Ul Qoma) here.


The City and The City begins on Friday 6 April on BBC2 in the UK. I've already seen a preview of the first episode and you can read my thoughts here.

Monday, 12 March 2018

Preview: THE CITY AND THE CITY TV series

I had the great fortune tonight to be able to attend a screening of the first episode of The City and The City, a four-part BBC TV adaptation of China Mieville's 2009 novel of the same time.


In both the novel and the TV series, the setting is a fictional region of Eastern Europe, abutting the Black Sea, which is the home of two cities: Beszel and Ul Qoma. The two cities are distinct, with different languages, alphabets, styles of dress and architecture. In particular, Beszel is a slightly run-down city in decline whilst Ul Qoma is a somewhat more technologically advanced city of gleaming skyscrapers. However, for reasons that are unclear, the two cities have been fused into the same geographical space. Buildings from one city stand alongside those from the other and some streets are divided right down the middle between the two cities. Citizens of both cities are taught from childhood to "unsee" people, places and things from the other city, to ignore them and not talk to them. If someone has to travel to the other city, they must gain authorisation and cross over at a formal crossing point; even if they only want to travel geographical distance of a few metres. Any violation of this barrier is strictly punished by "Breach", a secret police force with, it is rumoured, supernatural abilities.

The story opens with a murder. Inspector Tyador Borlu is called in to investigate when the body of a young woman is discovered in Beszel. Complications arise when it is discovered that the woman is an American student who had been attending university in Ul Qoma, but no Breach has occurred. The odd nature of the death leads Borlu to cross the border and work alongside his Ul Qoman counterpart to discover what happened, and what bearing it might have on the two cities.

From left: screenwriter Tony Grisoni, actors Mandeep Dhillon and David Morrissey, producer Preethi Mavahalli


China Mieville's novel is short but complex, dense and literate. It's also relatively straightforward as a story and practical as a production: adapting, say, Perdido Street Station or The Scar would be far beyond the capabilities of anyone save perhaps Amazon or Netflix. Turning The City and The City into a visual adaptation requires a degree of exposition mostly missing from the novel (where the unusual situation is gradually unveiled over the first chapter or two) and several devices are used in the script to convey the weirdness: Tyador (played by David Morrisey) provides a brief voiceover at the start of the first episode and he occasionally narrates key moments of the action, a surprisingly old-fashioned device which is nevertheless effective. Visual effects also sell the idea: the part of the city Tyador is in is shown in perfect focus, whilst the other city is shown blurred and indistinct, like water on glass, until Tyador makes a conscious effort to "see" the other city, when it snaps briefly into legibility. The two cities are also filmed with different colour gradings, with Beszel tending towards a darker, brownish tint and Ul Qoma towards a lighter, bluer one.

The first ten minutes or so are a bit rough, especially for readers of the novel who may be surprised by how incredibly faithful it is to the novel one moment and how it goes off on its own tangent the next: there are major additions to the cast of characters and story. This makes sense: the episode was longer than the standard hour (I didn't get the exact runtime but it seemed to be around 65-70 minutes) and there are four of them, which means the TV show is in the unusual position of having more time to tell the story than the relatively short novel has (which barely scrapes 300 pages). The new material is, for the most part, well-judged and intelligently deployed. Giving Tyador a wife seemed an unnecessary change, but by having her vanish in a suspected act of Breach immediately personalises the strange situation in the city: rather than the split (and Breach) being remote forces Tyador is aware of, they are instead deeply personal affronts that frustrate him. It gives the premise an immediacy not present in the novel but which works wonderfully on screen.

Author China Mieville engaged in exchanges with the cast from the audience, and noted his approval of the project.

Once the initial hump of exposition is surmounted, the story kicks into full gear. The worldbuilding is superb: The City and The City was filmed in the distinctly un-Eastern European cities of Liverpool and Manchester, but some tremendously detailed street signage and wearing of buildings creates the illusion these are remote cities on the edge of reality. All of the street signs in Beszel are presented in English (albeit one with Cyrillic-style accents and ornamentation), with English also the spoken language, but Ul Qoma has its own alphabet and spoken language (both invented specifically for this series). Tower blocks are dirtied up, streets turned into bustling, crowded markets and technology is deliberately rolled back: people use Betamax tapes, listen to audio cassettes, watch CRT TVs, drive old cars and cordless phones have huge aerials like it's 1983. From the glimpses we get (the first episode ends with Tyador deciding he has to visit the other city), Ul Qoma is a far more advanced and modern city.

The actors are superb: David Morrissey is best-known to American audiences from his role playing the Governor in Seasons 3 and 4 of The Walking Dead, but he has an impressive resume in the UK, taking in everything from Doctor Who to Red Riding. He always brings intensity and integrity to everything he does, but in The City and The City he also invokes a rare performance of vulnerability as well. Mandeep Dhillon (Some Girls, 24, Doctor Who) plays Corwi, a police officer assigned to help Tyador, and she brings an earthy realism to the story, helped by an impressive swearing repertoire.

A narrative fan map of Ul Qoma and Beszel.

All in all, The City and The City's first episode was impressive, being atmospheric and compelling, and hopefully the rest of the series will continue in this vein. A four-minute trailer for the rest of the series looks appropriately epic.

The City and The City will debut on BBC2 in April 2018.

Wednesday, 28 February 2018

First images from the TV version of China Mieville's THE CITY AND THE CITY

Courtesy of Pan Macmillan, we have the first official publicity images from the TV mini-series version of China Mieville's The City and The City.

Tyador Borlu (David Morrisey) and Corwi (Mandeep Dhillon). Tyador is, presumably, in Ul Qoma and Corwi is in Beszel in this scene...despite them sitting right next to each other. The differentiation between the two cities will apparently be done though colour filters.

Based on Mieville's 2009 novel, the story is set in the cities of Beszel and Ul Qoma, which coexist at the same point in space and time after an unspecified existential catastrophe. A police detective is called in to investigate a murder which crosses jurisdictions between the two cities. As well as solving the murder, he must tread carefully around "Breach", the mysterious force which - brutally, if necessary - enforces the separation of the two cities.

David Morrisey as Tyador Borlu.

The TV mini-series adapts the book as four, 1-hour episodes. The series will air on BBC2 in "late spring", which we take to mean around May. Pan currently has a new TV tie-in edition of the book listed for release on 12 July, which doesn't quite track with the "late spring" date, but that date may be a placeholder until the BBC themselves confirm the airdate.

Lara Pulver as Katrynia.

The series stars David Morrisey (best-known, perhaps, as the Governor in The Walking Dead) as police detective Tyador Borlu, with Mandeep Dhillon (Some Girls) as Constable Corwi of the Beszel Policzai. Maria Shrader, Ron Cook, Danny Webb and Christian Camargo also star.



Monday, 29 May 2017

Cities of Fantasy: New Crobuzon

There is a city of towers and skyrails, of delights and obscenities, a city of elevated rail lines and glasshouses inhabited by sentient cacti. It is a city of squalor and beauty where insects make art and politicians dine with the ambassadors of hell.

Welcome to New Crobuzon.


Location
New Crobuzon is the largest city-state on the east coast of the continent of Rohagi, one of the major landmasses of the world of Bas-Lag. The city lies south of the ruins of Suroch and north-east of Cobsea, spreading for miles along the banks of both the Canker and the Tar before they meet to form the Gross Tar.

The city is separated from the rest of Rohagi by the Dancing Shoe Mountains to the south-west and the Bezhek Peaks to the north-west. South of the city lies the Rudewood, a substantial woodland which gives way to the Wetlands. South-east of the city, forming a huge peninsula, lies the Grain Spiral, a vast and fertile hinterland which keeps the city of New Crobuzon fed. South-west of the city lie the Mendican Foothills.

The mountains, the Wetlands and the Sully Swamp, which lies to the west of the city, effectively limit the approaches to the city to a few rail lines and roads. These natural defences go some way to explaining why New Crobuzon has survived for almost two thousand years despite its imperialistic tendencies and occasional wars with other powers.

New Crobuzon also exercises control over several smaller settlements, most notably Tarmuth at the mouth of the Gross Tar, which serves as the city’s port.

Further to the south-west lies the Cacotopic Stain, an area of unrelenting danger, whilst to the north-west, beyond the mountains and swamp, lies Wormseye Scrub, a vast plain. New Crobuzon’s nearest rivals are located well over a thousand miles from the city itself.

These geographic limitations make sea travel a more popular alternative. Ten miles south-east of the city, the Gross Tar opens into Iron Bay, an inlet of the Swollen Ocean. Shipping lanes lead to the nearby island of Chet and, further away, the islands of Perrick Night, Gnurr Kett, Dancing Bird Island, the Jheshull Islands and Gnomen Tor. Eventually, thousands of miles to the east, the continent of Bered Kai Nev can be found, where New Crobuzon has established a colony city called Nova Esperium.

The continent of Rohagi, based on China Mieville's own map.

Physical Description
New Crobuzon is centred on the confluence of the Rivers Canker and Tar into the Gross Tar, and has spread outwards in a rough oval shape, nine miles wide from east to west and seven from north to south. The city is furthered defined from the towering grand structure of Perdido Street Station, the city’s major transportation hub, located a mile or so from the confluence. From the station a series of major and smaller skylines radiate outwards, linking the districts of the city together. The Spike, the headquarters of the feared New Crobuzon Militia, is located nearby.

Lying between the rivers are the districts of the Crow, Brock Marsh, Sheck, Skulkford, Gross Coil,  Kinken, Rim, Tar Wedge, Raven’s Gate, Canker Wedge, West Gidd, Spit Hearth and Petty Coil. Strack Island, located south-east of the confluence of the rivers at Brock Marsh, is the location of the New Crobuzon Parliament Building and is the seat of city governance. Broadly speaking, these central districts clustered around the centres of power (civil and military) are richer and more developed, but also older and more decadent.

East of the Canker lies Dryside, Flag Hill, Chnum, East Gidd, Mafaton, Nigh Sump, Abrogate Green, Saltbur and Ludmead, the site of New Crobuzon University. South of the university lies Bonetown, a poorer district famed for the Ribs, the gigantic remains of some vast creature killed millennia ago. East of Bonetown lies Mog Hill, Pincod and Badside, whilst Sunter, Kelltree and Echomire lie to the south. West of the Tar lies Chimer, Creekside, Smog Bend, Saint Jabber’s Mound, Gallmarch, Serpolet, Lichford, Spatters and Howl Barrow. South of the river as it curves around to the confluence are Ketch Heath, Sangwine, Sobek Croix, Salacus Fields, Barrackham, Riverskin, Flyside, Aspic and, located near Strack Island, Griss Twist and Griss Fell. South of the Gross Tar lie Syriac, Murkside, Syriac Well, Pelorus Fields, Dog Fenn and Stoneshell.

At one time the city extended further south and west, but the Rudewood has encroached on the city limits. A railway line continues into the woods before terminating in disarray, a remnant of the settlement in this region.

New Crobuzon is a city of rails and rivers. Among the largest bridges in the city are the Batley, Rust, Sheer and Danechi’s, but the most impressive was the Grand Calibre Bridge, built over the Gross Tar at its widest extent in the city itself. Unfortunately, the bridge’s ambition exceeded its engineering and the bridge shattered after being opened. It has still not yet been repaired.

Lee Croyer's splendid map of New Crobuzon.

History
The port town of Crobuzon was founded at the mouth of the Gross Tar River some 1,800 years ago. The port thrived for a century before a major pirate raid destroyed it. The survivors fled over ten miles upriver to the junction of the Tar and Canker rivers. Here, in what is now Brock Marsh and on Strack Island just to the south, they founded a new fortified settlement. “New” Crobuzon soon prospered and grew. Its location further upriver, with the two rivers used for defence, made it much more difficult to attack.

New Crobuzon grew slowly over a period of about a thousand years. Circa 1000 AU (Anno Urbis, Year of the Town) the merchant Seemly discovered the continent of Bered Kai Nev and its khepri inhabitants, opening the way for trade and exploration.

Around 1300 the city was battered by a Torque storm, one of many “reality storms” which wracked the world of Bas-Lag and left parts of the land battered and changed. An “aeromorphic” engine was built to help defend against future storms and, as a side-effect, also allowed the government to control the weather around the city.

Between 1300 and 1500 New Crobuzon experienced a golden age, a period known as the “Full Years” when the city became the centre of mercantile trade for much of eastern Rohagi. This period also saw the city make many enemies in its quest for greater riches. This culminated in the Pirate Wars, a lengthy conflict between New Crobuzon and many of the island states of the Swollen Ocean, along with several other ports. The war was “won” in 1544 when New Crobuzon deployed “Torque bombs” against the port city of Suroch to the north. The other combatants were so horrified that they ended hostilities. An expedition to Suroch to investigate the effects of the Torque bombs in 1644 uncovered horrors so unspeakable that all records of the mission were purged. Several photographs of the ruins and the creatures left living in them leaked out in 1689 and sparked immediate riots in the city.

The detonation of the Torque bombs seemed to attract the attention of other, extradimensional entities. Hell would begin dispatching ambassadors to the city and the enigmatic, capricious and a bizarre, spiderlike entity known as “the Weaver” took up residence in the metropolis shortly after these events.

The end of the Pirate Wars did not restore New Crobuzon’s former prosperity, and the city has struggled to recreate its former golden age. The aeromorphic engine ceased functioning, the Rudewood encroached on the western approaches to the city and further tensions rose with other city-states. In 1689 the city also experienced a massive influx of refugees from Bered Kai Nev, khepri fleeing a horror known only as the Ravening. New Crobuzon would go on to establish the colony of Nova Esperium on the continent to conduct an exploration and learn more about the Ravening, but ultimately this would fail, with the colony instead becoming a dumping ground for criminals.
In 1779 the city was troubled by a slake moth which caused untold damage and despair before being defeated. The following year an expedition set out from the city which culminated in the discovery of the floating city of Armada and the hunting of a powerful and mysterious aquatic creature. Between 1780 and 1804 New Crobuzon would fight a war with the powerful southern city of Tesh for control of the Firewater Straits separating Rohagi from the southern continent. New Crobuzon would declare victory in this conflict, but has not yet capitalised on this victory in any meaningful way, making some citizens believe that the war was less of a success than first reported.

Most recently, in 1806 the city was wracked by disorder and chaos as poor workers and militants fought the militia in a series of political riots.

Three of the well-known races of Rohagi and New Crobuzon: from left-to-right, a cactacae, garuda and khepri. From The Bas-Lag Gazetteer.


Peoples
New Crobuzon is home to many diverse and interesting races from all over the world of Bas-Lag. Humans are the most numerous and influential, but several others are notable.

Most common in the city, after humans, are the cactacae, enormous living catacus-people with thorns growing out of their bodies. They are large, strong and formidable, making excellent workers and very bad enemies. They are hollow, with bullets and arrows passing straight through them, making them almost impossible to kill in combat.

Garuda are winged humanoids capable of flight. They are native to the Cymek Desert far to the south of the city, but a small enclave lives within New Crobuzon.

The khepri are a race of humanoid/insect hybrids native to the eastern continent of Bered Kai Nev. They resemble human women in all respects apart from their heads, which have been replaced with scarab beetles. The females are sentient, highly intelligent and communicate with other species via sign language. The males of the species, who simply resemble large scarab beetles, are non-sentient and treated with disdain by the females.

The Remade are people (human and otherwise) whose body parts have been replaced with mechanical counterparts. Sometimes this is due to industrial accidents, but in most cases is the result of the criminal justice system.

The vodyanoi are an aquatic species, noted for resembling frogs. They can create objects out of water through their innate magical powers.

Most disturbing is The Weaver, an interdimensional spider-like entity of untested power and capabilities. An interloper from another universe, the Weaver took an interest in the city shortly after the detonation of the Torque bombs. Other Weavers are believed to exist, and it is regarded as highly fortunate that only one has shown an interest in Bas-Lag. It is possible that the Weaver’s presence has gone some way to dissuading the city government from ever using Torque bombs again. The Weaver resembles a huge spider. It is highly intelligent, but speaks in bizarre verse and random observations that are difficult to parse. The Weaver regards life as a form of art and moulds it to its own sense of aesthetics. In a crisis situation, the Weaver may remain aloof, preferring to observe; it may aid the beleaguered; or it may make things considerably worse, just to see what happens and satisfy its inscrutable curiosity. The Weaver is capricious, unpredictable and utterly alien, and its guidance should be sought with caution.

The original cover art to Perdido Street Station by Les Edwards.

Origins, Appearances and Influences
New Crobuzon first appeared in Perdido Street Station (2000), the second novel by British fantasy writer China Miéville. It is the primary setting for the novel, in which a group of unlikely characters are drawn together as a slake moth stalks the city and its bizarre inhabitants. The city is also the launching pad for the events of The Scar (2002), although the primary setting for that novel is the floating city of Armada. The city returns to prominence in Iron Council (2004), which concentrates on both a hunt for a missing train far to the south of the city as well as political turmoil within the city itself. The short story “Jack”, from Looking for Jake (2005), is also set in the city and expands on the character of Jack Half-a-prayer from Perdido Street Station.

Bas-Lag was created by China Miéville as a setting for both stories and roleplaying campaigns. He was heavily inspired by The Malacia Tapestry (1976) by Brian W. Aldiss and The Anubis Gates (1983) by Tim Powers. The world and the city seem to be a partial rejection of Tolkienesque notions of fantasy conservatism, but Miéville has also credited Tolkien with inspiring his creation of memorable, horrible monsters. New Crobuzon is also clearly inspired by London, Miéville’s adopted home town.

Since 2005, despite interest from readers, Miéville has not returned to the world of Bas-Lag or the city of New Crobuzon. Instead his books have gone further in exploring fantasised versions of the real London (most notably in Un Lun Dun but also Kraken and many of the stories in Three Moments of an Explosion) or even leaving fantasy behind altogether for SF (as in Embassytown and, arguably, Railsea). A planned development of Bas-Lag as a roleplaying campaign setting has also fallen by the wayside, resulting in this fine (but 100% unofficial) effort from fan Bryce Jones.

Despite – or maybe because of – its relative lack of exposure, New Crobuzon is one of fantasy’s most popular, iconic and impressive cities, a city which is genuinely weird, offbeat and atmospheric but is also highly convincing in its offbeat detail and captivating in its colour and stories. It is to Miéville’s credit that he hasn’t just bashed out 20 novels in the same setting, but there is also the feeling that there is much more to explore in this city, and the hope that the author may one day return to it.

Thank you for reading The Wertzone. To help me provide better content, please consider contributing to my Patreon page and other funding methods, which will also get you exclusive content weeks before it goes live on my blogs. The Cities of Fantasy series is debuting on my Patreon feed and you can read it there one month before being published on the Wertzone.

Sunday, 16 April 2017

The Czech covers for China Mieville's novels are awesome

Behold below the Czech cover art for the novels (and one short story collection) of China Mieville:


On the top row, from left, that's King Rat, Perdido Street Station, The Scar, Iron Council and Looking for Jake. On the bottom row, from left, there's Un Lun Dun, The City and The City, KrakenEmbassytown and Railsea.

You may recognise the cover art for Perdido Street Station and The Scar from the original UK editions from Pan Macmillan. The artwork is all by Edward Miller (a pseudonym for artist Les Edwards), also known for his work for PS Publishing (including on the Malazan limited editions and on Scott Lynch's books). After The Scar came out the UK publishers decided to switch to a more generic and standard art style before switching again for the dark, moody covers they are still using today. Although these are okay, the surreal and bizarre imagery from Miller was very appropriate for Mieville's work and it was a shame to see him go.

The Czech publishers clearly agreed, as they retained Miller to keep working on the cover art for their editions of the novels. I couldn't find any information on a Czech edition of Three Moments of an Explosion, This Census-Taker or The Last Days of New Paris, so it's unknown if they will continue to use Miller for their works.

Thanks to Outthere Books for spotting this intriguing development.

Friday, 14 April 2017

David Morrissey cast in THE CITY AND THE CITY adaptation

Veteran British actor David Morrissey will head the cast for the BBC's adaptation of the China Mieville novel The City and The City. Morrissey will be playing the role of Inspector Tyador Borlu, a police detective in the city of Beszel who gets caught up in a murder investigation.


The City and The City is a cross-agency murder mystery with a twist: the twin cities of Beszel and Ul-Qoma coexist at the same point in space/time, with people, shops and buildings from the two cities jumbled alongside one another. People can transit from one city to another through special checkpoints, but any attempt to interfere in the operations of one city from the other results in a "Breach" with potentially catastrophic results.

It's a bizarre, dizzying concept to get across in prose and I'm curious how the BBC are going to handle it on screen. I've liked the idea of the "current" city being in colour and all the buildings, people and objects from the other city being in black and white, with it reversing when the characters cross over, but that might be a little too hokey (and expensive).

David Morrissey is one of Britain's best actors, first attracting notice for the 1992 mini-series Framed in which he starred with Timothy Dalton and Penelope Cruz. His subsequent roles included TV shows such as Our Mutual Friend and Sense and Sensibility. In 2008 he starred alongside David Tennant in a memorable Doctor Who Christmas special. More recently, of course, he attracted renewed fame and attention for his role as the Governor in the third and fourth seasons of The Walking Dead.

This is excellent news and raises interest for this already intriguing project. The City and The City is filming now and should air in 2018.

Monday, 23 November 2015

A History of Epic Fantasy - Part 28

Epic fantasy has been the most commercially popular strand of the fantastical genre, but it has certainly come in for criticism from more literary quarters. In the late 1970s Michael Moorcock dismissed the genre as being simply "Epic Pooh" (an overwrought version of children's stories like Winnie the Pooh) and M. John Harrison (author of the Viriconium sequence of surreal fantasies) decried the genre for the "clomping foot of nerdism" in its overreliance on worldbuilding and trying to rationalise what should remain irrational. The genre has also been criticised for often descending into being "Medieval Europe with Dragons" rather than trying to be something weirder and more thought-provoking. Not everyone from the literary end of the spectrum agrees with this - Gene Wolfe is a huge Tolkien fan, for example - but it's certainly a point of view with some significant adherents.


Starting in the 1990s, fantasy began to move in slightly odder directions less reliant on dragons and magic and pseudomedieval Europe. Garry Kilworth employing Polynesian mythology (complete with a vast number of tiny gods and some very strange customs) in his Navigator Kings trilogy can be seen as part of this, as can some of the more bizarre concepts in works by Steven Erikson and Glen Cook. But it took a series of novels published between 2000 and 2006 to really ramp up these elements. This period became known as the New Weird.



Perdido Street Station & The Scar

Published in 2000, Perdido Street Station was the second novel by British author China Miéville. His first novel, King Rat (1998), had been an urban fantasy indebted to the likes of Neil Gaiman's Neverwhere (1996), but Perdido Street Station was something different. It was set in the sprawling, uncertain cityscape of New Crobuzon, a city of squalor and beauty where insects make art and the government dines the ambassadors of hell. Cactii-people live and trade alongside the inhabitants of a thousand lands and the city is linked by elevated railway lines carrying souls to work and destinies and deaths. It is part steampunk, part urban fantasy, part horror and part Alien.

Perdido Street Station is a remarkable novel, utterly beautifully written and powered by an imagination almost unmatched in the modern fantasy genre. The city of New Crobuzon lives and breathes in a way few fantasy metropoles ever achieve. Miéville populates his city with strange people but also gives them a feeling of how they live and work day-to-day. New Crobuzon is both weird and workable. Oddly, despite Harrison's criticisms of traditional fantasy and lauding (and some might say foreshadowing) of the New Weird, this works mainly because Miéville invests strongly in worldbuilding, making the city work and feel real. It even first saw light in a home roleplaying campaign which Miéville used to develop the location before trying to realise it in prose.

If Perdido Street Station works as a fantastic piece of atmosphere and mood, it's less successful in working as a structured novel, as the basic plot boils down to a bug hunt for a monster. It's the incidents along the way and the people the reader meets that makes the book so fantastic. It falls to the successor (not a true sequel), The Scar (2002), to really sing on every level. This book starts off as a travelogue, with the core characters departing New Crobuzon in search of the mysterious floating city of Armada, located somewhere in the vast ocean. As the book continues it invokes elements of Moby Dick whilst also remaining very much its own beast. The story is far more original and strange than Perdido Street Station, the characters more vivid and the situations more bizarre whilst also remaining a compelling read. It's Miéville's masterpiece.

Miéville has only released one novel since set in the same world of Bas-Lag, namely the excellent Iron Council (2004), but he has explored other worlds and settings in his fiction. Un Lun Dun (2007) and Kraken (2010) are urban fantasies set in London, Embassytown (2011) is science fiction flavoured by the New Weird and Railsea (2012) is set on a world where the ocean has been replaced by an endless landscape of train tracks. The Tain (2002) is a post-apocalyptic tale. His most successful post-Bas-Lag novel is The City and the City (2009), a weird tale that features one city split into two parallel realities where the people of one side can see those of the rest but cannot interact with them on fear of abduction by a supernatural force. Miéville will publish two novels in 2016, This Census-Taker and The Last Days of New Paris, but it appears that a return to Bas-Lag is not in the cards for the near future.


The Year of Our War

Published in 2004, The Year of Our War is noted for its vivid (and occasionally hallucinogenic) prose and its success in taking the old fantasy standby - a civilisation defended by some huge threat by a massive wall - and turning it on its head. The enemy this time is a race of insects, but humanity is defended by a race of super-powered immortals who serve as rulers and defenders and generals. The weirdness is generated by Jant, the main protagonist, who is a drug-addict and sometimes wastrel but also someone who can visit a supernatural realm of the undead where he can gain vital clues about the enemy. The immortals are riven by internal dissent, politics and love feuds that sometimes distract them from the threat that looms in the north. It is a strange and odd book that, as with Miéville, actually features some pretty robust worldbuilding and well-paced plot developments.

This was the first book in The Castle Series, and was followed by No Present Like Time (2005) and The Modern World (2007). Steph Swainston has since published a prequel, Above the Snowline (2010). However, she also vocally criticised the modern requirement by publishers and the marketplace for authors to engage in social media, marketing and networking, feeling this took too much time away from writing. She has since taken up a day job in chemistry, but continues to write a fifth book in the series in her own time.


Other Works of the Weird

After Miéville, the most successful author of the New Weird is Jeff VanderMeer (he even co-edited an anthology called The New Weird in 2007). His novels and short stories set in the fantastical city of Ambergis - Cities of Saints and Madmen (2001), Shriek: An Afterword (2006) and Finch (2009) - proved both popular and influential, as did Veniss Underground (2003), set in a different milieu but likewise bizarre and strange. His most recent major work is the Southern Reach Trilogy, an original take on the haunted lighthouse trope.

The most surprising book of the period is K.J. Bishop's The Etched City (2003), mainly because the author has not so far followed it up with any other work. Although not as well known as Miéville, Swainston and VanderMeer, Bishop's book may be the most succinct summing-up of the subgenre of the bizarre.


The New Weird never really went away, but it did start to drift into other forms of fantasy. Alan Campbell's superb Scar Night (2006) brings together the New Weird with elements of urban fantasy. It is somewhat let down by its less ambitious sequels, Iron Angel (2008) and the disappointing God of Clocks (2009), which relies on a retcon ending. Mark Charan Newton's Legends of the Red Sun series (starting with Nights of Villjamur in 2009) may be seen as an attempt to merge the New Weird with the Dying Earth subgenre popularised by Jack Vance in 1950. It is a strong and original voice, hampered by a far too-rushed conclusion.

More recently the New Weird has kind of merged into fantasy as a whole. Francis Knight's Rojan Dizon trilogy (starting with 2013's Fade to Black) feels like it should be New Weird, set as it is in a towering vertical city inside a mountain, but it is played more straight as a standard urban fantasy with epic undertones. Luke Scull's Grim Company trilogy is much more set in a post-New Grim sword and sorcery world, but the immortal god-sorcerers and their ability to warp reality results in strange and bizarre consequences (and otherwise sets his work aside from the likes of Joe Abercrombie, to whom he shares superficial similarities).


As the 2000s started in earnest, traditional epic fantasy remained popular but perhaps less so that in the previous decade. Publishers looked for different kinds of fantasy, from the baroque oddness of Miéville to the everything-and-the-kitchen-sink fantasy of Steven Erikson, but if there was one direction that epic fantasy was taking it was into darker territories, where philosophy and morality and ideologies were entwined and complicated, resulting in some of the most interesting - but also controversial - works published in the history of the genre.

Sunday, 30 August 2015

China Mieville's THE CITY AND THE CITY to become a TV series

The BBC has announced that it will be adapting China Mieville's 2009 novel The City and the City as a four-part mini-series.


The series will air on BBC2 and is being written by Tony Grisoni, known for co-writing Fear and Loathing in Las Vegas and Tideland with Terry Gilliam, as well as TV series such as Red Riding and Southcliffe. Grisoni is an offbeat and interesting scriptwriter, and would seem a perfect match for the novel.

The book is set in the city of Besźel, which coexists at the same point in space and time with the city of Ul Quoma; residents of the two cities have to ignore one another, can't go into buildings that are in the "other" city and have to cross over at specially-designated border posts. Any transgression of these rules is retaliated against by a (possibly) supernatural force. A murder in one of the cities leads the investigating detective on a dizzying journey which incorporates both cities and the forces which control them.
"We are thrilled to be bringing China's dazzlingly inventive novel to BBC Two. It's a 21st Century classic - a truly thrilling and imaginative work which asks big questions about how we perceive the world and how we interact with each other."
No airdate for the series has yet been set, although at this point it'll likely be late 2016 or some time in 2017.

Sunday, 23 August 2015

Two new China Mieville novels in 2016

It appears that we will be getting two new China Mieville novels in 2016.


China Mieville is one of SFF's most respected and critically-acclaimed authors, and also one of its more prolific. He released six novels in just seven years (bookended by the YA works Un Lun Dun in 2007 and Railsea in 2012) before taking a hiatus. He released a short story collection, Three Moments of an Explosion, a couple of months ago and will apparently be back with two new works in 2016.

First up in January is This Census Taker, a short novel or long novella. Blurb 1:
Like Neil Gaiman’s major bestseller The Ocean at the End of the Lane, this is short and stirring fiction from a genre master.

After his mother goes missing, a boy is left alone in a remote house on a hilltop with his increasingly deranged father. When an odd man knocks on his door, the boy senses that his days of isolation are over. But will this stranger at last trigger the doom the boy has feared or will he somehow save the boy from the worst?
And Blurb 2:
For readers of George Saunders, Kelly Link, and Karen Russell, This Census Taker is the poignant and uncanny new novella from award-winning and bestselling author China Miéville. After witnessing a profoundly traumatic event, a boy is left alone in a remote house on a hilltop with his increasingly deranged parent. When a stranger knocks on his door, the boy senses that his days of isolation are over—but by what authority does this man keep the meticulous records he carries? Is he the boy’s friend? His enemy? Or something altogether other?

This will be followed by his next novel proper, The Last Days of New Paris, later in the year. Blurb:
THE LAST DAYS OF NEW PARIS is an intense and gripping tale set in an alternative universe: June 1940 following Paris’ fall to the Germans, the villa of Air-Bel in Marsailles, is filled with Trotskyists, anti-fascists, exiled artists, and surrealists. One Air-Bel dissident decides the best way to fight the Nazis is to construct a surrealist bomb. When the bomb is accidentally detonated, surrealist Cataclysm sweeps Paris and transforms it according to a violent, weaponized dream logic.

Friday, 15 February 2013

THE CITY AND THE CITY on stage in Chicago

The Lifeline Theatre in Chicago is staging an adaptation of China Mieville's 2009 novel The City and The City. The preview run starts today and will continue to 24 February, with the full run taking place from 28 February to 7 April.



There will be a joint performance/signing even on 16 March, with China Mieville attending to sign books and talk about the play. Mieville recently relocated from London to Chicago.

Sunday, 17 June 2012

Rothfuss, Martin, Valente and Mieville win awards

Patrick Rothfuss won the David Gemmell Legend Award for Best Novel this week for his second book, The Wise Man's Fear. The other winners at the award were Helen Lowe's Heir of the Night for the Morningstar Award for Best Debut, and Raymond Swanland for the Ravenheart Award for Best Cover Art for Blood of Aenarion.


Meanwhile, the Locus Awards were also announced this week. George R.R. Martin won the Best Fantasy Novel award for A Dance with Dragons, whilst China Mieville won the Best SF Novel Award for Embassytown. Catherynne M. Valente won a triple prize of Best YA Book (The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making), Best Novella (Silently and Very Fast) and Best Novelette (White Lines on a Green Field). Shaun Tan won Best Artist and Ellen Datlow Best Editor.

Monday, 7 May 2012

Railsea by China Mieville

The railsea: a network of metal rails and wooden slats which extends in all directions, covering the hostile, animal-filled earth which is too dangerous to walk on. Great islands and continents of rock rise between the rails, on which cities, towns and people exist. Sailing the railsea are thousands of trains, ranging from the primitive wooden, animal-pulled trains of tribal plainsfolk to the sleek, metallic dreadnoughts of powerful navies. Inbetween lie the independent trains, such as the Medes, a moler which strikes deep into southern climes in search of an ivory-coloured moldywarpe, the nemesis of the captain and the subject of her obsession. But when the Medes instead finds a wrecked train holding a tantalising secret, the destiny of the railsea, and of a young man named Sham Yes ap Soorap, will be forever changed.


Railsea is Moby Dick rewritten to feature a crazy woman steering a train across an ocean of rails in search of a giant burrowing mole. Except when it's not, which is most of the time. It's also A Wizard of Earthsea but with trains rather than boats, except not really. It's a homage to trains and to boats and pirate movies. It's a book about language where people's lives are given meaning by pursuing giant monsters, which they call their philosophies and embody ideas and archetypes within them. It's a Young Adult novel but with so much baroque language and complex use of metaphors that no-one should consider the term a pejorative. One thing is clear: it's a China Mieville novel.

Railsea is Mieville's ninth book and, judged purely superficially, is a romp. It's an adventure about a young man (Sham Yes ap Soorap) who goes to (rail)sea, gets caught up in his captain's obsession and uncovers a secret that will lead him to the ends of the earth and beyond, in search of the meaning of it all. Along the way he fights, is captured by and eventually escapes from pirates, takes part in the hunting of a gigantic mole (going by Mieville's illustrations, we're talking a mole bigger than a blue whale), tames a hostile bat and gawps at vast, cosmopolitan cities. It's a vigorous page-turner, compulsively readable and endlessly inventive.


Stepping back, the book is more complex. In a possible metatextual nod at the cliches of such fiction, many captains of trains have missing arms and legs, snatched away by one kind of beast or another. Captains even carry lists of what animals their fellows are hunting, so they may pass on news of any sightings. Each animal represents an ideal and a philosophy, so the ships of the railsea aren't just molers and merchants, but devices searching for meaning and answers. For Nephi, captain of the Medes, her nemesis represents something very simple indeed: everything. And to find that truth, she would take her ship and her crew anywhere the trail leads. For his part, Sham is likewise obsessed, with an impossible image glimpsed briefly, an image that could shake the world, and it is how these two obsessions cross paths and align that gives the book its narrative spine.

The world of Railsea is vivid and initially bewildering, with Mieville's inventive but remorselessly logical mind working overdrive to give us his most fully-fleshed out creation since Bas-Lag itself. It's a world with two skies and myriad levels of land, a place that is a secondary fantasy world like Bas-Lag but also an alien planet such as those seen in Embassytown. It also might be something else. No direct answers are given, but the questions are more interesting for that (and the ending is powerful, opening more possibilities as it closes down others). It's a world of monsters, however, and Mieville gives us some of his best, from the great southern moldywarpes to the naked molerats to the friendly (if treated right) daybats. Occasional illustrations show these creatures in all their (sometimes revolting) glory.

Mieville populates the book with his normal gallery of well-defined characters, from the archetypal young hero Sham to the coldly authoritative Captain Nephi to the vision-seeking siblings Shroake. What unites the characters is their need for answers and their desire to search rather than to accept what is and what has been for centuries.

Railsea (*****) is a well-written, compulsive page-turner and sees Mieville's imagination on top form. It's a book that works on multiple levels and is thoroughly rewarding. His finest work since The City and The City and maybe his finest since The Scar. The novel will be published on 15 May in the USA and on 24 May in the UK.

Monday, 12 March 2012

New cover art: David Wingrove & China Mieville

First up, a better look at Larry Rostant's cover art for the third Chung Kuo book, The Middle Kingdom, due on 1 August 2012:


And with the cover lettering in place:


Meanwhile, the UK cover art for Railsea, China Mieville's new novel, due on 24 May:

Thursday, 1 March 2012

China Mieville's London

China Mieville has written an interesting essay about modern London for The New York Times, touching on the recent riots, the increasingly desperate housing shortage and the impact of the upcoming Olympic Games on the city. It's a bleak, but not totally hopeless, piece.

The highlight for me is Mieville's depiction of mayor Boris Johnson as a "ninja of bumptiousness."

Wednesday, 22 February 2012

Iron Council by China Mieville

New Crobuzon is in the grip of economic disaster. A ruinous naval war against the city of Tesh is being prosecuted over thousands of miles, draining the city's coffers. People are laid off only to be rehired on a fraction of their original income to make weapons for the war effort. The seeds of revolution are being sown within the city. Outside, a band of revolutionaries are on another type of quest, to head into the badlands at the centre of the Rohagi continent in search of the perpetual train, the Iron Council. The Council defected from New Crobuzon's control twenty years ago and is now a symbol and a myth to the people, a sign of freedom and hope. But the rulers of New Crobuzon never forgets any slight against it, no matter how small, and have their own plans to take vengeance against the Council...


Iron Council, published in 2004, is China Mieville's fourth novel and the third set in his signature fantasy world of Bas-Lag, though it has little to do with the two previous novels (the solid Perdido Street Station and the excellent The Scar) and can be enjoyed by itself. It's a somewhat complex novel, following three distinct story strands. In the first, a band of revolutionaries from New Crobuzon set out in search of Judah Law, a man who knows the location of the Iron Council. Once reunited with him, they search together for the Council and how to best guide it home. In the second strand, Law flashes back twenty years to the events leading to the Council's defection from New Crobuzon's control. In the third, the story follows a revolutionary named Ori as dissent and anger on New Crobuzon's streets reaches fevre pitch and threatens civil war.

The book combines some influences from real history. Events in New Crobuzon are reminiscent of events in Petrograd (aka St. Petersburg) in the run-up to the Russian Revolution, with a ruinous war being prosecuted beyond the state's ability to fund it and this leading to economic disaster, fuelling social unrest. The storyline in the western badlands is more like a Western, with its iron roads spanning thousands of miles of hostile wilderness and hard-edged men and women fighting for survival with guns. Of course, this is Mieville, so the hostile natives are worm-like inchmen and stilt-like striders (who can be reasoned with) rather than simple tribesmen, and the terrain includes things like the cacotopic stain, an area where reality is bent out of shape and can recreate and change anything that passes through it. As with most of Mieville's output, his imagination is on formidable and impressive display.


The novel focuses on the characters of Cutter, Judah Law and Ori, and Mieville does good work bringing these and a galaxy of supporting roles to life. Ori is a man searching for a role in life and is drawn into the world of politics and activism. Cutter is politically ambivalent and is driven in the hunt for the Council mainly by his love for Judah (which is ambiguously reciprocated). Judah is a more complex character, whose wants and ambitions see him yo-yoing between the Council and the city. He has impressive magical powers, most notably the ability to create golems. Mieville gives these golems a New Weird twist by allowing Judah to create them out of almost anything, including railroad sleepers and even shadows. What seems like a minor side-detail ultimately becomes a major part of the book's resolution. Mieville also infuses the minor characters like Spiral Jack and Ann Hari, with internal life and complex motivations, resulting in one of his better-cast novels (actually probably only second to his masterpiece, The Scar).

Iron Council seems to be regarded as one of Mieville's weakest novels, which is curious as I found it far better-written and more cohesive than Kraken, and certainly much more strongly plotted and characterised than even the revered Perdido Street Station. Criticisms seem to stem from it being too political, which I did not find to be the case. Despite being a socialist in his own politics, Mieville never gets preachy in the book. In fact, characters from numerous and diverse backgrounds are brought together in a situation where they feel forced to respond to the government's acts with disobedience and eventually violence, regardless of former party affiliations. Indeed, an attempt to politicise the revolution, to give it shape and an ideology, falls apart because the disparate factions that make it up are so different (that in itself - stand united or fall alone - may be a political statement, but if so one I don't think many can disagree with).

Where problems do emerge is in the book's tripartite structure. Swapping between events in the city and the badlands is fine, but the addition of a massive flashback sequence in the middle of the novel is a bit unwieldy. This self-contained sequence feels like it would have worked better at the front of the book as its own narrative rather than putting everything else on hold whilst the flashback unfolds mid-novel.

But other than that, Iron Council (****½) is a successful, imaginative and gripping fantasy novel, richly-characterised and fuelled by one of the strongest imaginations working in the field today. The novel is available now in the UK and USA.