Panellists: Laurie Penny, Daryl Gregory, David Towsey, Claudia Kern, Deborah Christie
According to M John Harrison, “The zombie is the ultimate other in a neoliberal society … they will never embarrass you by revealing their humanity.” To what extent does this reading explain the popularity of zombie franchises? And what are we to make of works such as Warm Bodies, The Returned and In The Flesh, that start to rehumanise the zombie?
Continue reading LonCon3 #12: Sympathy for the Zombie
Panellists: Paul Cornell, Robin Hobb, Freda Warrington, Liz Bourke, Sophia McDougall
Urban fantasy is a broad church. To some, it’s the genre of “Wizard of the Pigeons” and “War for the Oaks“; to others, it means Sam Vimes patrolling the streets of Ankh Morpork, or Locke Lamora conning his way through Camorr. Most recently, it has become synonymous with werewolves, vampires and hot detectives. What holds together the urban fantastic? Are different strands of the genre in conversation with each other? And how important is the influence of the stuctures and tone of other genres like crime fiction?
Continue reading LonCon3 #7: The Changing Face of the Urban Fantastic
This is some fucked up shit. Misogynistic and necrophilic fucked up shit. With illustrations. My inner feminist is vibrating with rage and is drawing disturbing comparisons with serial killer Elliot Rodger.
The meathouse is a whorehouse whose ‘whores’ are dead women, most of whom are former criminals and debtors although some have been kidnapped and killed precisely to be commodified by transforming them into brainless undead prostitutes. Outside of the meathouses, corpses are used as workers directed by handlers (read: puppeteers), similar to what The People do with vampires in Ilona Andrews’s Kate Daniels series. The entertainment industry is dominated by corpse fights like the gladiators of old, their handlers manipulating them like 3-D real world video game characters.
Continue reading Meathouse Man by George R.R. Martin
There’s nothing like a bit of necrophilia in the morning.
Our RoboZombies (the zombies are actually referred to as ‘steins’, as in Frankenstein) don’t decompose and still retain all of their bodily functions so there are no ball sacks falling off during fellatio or penises detaching mid-coitus (oh look a new dildo!) so my tea and toast stayed happily in my stomach.
Our heroine, Josie, is a newly made RoboZombie sex doll. Her memories have been wiped in favour of rudimentary programming to engineer her to need, and be submissive to, a ‘husband’. Her obviously abusive maker had no other use for her than that. Free will is only for the living. She’s child-like in her curiosity and discovery of new concepts and sensations, but she’s very much able to learn and grow beyond her original programming.
Continue reading Lust After Death (Love Bots #1) by Daisy Harris
While I enjoyed the imaginative, quirky and humorous writing style of Warm Bodies, the events and dialogue defied believability and I just couldn’t finish. But I did go and see the movie which I managed to sit through, though I did do a fair amount of cringing, it cut out the more unrealistic elements of the story, e.g. the school for zombie children to teach them how to hunt and feed.
Stuck @ 27%.
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