Review: Murder in the Vatican, the Church Mysteries of Sherlock Homes

Reviewing Murder in the Vatican requires a bit of backstory. When I was 13, I started reading through the collected stories of Sherlock Holmes. I made it about halfway through. stopped dead by “The Adventure of the Gloria Scott”—the first time Holmes was the narrator.  Even G.K. Chesterton noted that it showed why Watson was relevant: because Holmes was a terrible storyteller.

Since then, I have been critical of anything about Sherlock Holmes written after the death of Arthur Conan Doyle.
When Robert Downey Jr. starred in Sherlock Holmes, I crossed my fingers and hoped it didn’t suck … instead, I got a checklist of what they did right.

When they created Sherlock, I also crossed my fingers. It was surprisingly awesome.

Then I heard about Murder in the Vatican: The Church Mysteries of Sherlock Holmes. It had an interesting premise: author Ann Margaret Lewis takes Watson’s offhand references of Holmes working on cases for the Pope, or involving religious figures, and turns them into entire stories.

I experienced the same feeling of dread. How off would the narration be? Would someone try converting Holmes? How lost would a detective from Victorian, Anglican England be in Catholic Rome? How many different ways were there to screw this up?

I stopped worrying when I read the first sentence. And, oh my God, this book is awesome! I loved this book…

Lewis caught the voice of Dr. John Watson as though she had taken it, trapped in a bottle, and used it to refill her pen into as she wrote. I liked the voice. I liked Watson, the doctor, trying to diagnose an ailing Leo XIII (85 at the time of the events of the first story). I like the brief sketch of the political situation between the Vatican and Italy. I even enjoy Watson’s discomfort at the Pope slipping into “The Royal We” when he speaks of himself as the Pope.

Even the artwork was as though it had been lifted from issues of The Strand magazine. Someone had fun here.

Thankfully, there is no overt attempt to convert Holmes, evangelize or proselytize him. There is only enough theology in the entire novel that explains to the casual reader exactly what the heck the Pope is doing. The closest the book comes to exposing Holmes to theology is a page-long sequence that ends with Leo saying, “Perhaps you should spend some of your inactive time pondering that conundrum [of Jesus] instead of indulging in whatever narcotic it is with which you choose to entertain yourself.”

That is the best zinger I’ve ever seen a character use on Holmes regarding his drug use. Even the most secular person I know can appreciate a page of theology for one of the better one-liners I’ve ever seen.

Also, the little things were entertaining for a nerd like me. For example, the casual mention of John Cardinal Newman, referred to as “a recent convert.” The political situation at the time is given just enough of a sketch to explain what’s going on, but nothing obtrusive; history nerds like me can be satisfied, but you don’t have to have a degree in it to comprehend what’s going on.

There are truly parts where the novel seems to merge all the best qualities of Sherlock Holmes with those of G.K. Chesterton’s Fr. Brown short stories …

At this point, I must make a small confession. I write reviews as I read the book. There is plenty of backtracking, filling the blanks, and rewrite the review as the book goes. I wrote the Father Brown line when I finished the first tale. In fact, the interview questions I sent to Ann Margaret Lewis were written before I even received a review copy of the book.

I then read “The Vatican Cameos,” and discover a Deacon, named Brown …

I swear I didn’t see that coming.


The first story in this collection is “The Death of Cardinal Tosca.”

In this memorable year ’95 a curious and incongruous succession of cases had engaged his attention, ranging from his famous investigation of the sudden death of Cardinal Tosca — an inquiry which was carried out by him at the express desire of His Holiness the Pope . . . .

—Dr. John H. Watson, “The Adventure of Black Peter”

Imagine Sherlock Holmes on vacation … if you see that vacation turning out like an episode of Murder, She Wrote, with a body hitting the floor at some point, you pretty much have the setup. It has a poison pen letter, with real poison, some Masons, references to two different cases in the space of two paragraphs, and a Papal commando raid with a real pontiff. This story is so delightfully odd and over-the-top, but still preserves as much reality as any other Holmes tale. I enjoyed every moment of it. And I can’t argue with any story where the pope gets most of the amusing one-liners.

Heck, even the murderer gets in a good line. When confronted, our first killer sneers. “Let me guess. You’re going to explain, to the amazement of your friends, how I did the deed?” Holmes replies, “I’ve already told them that. It would be old news. They already know you blundered badly.”

I think the story concludes on a nice, solid note. As Holmes tells Watson, “[Leo XIII] is genuinely pious. He is also imperious, but in a most endearing way.”

Watson merely replies, “Yes, well. I’m used to that.”

Let’s see Martin Freeman deliver that line.


“I was exceedingly preoccupied by that little affair of the Vatican cameos, and in my anxiety to oblige the Pope I lost touch with several interesting English cases.”

—Sherlock Holmes, The Hound of the Baskervilles

The second tale, “The Vatican Cameos,” is a bit of a flashback episode to when Holmes first met Pope Leo XIII. A collection of cameos is sent to Queen Victoria, secured tightly in the box, but upon their arrival in London, the box is empty. The Queen simply sends Sherlock Holmes. Watson is busy with a medical emergency, so he wasn’t around.

When Watson asks Sherlock about the incident, Holmes says, quite clearly “Watson, I am incapable of spinning a tale in the way you do. The narrative would read like a scientific treatise.” Thus, there is only one person left who to narrate this tale … Leo XIII. This was the story that truly showed that the author did her research, assembling little details of Leo XIII’s interests and hobbies and putting them together into a rich, vibrant character. He is shown here as witty, humorous, and bright.

The byplay between Leo XIII and Holmes in this story was marvelously entertaining. The Pope is shown to be about as smart as Watson … maybe a little smarter. When Holmes first meets the Pontiff, and rattles off conclusions in his usual rapid-fire manner, the Pope takes a minute, and deduces how Holmes came to most of them. Not all, but most. Making Leo this smart only serves to make Holmes as impressive as he should be—yes, everyone else may be smart, but Holmes is smarter.

Also, having Leo XIII using Thomas Aquinas to talk with Holmes of reason and science … it works for me.

And the scene with Holmes, the Pope, and the gunman was fun, too.


“You know that I am preoccupied with this case of the two Coptic Patriarchs, which should come to a head to-day.”

Sherlock Holmes, “The Retired Colourman”

“The Second Coptic Patriarch”: The third and final tale is from yet another throwaway line of Arthur Conan Doyle’s.

In this case, a former criminal comes to Holmes to solicit his services; the priest who converted him away from his life of crime is in jail for murder. A bookstore owner has been murdered with a book (“The Rule of Oliver Cromwell–weighty subject, no doubt,” Holmes quips), and the priest will only say that the victim was dead when he arrived.

It’s almost Sherlock Holmes meets Alfred Hitchcock … I didn’t know someone could do I Confess like this. It’s a fun little read, and possibly the most traditional of the Holmes stories — it’s a good tale. From the perspective of the overall book, it’s a perfect cap to the character arc.

Now, after reading Murder in the Vatican, I think I’m going to go back and finish the Sherlock Holmes series — and keep Murder in the Vatican handy, so I can read them all in chronological order.

Ann Lewis said that the book was “meant to be fun and lift your heart for a short time. I had a blast writing it, and I hope you have a blast reading it.”

Mission accomplished.

Frankly, between Cumberbatch, RDJ, or Elementary, if you had to live with only one expansion of Holmes works, you buy Ann Lewis. Period.

Declan Finn is a Dragon Award nominated author. His “Catholic Vampire romance novels” can be found on his personal website. As well as all the other strange things he does.

Eta Cancri review

Please welcome Xewleer to Superversive SF, he is a new reviewer and you can expect a lot more from him. His review is cross posted from his blog millennialking.wordpress.com

Spoilers! It’s a great book, and worth reading.


I just finished Eta Cancri by Russell May. It was, surprisingly for an author who was not on my radar before, an excellent read chock full of delicious theology. It was a treat, to be sure. The characters are living and breathing with distinct personalities. The descriptions are on point. The science is a good medium-hard, with just the right amount of give for philosophical and theological conversations the teeth they need to grow. Ah… that more stories which pride themselves on science and philosophy would take this route!

The book switches through various characters’ POV. My personal favorites were Ed and June, along with the AI Archie. Each one has a solid voice and drive that breathes life into this book more than could be expected. Indeed, books that switch perspective live and die on this sword. I could tell that the POV shifted through the author’s choices in word play, character focus and other hints almost instantly.

The conceit of the story, which involves demonic possession, bacteria and genetic modification, was well done and quite unique to this author from my experiences. Though I have experimented and read up on demonic possession and stories about it, this is the first time I’ve seen it used in such a broad and interesting way. Nothing triggered any sort of violation of the suspension of disbelief. It holds up the story incredibly well. This is dreadfully important in this genre as Russell did it. If the suspension of Disbelief is violated, then the entire book will fall over itself and the threads that he depends on to carry the story forward logically will be lost, unable to be gained back.

Though there is no part of the story I groaned at the reading of, I did feel fatigue about halfway through on chapter 3 or 4 (?). The story before and after focuses on multiple characters, the evil of the Demon Legion, the science, philosophy and theology mix and POV shifts. This middle bit has nothing that really sticks out too hard. The story sticks to Pierce the techno-everyman and doesn’t shift too much. There’s just too much dialogue and not enough cool stuff to give us a rest between theological questions. Not that I was exhausted by the questions, I just wish the heady brew was cut a little with soda. Even a bit where Ed deals with his crazy and preps for the ship coming in, or June sees something which heightens our horror at the actions of Legion would do much for the pacing and general interest. I’ll point out that Ed has no reason to not succumb or struggle with Legion’s influence and a decent POV could have been written comparing and contrasting his belief in Dame Fortune and the belief in God, which is touched upon later but not to my satisfaction.

I’ll point out that, theologically, what we call Dame Fortune is the Will of God. That the saved man has free will is not something I debate or question. I question how much Dame Fortune impugns it. (I use Dame Fortune as a conceit from the story. Mentally, I use the term ‘Fate’) Does a belief in Fortune change how free will operates as we continue in Christian Free Will or Willfulness Against God? I think that there might have been an excellent few points to be made there between Ed and Father Justinian, more than was done in story. Though, there is a sequel in the cliff hanger, and I will be purchasing it as soon as it comes out.

I also wanted a little more debate on the nature on Transhumanism. I am not fond of it, as I believe that the body has the critical mass to keep the soul ‘Human’ and that, at a certain point, the ‘I as I’ that is ‘You as you are’ becomes warped into something that could be described as ‘ME’ 2.0. Also, what is morality to someone who is neither permanent or baseline human? (Though those points are touched on) June seemingly has no contrast in character, but rather is June personality as June soul is June without much debate despite much lycanthropy. Various ideas are presented with authority, but I don’t feel it is earned. The matrons producing ubermenschen in the asteroid belts are not properly repudiated in a manner that I call an argument. Rather, it is just presented as wrong. I dig, but I’m really hoping for a similar thing to Ed in the sequel.

I’ve not gone into the plot because it’s quite simple. A colony goes dark and a ragtag group of cyborgs, everymen and mercenaries go to figure it out and cleanse with fire whatever’s in there. Just about right, really. You don’t need fancy pants intrigue for stuff like this. Most of the characters are moral, upright and probably one of the best portrayals of Christians I’ve seen in Science Fiction. I’m sorry John C. Wright, but sort of randomly turning Mickey the Witch into the Space Pope of the Seventh Humans because of his wife without a redemption scene just doesn’t compare to baptism after flamebroiling demonic abominations with improvised explosives created by a literal Biblical evil. But it’s different scopes. That scene doesn’t compare to the Cathedral of Luna in the 4th book of Count to Eschaton. Ahhhh it’s perhaps differences in scale. But I’d be very interested in talking with Russel May some time to break down what he believes and what his reasoning is.

I wanted MORE, if you could believe it. I find that I have a hard time reading philosophy directly, so I have a better time consuming it if its regurgitated through literature, especially when the author provides examples within the story to provide a more definite framework for the reader to investigate. It really does wonders for the most artistically inclined philosophers, who may not be able to as readily read the great works directly. Of course, this assumes the reader is able to properly manage things that are presented vs. their origin points. Counter and counter-counter is appreciated through the characters of Archie, Father Justinian and even Legion. Legion’s absolute Nihilism is well presented without the usual tropes in plain evidence. There’s always a fresh horror from him. His unfetteredness and nihilism make an excellent baseline for the ‘evil’ of the universe. Nihilism is a hell of a drug, kids, and leads to madness.

I also think the book is missing a carnival scene. But then again, I’m a sucker for them. I also wanted more crazy bomb stuff fight scene flip outs from Michaud and Lars, but ah.

The combat scenes are fresh, well done. The weapons properly treated with excellent extensions of characterization through them. The creativity that Russell displays drives the story forward with brazen steps. Lar’s and the rest of the characters’ spirituality treated so delicately as to be art. Ah! There are few flaws and many boons to reading this book!

Overall this book is mos defs a purchase soft-cover, maybe hard-cover kinda book. Sadly, there are only kindle copies available at this time. It is worth a read! It is SUPERVERSIVE. I hope with fervent prayer that we are coming to an era where the dominant voice in Sci-Fi is Christianity! If Russell May joins the luminaries of the Superversives, Castalia House and others, shall not the glory of God be expanded in this genre of atheists, science worshippers and deviants?  DEUS VULT!

Xewleer

I, even I, drink ink like wine.

The Conjuring 2

The Conjuring 2

With The Conjuring 2 dominating the weekend box office, now seems like a good time to expand on my short review from the most recent episode of Geek Gab.

The sequel to 2013’s The Conjuring, also helmed by director James Wan, this installment features the dramatization of another case from the files of paranormal investigators Ed and Lorraine Warren. Though a couple of the Warrens’ other famous investigations are referenced, the plot mostly revolves around the 1977 Enfield Poltergeist case.

Like all films “based on a true story”, The Conjuring 2 takes copious amounts of dramatic license with the original source material. But James Wan’s stated aim was to restore the reputation of studio horror films; not make a documentary.

Did he succeed? Let’s examine the movie in light of the director’s goal.

In case you’re totally unfamiliar with The Conjuring 2

…here’s the theatrical trailer.

Seeing as how the film’s premise is based on a highly publicized haunting that’s been in the media since 1977, I’m dispensing with spoiler warnings. I’ll also restrain myself from discussing major fictionalized plot details.

The facts in the real life case, as in the film, are that a young girl and her family experience strange phenomena in their North London home after she plays with a Ouija board.

Obligatory pneumatology PSA: legends, folklore, and old wives’ tales often contain a kernel of truth. The universally negative portrayal of Ouija boards and other methods of communicating with spirits is one nut that Hollywood’s blind squirrels reliably manage to find. DO NOT play around with this stuff.

And to head off the skeptic’s favorite sophomoric objection: it’s not that a mass-produced toy is magic. It’s that the chosen end of seeking undue power over preternatural beings and phenomena is inherently evil; not the specific means used.

The more you know

Back to the film review. When ongoing disturbances, including but not limited to strange noises, poltergeist activity, teleportation of people and objects, apparitions, spiritual oppression and possession drive the family from their home, paranormal investigators–including the Warrens–intervene. The ensuing case becomes one of the most well documented hauntings in history.

Analysis

The Conjuring 2 is an atmospheric, often smart, supernatural horror film with welcome thriller and mystery flourishes. James Wan set out to make a studio horror movie in the tradition of genre classics like Poltergeist and The Exorcist.

Although this movie doesn’t quite rise to the level of those iconic films, Wan does prove that “studio horror” doesn’t have to be synonymous with “lowest common denominator schlock” while producing a rare sequel that rivals the quality of the original.

This film’s greatest successes lie in three areas”

  • Background and foreshadowing: The Conjuring 2 cleverly sets up its main plot through a properly terrifying introduction that scores bonus points by delivering on a promise made at the end of the first movie.
  • Mood, atmosphere, and tone: director James Wan strikes a superb balance between visceral scares, psychological horror, existential dread, and, refreshingly, scattered rays of hope. The main theme that God remains ever present even in the midst of seemingly unrelenting terror shines through strongly.
  • Character: the writers, director, and actors deserve high praise for avoiding the cliched cardboard cutouts seen in too many horror movies and instead populating this film with believable characters whose problems we easily and immediately care about.
As for the film’s few drawbacks, the most egregious are a couple of scenes featuring obvious CG animation that’s visually and tonally dissonant with the setting. If you’ve seen Wan’s other, similarly themed series Insidious, you’ll instantly recognize the scenes I’ve described, as well as the director’s self-indulgence.
My other beef with the movie might be specific to those who are familiar with Catholic theology and ecclesiology, but in a movie that claims to be based on true events, this one sticks out.
The plot point in question–don’t worry about spoilers; it’s dumb, anyway–is the reason given for Ed and Lorraine’s involvement in the Enfield case. In the movie, the Church gets ahold of taped conversations with a self-identified 72 year-old dead guy spoken by an 11 year-old girl.
The Conjuring 2 trailer
“Priests like me are sworn to serve others’ spiritual needs hand and foot…but we don’t want to look bad, so we’ll just send a lay couple in case this one’s a hoax.”
The English hierarchy supposedly ask the American hierarchy to approach the Warrens about evaluating the goings-on  in Enfield, with the justification that the Church can’t be seen to be directly involved if the story turns out to be a hoax, because besmirching their reputation would hinder their ability to help people.
Such as the people they’re not helping already.

By sending proxies not empowered with the seal of Holy Orders into potential contact with demonic forces.

Proxies who publicly trade on their close affiliation with the Church anyway.

In real life, this isn’t happening. The local diocese is responsible for investigating claims of possession. Enfield is under the jurisdiction of the Diocese of Westminster, home of English Catholicism’s mother church. The archbishop is unlikely to need assistance from a couple of Yanks.

Supporting this assessment, original Enfield Poltergeist investigator Guy Lyon Playfair said that in real life, the Warrens turned up uninvited.

Also contra the film version, it was a priest; not the Warrens, who helped the Hodgsons get their paranormal problems under control.

But in the finest movie tradition, The Conjuring 2 doesn’t let real life get in the way of a brilliant, climactic ending.

@BrianNiemeier

Which Iron Man Film Is the Best in the Series?

Iron Man

It’s the series that turned a comic book character nobody had cared about since the Cold War into the hottest IP on the planet and redeemed its star’s career in the process. Initially considered a huge gamble, the Iron Man franchise kicked off the Marvel Cinematic Universe–a coup that the competition has been scrambling to replicate; so far without success.

Marvel Cinematic Universe

There’s no question that the MCU–and the Iron Man films in particular–have left an indelible mark on the pages of cinematic history. But do these movies live up to the astronomical hype they’ve generated? That loaded question aside, which epoch-making installment is the best of the bunch?

The quick and dirty answers: not really, and Captain America; Civil War.

Team Iron Man
Everything the Russos touch turns to gold–or in this case, gold-titanium alloy.

Alright, invoking the Russo brothers in this context is like entering Carl Lewis in a high school girls’ track meet.

To find the answer without cheating, I shall conduct a thorough analysis of the three standalone Iron Man films. Join me as I compare the relative merits of each movie according to objective standards of the cinematic and general storytelling arts.

WARNING: It’s impossible to run this kind of analysis without venturing into spoiler territory. If you haven’t seen Iron Man parts 1, 2, and 3 yet, a) welcome back from the desert island and b) correct your omission immediately.

OK. I’ll grant a dispensation from watching Iron Man 3. In fact, if it saves somebody the 90 minutes and five bucks I wasted on that flick, this post will qualify as a PSA.

Main Antagonist
A hero is defined by his enemies. It’s no exaggeration to say that the main villain can make or break a film.
Iron Man
Obadiah Stane Newsweek
Possibly the most badass picture of Jeff Bridges
A little-known fact about the first Iron Man: the original antagonist in early drafts of the script was none other than Howard Stark himself, who would have donned the War Machine armor to do battle with his own son.
Marvel almost certainly made the right call by scrapping that idea. They did carry over the father-son rivalry dynamic to the finished film, in which Howard’s lifelong friend Obadiah Stane violently turns on his late business partner’s heir.
I’m torn by Jeff Bridges’ turn as Stane. On the one hand, he tackles the role with maximum effort, as is his wont. On the other hand, Bridges himself admitted to having some discomfort with the production’s improv style.
 

Obadiah Stane’s real weakness has nothing to do with Bridges’ performance, but with the writing. He’s never given a compelling motivation to order the hit on Tony. He even highlights the foolishness of his decision by confessing that Tony is a “golden goose” whose lucrative ingenuity Stand can’t hope to match. Such petty, short-term thinking undermines his portrayal as a corporate tech genius.

Then, because clunky final battles were mandatory in MCU Phase One, the Dude goes crazy or something and suits up in an ambulatory Soyuz for frenetically shot yet plodding showdown with Shellhead.
Iron Man 2

Whiplash and Justin Hammer
Not pictured: Iron Man 2’s main antagonist

Let’s cut to the chase. Most critics of Iron Man 2 call out Mickey Rourke and Sam Rockwell for giving lackluster performances as the movie’s dual antagonists. These critics fail to understand a number of mitigating factors.

First, a lengthy amount of footage establishing Ivan Vanko’s motives and background were cut from the final version. So hate on Whiplash if you must, but blame the editing; not Rourke’s acting.

Second, Rourke went to absurd lengths to infuse his character with authenticity, even going so far as to spend some quality time in a Russian prison. Say what you will about his effectiveness as a villain. You can’t say that Rourke isn’t utterly convincing as a Russian lowlife.

Third, if you think that Justin Hammer is passive-aggressive and grating for no good reason, you’re not paying attention. From what I can tell, most critics assumed that Hammer is a pale imitation of Obadiah Stane. Viewing the character through that lens will produce a distorted image.

Stane was out for revenge. Or money. Or…honestly, it’s hard to say why he tried to have Tony killed. By contrast, Hammer’s motivation is much clearer. He’s not after Tony Stark’s head. He wants Tony’s approval.

Like Stane, Hammer knows he’s not in Tony’s league. Instead of murderous rage, Hammer’s envy turns into a deluded obsession with proving himself Tony’s equal. Stark repeatedly makes it clear that he views Hammer as an annoying tag along at best, but Hammer’s self-worth relies so heavily on Tony’s acceptance that he can’t let himself acknowledge his rival’s contempt.

Think I’m grasping at straws? Revisit Hammer’s dialog. The man makes a positive reference to James Joyce’s Ulysses for crying out loud! 90% of people who say they enjoyed that book haven’t read it, and 100% are lying about liking it just so highbrow literary types will think they’re smart.

All of the preceding is moot, however, because neither Vanko nor Hammer is Iron Man 2’s main antagonist.

Remember: the main antagonist is the character who poses the biggest obstacle between the main protagonist and his goal.

There’s no question that Tony Stark is the main protagonist. What does Tony want in Iron Man 2? He has two complimentary goals.

  1. Continue operating as Iron Man free of outside interference.
  2. Continue running Stark Enterprises as he sees fit.
Hammer and Vanko certainly obstruct the attainment of Tony’s goals. However, they merely complicate the major source of conflict imposed by this guy:
Garry Shandling - Senator Stern
A big prick hurts even more.
If Senator Stern, brilliantly portrayed by the late Garry Shandling, weren’t orchestrating a government shakedown against Tony for control of the Iron Man armor, Hammer wouldn’t be a threat at all and Vanko would’ve been neutralized in Monaco.
Not that Hammer and Whiplash are superfluous. Unlike most superheroes, Iron Man’s civilian persona is a force to be reckoned with in his own sphere. The best Iron Man stories give the Armored Avenger a super-powered foe to tangle with on the battlefield and a viable threat in the boardroom. While Stane ably filled the latter role in the first film, only Iron Man 2 presents our hero with equally formidable challenges in both arenas.
Dramatically upping the stakes, Iron Man 2 pits Tony against the most implacable foe of all: the United States Government.
Iron Man 3
Fake Mandarins
“I am the Mandarin!””No, I am!”Somehow, they’re both wrong.
Fake Mandarins.
Next.
OK. You want more exposition on the bait and switch that Iron Man 3 pulled with its main villain? How about Fake Mandarins Prompted by Cynical Pandering to the Chinese Market Passed off as Creative Integrity?

The minute you start to govern your creative impulses based on anticipation of someone else’s response or their expectations, then you’re going to fail. You’re going to fail them, too. Because you’re not going to surprise anybody – you’re going to be busy second-guessing what other people want and indulging that people-pleasing side of yourself.

Iron Man 3 co-writer/director Shane Black

Have I mentioned lately how Hollywood hates its own audience?
Hey Shane, “they” are the people who pay your extravagant salary. It’s all well and good to surprise them. Just make sure you give them pleasant surprises; not pandering, PC, dirty tricks that betray the audience’s trust.
Best Main Antagonist: Iron Man 2
Stakes
While the main antagonist places obstacles in the hero’s path, the consequences of failing to surmount those obstacles largely determine the level of dramatic tension and audience engagement.
Iron Man
Obadiah Stane attempts to assassinate Tony Stark with Wile E. Coyote-level tenacity. If Tony doesn’t foil these schemes, he will die. Which would be a huge bummer.
Iron Man 2
The US government, represented by Senator Stern, will stop at nothing to acquire Iron Man’s technology for themselves. Unless Tony can stave off Congress while countering Justin Hammer’s industrial espionage and surviving Ivan Vanko’s vendetta, Stark weapons tech will be proliferated worldwide, reigniting the arms race and certainly heightening US foreign and domestic military intervention.
Iron Man 3
If Tony can’t stop Fake British Mandarin, Trevor Slattery will continue interrupting contrived, duplicitous television with equally contrived, marginally less duplicitous television.
Iron Man must stop Fake Hollywood Nerd Mandarin to escape an unwanted job offer at a corporation that makes super soldiers. The super soldiers explode, but only when it’s convenient to the plot.
Iron Man 3 Creepy Fire Monster Lady
Hey Shane, my creepy fire monster lady can beat up your creepy fire monster lady.
Highest Stakes: Iron Man 2
Plot
A protagonist vying for stakes against resistance supplied by the antagonist is what forms a plot. Let’s face it, all three Iron Man movies have pretty convoluted, sometimes nonsensical, plots.
But we need to pick a winner, so here goes!
Iron Man
An arrogant billionaire arms dealer gets a sharp lesson in humility from his own handiwork. With deadly shrapnel in his heart and a price on his head, he must use his natural genius and discover untapped reserves of courage to save his own life and atone for his mistakes.
In other words, the same superhero origin story that Hollywood–especially Marvel Studios–keeps churning out ad nauseum. Robert Downey Jr’s career-resurrecting performance elevates the material, though, and energizes the proceedings with a refreshing dose of fun.
Iron Man 2
Having embraced his pledge to make up for a lifetime of war profiteering, Tony Stark finds his successful privatization of world peace threatened by US government intervention. Heightening the tension, the only known treatment for Tony’s heart condition is proving as fatal as the malady itself.
The pressure sets off a midlife crisis which places Tony’s business, relationships, and life in even greater jeopardy while interference from an unscrupulous competitor and a vengeful nemesis further compounds his peril.
Will Tony find a reason beyond his own interests to be a hero before his time runs out and his powerful technology is set loose on the world?
Iron Man and War Machine
The most awesome fight in a cherry orchard since Bleach
Iron Man 3
Traumatized by events that happened in another series but are only vaguely alluded to here, Tony Stark throws himself into his work. No, not ensuring world peace. Puttering around in his basement. Meanwhile, his love life–and life on earth in general–circles the drain.
A character with a Chinese code name who’s played by a British actor of Indian extraction to avoid racism and certainly not to appease an audience that Hollywood desperately hopes to milk now that they’ve alienated most of the West, claims responsibility for a series of bombings.
When the director of the first two Iron Man movies is blasted into a coma, Tony argues with Pepper about their relationship, fails to prevent three helicopters form destroying a house packed with enough firepower to turn North America to glass, and visits Chattanooga, Tennessee. His panic attacks sporadically grind the story to a halt.
Pepper is abducted and infected with the same nanotech virus that makes some people explode, but turns most of them into super soldiers capable of shredding multiple Iron Man suits apiece. The dramatic tension needle remains fixed at zero.
Tony and Rhody team up. A sub-par episode of Riptide ensues.
Riptide
How Bill Gates really made his money
Culminating in…
Fake Mandarins
Fake Mandarins
Least irritating plot: Iron Man 1 and 2 tie.
The Best Iron Man Film
Iron Man 2
It’s not even that close. The first Iron Man set up an intriguing character and laid the groundwork for an enduring superhero mythos, but the sequel did what a good sequel should: deliver on the promises made in the original while raising the stakes and expanding the secondary world.
Yes, the first movie is good. But being an origin story, it only hints at the hero’s full potential. Only in Iron Man 2 do we get to see Tony Stark at the top of his superhero game squaring off against equally formidable superpowered opposition.
This movie keeps every promise made by its predecessor and does it in style. Rhody finally suiting up as War Machine and kicking drone ass after ogling the Mark II and vowing “Next time, baby” is one of the sweetest payoffs in the MCU to date.
I could go on, but the point has been made with mathematical precision. Iron Man 2 is the best film in the franchise. Case closed!
Special recognition for entry in the series that bends over the farthest to indulge the stars’ egos, the director’s condescending PC bullshit, and the studio’s servile greed goes to Iron Man 3.

The Injustice Gamer on Nobility Among Us!

Thanks to my network of operatives across the interwebs, I was informed that the Injustice Gamer blog has taken note of my first novel’s many thoughtcrimes against the Unholy Social Justice Narrative:

Is this book a perfect act of Injustice? No, but it does certainly contain a great multitude of sins, purporting equality before the law, mercy, forgiveness, redemption, and actual Christian faith. His writing is of good quality, but clearly still growing at this point. Given Mr. Zwycky’s propensity for critical, independent thought, and his clear advocacy for such vile acts, I judge it at 8 of 10 fell deeds.

As far as I can tell, The Injustice Gamer blog has done no other book reviews, so I am honoured to be singled out for such attention and must shamelessly concur with all of my work’s offences against the Narrative.

Nobility Among Us Second Edition Paperback

Nethereal

Nethereal mixes science-fiction, fantasy and horror in unexpected ways. Space running ether ships battle with magically worked devices, the mystical Guild controls the space lanes with otherworldly wheels and compasses, and necromancers meddle in the boundaries of life and death in horrid ways.

The tale focuses on a pirate crew fighting to free the worlds from the oppressive grip of the Guild. The captain is half-breed last of his kind, wiped out by the Guild, and commands the last of his people’s ships. Their navigator is a beautiful rogue Guilds-woman, who seems to have an inhuman heritage, and is followed by a hell-hound that hovers in the darkness. Their fighting-man is a scarred mercenary of endless campaigns with iron determination. Together they are pursued by an obsessive Guild-warden who will stop at no atrocity to kill them, and finally wipe out the last of the race the Guild warred with.

All of that is just in the beginning. Later they will tangle with necromancers, forbidden magics and technologies, cross the boundary into Hell itself, and face legendary beings of sanity-stretching scale.

http://www.amazon.com/Nethereal-Soul-Cycle-Book-1-ebook/dp/B00ZBDOHKU/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1454015010&sr=1-1&keywords=nethereal

Review: Awake in the Night Land

Awake in the Night Land

“Awake in the Night Land” by John C. Wright is a collection of four dark novellas of the Night Land (by William Hope Hodgson) continue the tales of that dark land, and are a must for any lovers of “The Night Land”.

This world features the grim and heroic survivors of humanity struggling to survive in a world gone utterly dark in a physical, supernatural, and moral sense. If Lovecraft’s Chtulu, or Elder Things, or Old Ones had actually won on earth, this horror might be what it would have been like. For all of that, though, human determination, heroism, and even love survive.

For lovers of that strange mixture of Horror, Sci-Fi and Fantasy known as ″Weird Fiction″ this book stands well amongst the timeless classics. The sense of supernal foreboding, and grim malevolence of the Night Land comes though every page, making the reader welcome the light by which it is read. Unlike most horror of this type, however, is the steadfast stoic heroism of the brave doomed humans of the Last Redoubt. Rather than simply going mad, or giving up in despair, they struggle ceaselessly to survive against impossible odds, and even challenge the night itself in heroic journeys.

Like the original ″Night Land″ the sorties also involve love. Not simply the love of one’s True Beloved, but also the love of close friends, family, and even a boy’s love for a dog are all within. Even against the endless malefic nightmares of the Night, love still endures.

John C. Wright’s compendium of novellas are an essential collection for lovers of weird fiction and horror.