RED MARS TV show put on hold

Spike's Red Mars TV series, based on Kim Stanley Robinson's award-winning Mars Trilogy of novels, has been put on indefinite hold following some high-profile departures.

In particular, it's been confirmed that J. Michael Straczynski's involvement will now be restricted to the pilot script and possibly some additional episodes later on. Spike offered Straczynski the showrunner role, but he has bowed out citing other commitments (presumably including Netflix's Sense8, his collaboration with the Wachowskis which was recently renewed for a second season). Peter Noah stepped in as showrunner, but has now left following "creative differences" with the network. The project is now on hold whilst Spike figures out what to do next.

The "creative differences" has raise concern with fans. The Mars Trilogy is a mostly cerebral, political and scientific story about the realities of colonising Mars. It slow-paced and has very few action sequences. The story also unfolds over some 190 years, with the characters surviving thanks to the introduction of an age rejuvenation therapy. Turning this story into a compelling drama would be a tall order for HBO or Netflix, but Spike TV (which tends more towards action fare and reality shows) always felt like an awkward fit. Fans had been hoping that the success of The Martian, with its emphasis (more or less) on real science, would encourage Spike to stick closer to the tone and pacing of the novels.

RED MARS adaptation greenlit with BABYLON 5 showrunner in charge

Spike TV has given a full season order for Red Mars, a TV series based on Kim Stanley Robinson's classic Mars Trilogy of novels. J. Michael Straczynski, the creator/producer/writer of Babylon 5 and recently the co-creator and writer of Sense8 for Netflix, will be the primary writer and showrunner on the series.

Robinson's trilogy consists of the novels Red Mars (1992), Green Mars (1993) and Blue Mars (1996), along with a companion volume of short stories and essays, The Martians (1999). The trilogy opens in the year 2026 when fifty men and fifty women - the First Hundred - travel to Mars on the colonisation ship Ares. The opening part of the first novel covers the months-long journey out to Mars, with the scientists and engineers getting to know one another and dealing with crises like solar storms which threaten to kill them before they even get to the planet. During the voyage an ideological and philosophical debate begins which eventually comes to dominate the colonisation saga: whether Mars should be left in the state it is found or terraformed to support human life.

The rest of the first novel concerns the building of Underhill, the first town on Mars, and the establishment of an outpost on its moon Phobos. As the years pass more colonists are sent and technology rapidly develops, with canyons and craters being roofed and pressurised to create the first towns and, later, cities. A life-extension drug is developed which allows characters at the start of the story to still be alive and in excellent health forty years later. However, as the population of Mars swells, so does the control of the meta-national megacorporations which have displaced the nation-state as the primary power on Earth. This sparks a desire for independence, and the scene is set for a bloody revolution. The later novels, Green Mars and Blue Mars, cover an additional 200 years of future history.

J. Michael Straczynski's Babylon 5 featured a long-running, series-spanning storyline about the Mars colony's desire for independence and freedom.

It is likely that Straczynski will be changing some things about the books. First off, the timeline will likely be changed (since we are more like thirty years from the establishment of the first colony on Mars rather than eleven). We are also likely to see a lot more action and drama, particularly during the events of the latter two books which are more free of plot incident than the first novel. However, as Babylon 5 and Sense8 both show, Straczynski is a thoughtful writer who can write entertaining television even about controversial issues like religion, immigration and the morality of science, so don't expect these elements to be dumbed down too much. Indeed, Straczynski appears to have been a fan of the novels, with the Mars storyline in Babylon 5 feeling at least very partially inspired by Robinson's books (that were released simultaneously with the show's opening seasons).

Vince Gerardis, who helped shepherd Game of Thrones to the screen, will co-produce alongside Straczynski, who will write and be the primary showrunner. Kim Stanley Robinson will serve as a creative consultant on the project, but it's not yet been confirmed if he will write any episodes.

Spike TV, known for its more young adult male demographic than its thoughtful, hard SF one, appears to be appealing to a new audience with this project. They have also made a significant investment in the new show, ordering a full 10-episode first season instead of a pilot. It is possible that the success of the Ridley Scott film The Martian inspired them to move forward with the project.

According to Straczynski, his work on Red Mars will not interfere with his writing for the second season of Sense8, which was recently commissioned by Netflix.

Joe Straczynski to pen adaptation of Kim Stanley Robinson's MARS TRILOGY

J. Michael Straczynski, the acclaimed creator-writer of Babylon 5 amongst many other projects, has been tapped to write Spike TV's adaptation of Kim Stanley Robinson's Mars Trilogy.

This is an interesting match. The Mars novels came out at the same time Babylon 5 was starting, and it feels like Straczynski may have tapped them for some inspiration, particularly with the subplot about terrorists on Mars fighting for independence. B5 showed that JMS 'got' Mars, even in the brief parts of the series set there, so if he can bring that same touch to this project that should be great for the atmosphere and visuals.

How much of Robinson's incredibly slow-burning narrative will remain intact or be sacrificed at the altar of action and more compressed character development remains to be seen, but Straczynski is a reasonably confident pair of hands to put the project in.

Spike picks up Kim Stanley Robinson's MARS TRILOGY for TV

Spike TV are developing a TV series based on Kim Stanley Robinson's epic Mars Trilogy of novels. The proposed TV series will take the its name from the first novel in the series, Red Mars, with Kim Stanley Robinson serving as a creative consultant.

Consisting of Red Mars (1992), Green Mars (1993) and Blue Mars (1996), the trilogy spans almost two hundred years (between 2027 and 2212) and depicts the colonisation of Mars by the initial First Hundred group and subsequent waves of immigration. As the years pass, socio-economic tensions rise between the original settlers and later arrives, and between Mars and an Earth increasingly desperate to offload its bloated population (threatened by viruses and climate change) on the new world. The rising threat of war, independence and the impact of a new medical science that retards the ageing process are all key storylines in a story that involves dozens of major characters.

James Cameron and Gale Ann Hurd worked on a mini-series idea based on The Mars Trilogy for several years in the late 1990s and early 2000s. This project was not tremendously faithful to the novels - rumours abounded of a 'sexy female android' character when no such entity exists in the books - but it did wind up being developed for several years at AMC. It was not greenlit, but it did introduce Hurd to the team at AMC that eventually ended up making The Walking Dead. Five years ago, AMC resurrected the project with writer-director Jonathan Hensleigh on board (Die Hard with a Vengeance, Welcome to the Jungle, The Punisher, Armageddon), but eventually passed.

Spike TV are best-known for their reality programming, and news that this project was in development with them came as a surprise.If Spike treat the subject seriously (i.e. don't turn it into a revolutionary shoot 'em up) and put some serious money behind it, this could be both a very good TV series and mark a change in direction for the channel. The potential for this going horribly wrong is very high, however.

Blue Mars by Kim Stanley Robinson

2127. The Ross ice shelf has shattered due to volcanic activity and much of Antarctica's ice has fallen into the sea, raising global sea levels by seven metres. Three billion people - a fifth of the human race - have been displaced, triggering the greatest economic and humanitarian crisis in history. With Earth's governments and metanational corporations distracted, the colonists on Mars have launched their second revolution.

The surviving remnants of the First Hundred - whose lives have been extended vastly by genetic treatments - are spearheading the revolution. Their hope is to forge a new relationship with Earth based on mutual respect and understanding, but to the teeming billions of Earth Mars is an escape route, a place to begin again. In the aftermath of revolution, a new way of existence has to be found if the human race is to prosper.

Blue Mars is the third and concluding volume in Kim Stanley Robinson's epic Mars Trilogy, his account of the colonisation and terraforming of Mars extending across almost two centuries of human history. It opens with the Second Martian Revolution in full swing, picking up from the cliffhanger ending of Green Mars. The city of Burroughs has been flooded and most of the UN and metanat forces have been forced to pull back to the city of Sheffield atop Pavonis Mons, where a space elevator links Mars to space. The opening sequence of the book depicts the battle for Sheffield, which is followed by politicking as different factions from both Earth and Mars try to create a peaceful resolution to the crisis.

Blue Mars is similar in general style to the first two books in the sequence, with atmospheric passages on the terraforming of Mars and descriptions of the ever-shifting environment coexisting with lengthy political musings and notable scenes of character development. Robinson focuses the somewhat rambling nature of Green Mars by presenting much of the third book through the viewpoints of two of the First Hundred: Sax Russell, the scientist-genius who made most of the terraforming possible and has been the leading advocate of the 'Green' position (the total terraforming of Mars); and Ann Claybourne, the geologist who has never believed that terraforming was moral and is the leading exponent of the 'Red' viewpoint. By the time of Blue Mars, with the planet's atmosphere mostly breathable and liquid oceans appearing in the north and in the vast Hellas Basin, it appears that Sax has won the argument by default, but Robinson challenges this by showing Sax's dissatisfaction with the process and his growing realisation that something special has been lost with the destruction of the 'old' Mars. Simultaneously, Claybourne realises - belatedly - the value of being able to experience Mars first-hand without the need for spacesuits.

The two viewpoints and their newfound convergence stands as a metaphor for the entire novel. The Martian position that immigration from Earth should be banned before it overwhelms their still-fragile biosphere, and the Terran position that their planet is choking to death on people and as many as possible need to be dumped off-world, likewise need to find common ground to the benefit of all, as do the tendencies of corporate-driven right-wing politics and those of the liberal left. If Blue Mars has a theme it is that compromise, if often unsatisfactory to everyone, is the only way that society can function and move forwards.

This may be stating the obvious, but Robinson nevertheless explores the theme in tremendous depth. The political bias which infested Red Mars is much more moderate here, with Robinson showing that the huge corporations do have some positive roles to play in the future affairs of both planets, although some traces of naivete remain, particularly when a right-on member of the First Hundred wins a debate by making some pithy remarks, awing his political opponents. Those who despise politics may find the novel a little dry for their tastes, but may also enjoy the growing cynicism of the First Hundred, whose lengthy lifespans have allowed them to see the cyclical nature of politics and social movements and grow bored with them.

It's arguable from the second volume that Robinson made a mistake in killing off his most dynamic POV characters in the first novel, with the surviving members of the First Hundred being a little too passive to embrace fully as protagonists. These lingering doubts are removed in this book, with Nadia, Maya, Michel and particularly Sax and Ann working well as our principal characters (with second-generation Nirgal and Art, a liaison with an Earth metanat, also putting in good work as viewpoint characters). Their extended lifespans, which could easily be dismissed as a convenient plot device to save Robinson the complexities of writing a multi-generational storyline, have come at a cost, one that Blue Mars dedicates a lot of its closing chapters to exploring. These long lives also give them a unique perspective on events, ranging from tried cynicism to delight at seeing new generations coming into the world, which Robinson enjoys exploring.

Like its predecessors, Blue Mars is as much a social textbook and a scientific treatise and thought-experiment as it is a novel. There are some dynamic action scenes earlier in the novel, but for most of the book events are slow-paced and descriptive. Robinson is describing the social, scientific, economic, philosophical and even military implications of the terraforming of Mars on a broad base. For those interesting in such matters, Blue Mars is as easy to recommend as its two predecessors. For those interested in a more straightforward, plotted novel with a much tighter focus across a smaller passage of time, Blue Mars is as likely to disappoint as Green Mars before it.

For myself, Blue Mars (****) is an effective conclusion to one of the most ambitious SF projects of all time. Robinson's writing is at its strongest in this novel, as he attempts to fuse hard SF with real literary ambition and comes close to succeeding. The concluding chapters in particular deliver a terrific emotional charge as, after two thousand pages, the story of these flawed people and the world they have transformed finally ends. The novel is available now in the UK and USA.

Green Mars by Kim Stanley Robinson

2090. Sixty years ago, humanity landed on Mars, and stayed. The First Hundred led the colonisation effort, soon joined by other colonists and settlers. Thirty years after arriving, the people of Mars demanded political independence from the trans-national megacorps that were gradually subsuming national governments on Earth into their influence. The result was the First Martian Revolution, a revolution that was crushed. During the fighting Phobos was destroyed, the space elevator linking Mars to space fell and two-thirds of the First Hundred were killed.


Mars is becoming greener, with algae, lichen and primitive plants growing on the surface. The atmosphere is thickening, the icecaps are melting and the terraforming is proceeding at a pace outstripping the most optimistic projections. Now several new generations of native Martians have been born, all chafing against the rule of a planet millions of miles away that they care little about. Thirty-nine of the First Hundred still live, their lives extended by an experimental - and expensive - treatment that is only available to the rich and powerful on Earth, fuelling civil unrest there, whilst being freely available on Mars. Over the course of almost forty years, the Martians prepare for a new bid for independence, one that will be led by reasoned argument rather than mindless violence.

Green Mars is the second novel in Kim Stanley Robinson's Mars Trilogy, his epic account of the colonisation and terraforming of Mars. The first novel, Red Mars, concerned itself with the initial landing, exploration and colonisation of Mars, and the changes wrought by the arrival of hundreds of thousands of fresh immigrants from different cultures, culminating in the bloody and failed revolution. The second novel is principally about learning from the mistakes of the first attempt and preparing for a second, more ambitious revolution. At the same time, the terraforming of Mars and the science behind it remains a key focus, as Robinson floods the Hellas Basin and Vastitas Borealis, tents over canyons to make viable living spaces, thickens the atmosphere, and increases sunlight through the arrival of a huge mirror in Martian orbit.

Green Mars is not an action-packed novel, although there are more action beats than I remember from my first read of this novel some twenty years ago. One of the First Hundred is imprisoned by one of the corporations and his comrades have to rescue him, whilst later on some of the more radical groups launch a terrorism campaign against the Earth-imposed government on Mars. Towards the end of the book, the second revolution is launched which results in some impressive imagery: the flooding of the city of Burroughs after the nearby dyke is blown and two hundred thousand people have to walk seventy kilometres to safety and trust that the atmosphere is as breathable as the scientists claim is a stirring image, almost as memorable as the fall of the space elevator in the previous novel.

But for the most part, this is a hard SF novel, concerned with the physical sciences involved in terraforming and with the social sciences of how to meld a new society together out of myriad competing interests. A minor weakness of the first novel is that Robinson's own politics were too often on display, but in Green Mars he does a better job of portraying all sides of the debate. The would-be rebels' extremely reluctant alliance with one of the more democratic megacorps seems to be an admission that as much as you may want to escape the woes of Earth and fly off to another planet to found a utopian paradise, you really can't, at least not whilst that society is dependent on science and technology to survive, and is not totally self-sufficient (yet, though by the end of the novel it's close).

For the most part, our characters are survivors of the First Hundred: Maya, Michel, Nadia and Sax, who have seen their dream (not unanimously shared) of a free, green Mars corrupted by corporate interests. They are joined as POV characters by Nirgal, the son of Hiroko, who represents the Martian-born generation, and by Art, representing the metanational corporation Praxis, who tries to form an alliance with the Martian revolutionaries and then finds himself unexpectedly inheriting the mantle of John Boone from the first book as the guy who can talk to everyone, no matter their agenda. Characterisation is pretty strong, helped by the fact that many of these characters are now extremely old and have changed a fair bit from the first novel: the formerly quiet Sax is aggressive and angry after a spell in jail, Maya has realised what an unpleasant person she was in her youth and is determined to change, and Nadia has embraced her status as someone who is respected and listened to (which pays off handsomely in the final novel in the trilogy).


As with the first novel, this book isn't a thriller or an adventure (though it has elements of those in some sequences). It's a hardcore novel about how the colonisation of Mars could really happen. This manifests itself most notably in a lengthy mid-novel sequence in which the competing factions gather together to decide on the future of Mars. Rather than a quick gathering and a bunch of people agreeing on a way forwards, this takes the form of a month-long conference with tons of arguments which ends in a compromise declaration that satisfies no-one and people are unhappy with but nevertheless reluctantly agree on. Robinson draws parallels (some subtle, most not) not only with the Continental Congress and the American Declaration of Independence, but also with the Russian Revolution, even naming the chapter in question What Is To Be Done? Many will find this sequence mind-bogglingly boring, but those with an interest in history and politics will find it fascinating and convincingly realistic (though maybe only up until the slightly hippy-tastic closing ceremony where everyone celebrates the end of the conference by going surfing on an underground lake, which feels a bit random).

On the more negative side, Green Mars is almost 800 pages long, some 150 pages longer than the first book, and there is less decisive forward movement in the plot compared to the first novel. Some sequences feel rather skimmable, mostly those involving the in-depth political discussions on the differences between the Marsfirsters, the Reds, the First Hundred, the Bodanovists, the Arab settlers and what feels like fifty other groups. Yet Robinson is also laying out the groundwork for the explosive Second Revolution (the novel finishes with the revolution unfinished, giving us something of a cliffhanger), in particular having to explain how the mistakes of the 2061 rebellion are not repeated. Necessary, but not always gripping.

Beyond that, there are the rich, evocative and atmospheric descriptions of the changing Martian landscape, the sheer scope as Robinson tries to channel as many scientific disciplines as possible to paint the most realistic picture possible of the colonisation effort (in this regard there are similarities with Aldiss' similarly fantastic worldbuilding for Helliconia), the richly-realised characters and the sometimes poetic and lyrical power of his prose (though he falls back into a dry, academic and textbook-like approach a little bit too often).

Green Mars (****) won both the Hugo and Locus awards for best novel in 1994 and it's easy to see why. This is inspiring and epic hard SF, though it stumbles a little with pacing and tone. The novel is available now in the UK and USA.

Wertzone Classics: Red Mars by Kim Stanley Robinson

2027. A hundred of Earth's most skilled engineers and scientists are dispatched to Mars, braving radiation exposure to land on the Red Planet and establish a permanent scientific outpost. Their goal is to establish whether Mars can ever be a viable target for settlement and colonisation, and if terraforming the planet is possible or desirable.


Earth is overcrowded and choking, with national governments and transnational supercorporations (whose annual balance sheets outstrip the GDPs of most of the world's countries) feuding for control. Soon, vast reservoirs of water are discovered in hidden aquifers deep below the Martian surface, making colonies self-sustainable. To the transnats, this means that Mars can become a dumping ground for Earth's excess population. When valuable mineral deposits that Earth is crying out for are also discovered on Mars, then its exploitation for the benefit of the people of Earth becomes inevitable. The resulting clash of wills and desires of the transnational Earth corporations and the beleaguered settlers on Mars forced to accept hundreds of thousands of immigrants they cannot cope with can only have one possible outcome: revolution, and the cry for independence.

Kim Stanley Robinson's epic Mars Trilogy chronicles humanity's colonisation of Mars, beginning in the early 21st Century and extending over a period of some two centuries. The first book, which covers a period of some forty years, sees the initial settling of Mars by the First Hundred, the welcome arrival of additional waves of colonists intent on scientific research and then the more challenging problems of the arrival of hundreds of thousands of economic migrants, refugees and outcasts on a world that is not ready for them, and the resulting tensions between the newcomers and old-timers, and between the authorities on Mars and Earth.

The success of the trilogy as a whole is debatable, but this first volume, at least, is a masterpiece. Robinson's story rotates through a number of POV characters amongst the initial settlers, the First Hundred, and it rapidly becomes clear that most of them are somewhat unreliable narrators. Maya's complaints in her own POV of her 'important problems' being ignored by the base psychiatrist are given another perspective in her friend Nadia's POV, which reveals Maya is more interested in a trivial love triangle between herself and two Americans rather than in the colonisation of Mars, whilst the psychiatrist Michel's POV reveals that he is giving Maya colossal amounts of time and attention (to the detriment of his own mental health) which is unappreciated. Robinson repeats this trick several times, showing that the ultra-laidback and inspirational John Boone (the First Man on Mars) achieves his famous demeanour through the assistance of addictive drugs, whilst self-deprecating Nadia is actually the most universally-respected of the First Hundred. Character is thus built up in layers, from both internal viewpoints and external sources, making these central characters very well-realised (although characters outside the central coterie can be a little on the thin side).

Whilst the characters are important, it is Mars itself which is the central figure of the book. Robinson brings a dead planet to vivid life, emphasising the differences in terrain and character between the frozen northern polar icecap and the water-cut channels in the depths of the Valles Marineris, with the massive mountains of Tharsis towering high into the atmosphere and colonists eagerly staking claims to future beachfront properties in Hellas, the lowest point on Mars and the first place to see the benefits of terraforming. The ideas of Mars as it is now as a pristine, beautiful but harsh landscape and the habitable world it could be are sharply contrasted, and the rights and wrongs of terraforming form a core argument of the novel. I get the impression that Robinson sides with Ann Clayborne's view that the planet should be left untouched, but he is realistic enough to know this will not happen, if Mars can be settled and exploited in a way that is economically feasible. Mars in this work becomes a success of SF worldbuilding to compete with Helliconia and Arrakis, losing only a few points for actually existing.

On the downside, Robinson hits a few bad notes. Some of these are unavoidable consequences of the book being nearly twenty years old. Even in 1992 the notion that the Chinese would not play a major role in the financing and undertaking of a Mars colonisation mission only forty years hence was somewhat fanciful, but today it is almost unthinkable. More notably, the global recession has made the possibility of a manned mission to Mars, let alone a full-scale colonisation effort, by the 2020s somewhat dubious. Of course, these are issues Robinson could not hope to predict in the optimistic, post-Soviet Union years of the early 1990s.


Other problems are more notable. Robinson goes to some lengths to make the pro-terraforming and anti-terraforming sides of the debate both understandable and intelligent, but his political sympathies are much more one-sided. The pro-Martian independence brigade have charismatic leaders and a grass-roots movement of plucky, honest-men-against-the-machine supporters to their name, whilst the pro-Earth-control movement is led by a fundamentalist conservative Christian and resorts to weapons and mass-slaughter extremely easily. Robinson, to his credit, recognises this problem in later books and tries to repair the damage somewhat (Phyllis, presented extremely negatively in Red Mars, is shown in a more sympathetic light in later volumes), but there remains a feeling of political bias in this first volume. In addition, it sometimes feels that Robinson really wants the reader to know about the years of research he put into the book, with tangents and divergences which make the book feel like half a novel and half a factual science volume on how the possible colonisation of Mars might happen. For those fascinated by the real-life plans to terraform Mars (like me) this isn't an issue, but for some it may be. It is also, by far, the biggest problem the sequels face.

Nevertheless, the sheer, massive scope and complexity of Red Mars makes up for this. There is an overwhelming feeling running through this novel unlike almost any other hard SF novel ever published, that this might actually happen. Maybe not as soon as 2027, maybe not with such a determined push towards colonisation and terraforming right from the off, but one day, barring the collapse of our civilisation, we will go to Mars, and many of the challenges and problems faced by the First Hundred in this book are issues that will need to be overcome to make that possibility a reality.

Plus, and this cannot be undervalued, the dry and more sedentary tone of the earlier parts of the book are made up for by the final 100 pages or so, which contains one sequence which ranks amongst the most memorable and stunning moments of SF imagery achieved in the history of the genre to date. Robinson may have the image of being a bit of a laidback Californian optimist, but he sets to blowing stuff up at the end of the book with a relish that makes even Greg Bear look unambitious.

Red Mars (****½) is an awe-inspiring feat of SF worldbuilding and a vital novel on the colonisation of our neighbouring world, let down by a few moments of naivete and simplistic straw-manning of political points of view not to Robinson's liking. Overcoming this, the central characters are fascinating, the sheer scope of the book is stunning and the climatic revolution sequence is dramatic and spectacular. The novel is available (with a nice new British cover) in the UK and USA.

New Douglas Adams and Kim Stanley Robinson covers

To celebrate both the 30th anniversary of the original novel and the release of the new Hitch-Hiker's book, And Another Thing by Eoin Colfer, Pan Macmillan have re-released the original five Hitch-Hiker's Guide to the Galaxy novels in new covers. Most notable about this release is that The Hitch-Hiker's Guide to the Galaxy itself has a blank cover: you yourself can create the cover using a provided assortment of stickers. So if the cover sucks, it's your own fault!


The new editions also come with fresh new introductions by other writers, such as Russell T. Davies (outgoing producer of the new Doctor Who), Monty Pythoner Terry Jones and Neil Gaiman, and a host of rarely-seen publicity photos and press releases from the time of each book's release.

Tying in with the release of Kim Stanley Robinson's very fine Galileo's Dream, HarperCollins Voyager meanwhile are reissuing his classic Mars Trilogy in very nice new covers. Unfortunately, they are also in the larger 'B-format' paperbacks which I know many readers aren't too keen on. However, the books are so great to look at, it's worth the extra inconvenience of their bulky size.


Both sets of book are available in the UK right now.