An excerpt from ‘Forceful and Fuzzy Games in the Novels of Iain [M.] Banks’

By Jo Lindsay Walton. This is an excerpt from a chapter published in The Science Fiction of Iain M. Banks, eds Nick Hubble, Esther MacCallum-Stewart and Joseph Norman (Gylphi, 2018).

Introduction: What’s in a Game?

On an estate belonging to the Ancraime family, at the edges of Stonemouth, a Scottish coastal town, a group of boys gather to play paintball. They come from a range of economic backgrounds: Stonemouth is not large enough for the boys to be segregated according to class. The poorest member of the group is Wee Malky. As dusk draws in, the boys begin the last game of the day, a hunting scenario in which, in consequence of a “complicated arrangement of scoring across the various [earlier] skirmishes” (Banks 2012: 146), Wee Malky finds himself the quarry, and the rest of the group, hunters.

Eventually, “near the furthest western extent of the house gardens […] [on the edge of] the rest of the estate and the grouse moors and plantation forests beyond,” (ibid. 149), the scattered group begins to converge. Wee Malky is making a perilous crossing along the round-topped, weed-slicked stone of the top lip of a reservoir, which feeds various water features in the gardens. He has the undertow-prone, peaty reservoir water to one side, and the steep, slimy slope of the overflow, dotted with concrete pillars, on the other.

George Ancraime, “the older brother, nearly twenty at this point but with a mental age stuck at about five” (ibid. 142), suddenly appears near the bottom of the slope. He has been back to his parents’ mansion and retrieved a large antique sword, which he brandishes smilingly at Wee Malky. If Wee Malky can make it across, he wins the game. But if he loses his balance, he loses his life. 

The scene, a suitably cruel allegory of class violence, is in many ways typical of how games often appear in Banks’s fiction. It raises the question of what makes a game a game, and at what point it stops being a game. Game studies theorists Katie Salen and Eric Zimmerman, after a survey of existing definitions, define a game as “a system in which players engage in an artificial conflict, defined by rules, that results in a quantifiable outcome” (Salen and Zimmerman 2003: 96). Another good starting point is the philosopher Bernard Suits’s succinct formulation: playing a game is “a voluntary attempt to overcome unnecessary obstacles” (Suits 2005 [1978]: 55). […] Banks’s games resist both definitions. There is a sustained interest in Banks’s work in involuntary games, necessary games, games-within-games, games that burst their boundaries, games that overcome their players, games with hidden purposes, fragmentary games, games that arise spontaneously, games whose rules change, and games whose outcomes are nebulous and defy calculation. More generally, there is a fascination in Banks’s writing with ludic affordance: the capacity of any situation to absorb and be transformed by play.

Continue reading “An excerpt from ‘Forceful and Fuzzy Games in the Novels of Iain [M.] Banks’”

Intimate Earthquakes: An interview with Sensory Cartographies

This interview originally appeared in Vector 292.

We’re lucky to be talking today to Jonathan Reus and Sissel Marie Tonn, whose collaborative work appears under the name Sensory Cartographies. Their work includes, among other things,  the creation of wearable technologies that explore the nature of sensation and attention. […] So like many great collaborations, there’s quite an interdisciplinary aspect to Sensory Cartographies, is that right?

Sissel: Yes, we both have our different backgrounds. Jon really comes from a music and performance background, as well as instrument building and media archaeology. And my background is more in visual arts and arts research.

So tell us how Sensory Cartographies came to be.

Sissel: It started in 2016, when we got an opportunity to do a residency together in Madeira. Sensory Cartographies really grew out of that residency. I’d been to Madeira before in 2013, and started this drawing project, to do with Madeira’s position in the Age of Exploration, which you could really call the Age of Colonization. 

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The Time Machine

Reviewed by Jo Lindsay Walton

Time travel plus pandemic: the elevator pitch might simply be, “Dr WHO.”

Written by Jonathan Holloway and directed by Natasha Rickman, The Time Machine is a free and freewheeling response to H.G. Wells’s classic text, which is celebrating its 125th anniversary this year.

Like previous work by Creation Theatre, The Time Machine is an immersive, site-specific production. You prowl around the London Library in a little gaggle, led by your Time Traveller guide, occasionally chased by a spooky Morlock, and now and then bumping into other characters. Continue reading “The Time Machine”

Vector #287

Cover image: Larissa Sansour and Søren Lind from ‘In the Future, They Ate from the Finest Porcelain’

An interview with Larissa Sansour by Polina Levontin and Jo Lindsay Walton, plus a review of Larissa Sansour’s work. TV in 2017 by Molly Cobb and So Mayer.

Film in 2017 by Nick Lowe, Andrew Wallace, Dilman Dila, Cheryl Morgan, Ali Baker, Paul March-Russell, Amy C. Chambers, Lyle Skains, Gary Couzens, and Dev Agarwal. 

Ricardo Suazo reflects on SF inspired trends in fashion, and Martin McGrath takes a close look at three panels from Avengers #8.

Games and AR are covered by Erin Horáková, Susan Gray, and Jon Garrad.

With also have an extensive section on audio and podcasts in 2017 with Peter Morrison, Erin Roberts, Laura Pearlman, Victoria Hooper and Tony Jones.

And of course three Recurrent columns with Paul Kincaid, Andy Sawyer and Stephen Baxter, plus the Torque Control editorial by Jo Lindsay Walton.

This one’s a bumper issue — 80 pages! If you are a member of the BSFA, a copy of Vector 287 was mailed to you in March 2018. If you’re not a BSFA member yet, why not sign up now?

Missed this issue? Don’t worry, this one is also available on Lulu.

SF and the future of security: an interview with Ping Zheng

Defiant Today
‘Defiant Today’ Phil Jones

In late December 2017, a group of writers and scholars of SF, scientists and technologists, and defence analysts and policymakers, gathered at Dstl (UK government’s defence science and technology laboratory) in Salisbury to explore science fiction’s contribution to defence policy. Vector caught up with Dr Ping Zheng from Canterbury Christ Church University Business School, to ask her about her impressions of the day, and a few other things …

During the first breakout session, you were in the Human Behaviour in Smart Environments group. How did that go?

ping 1
Dr Ping Zheng

We had some inspiring discussions about how humans may react in smart environments. I think the group dynamics probably extended the scope of planned discussions, and allowed us to engage in more diversified discourse, ranging from individual perspectives, to emergent impacts at a societal level, and also to policy perspectives. For example, two prominent issues were debated: national and cultural differences, and ethical concerns such as privacy.

Perhaps the value of events like these is that you might discover that your original questions can be re-framed, or that your stakeholders are not precisely who you imagined them to be. Your other breakout session was ‘Defence (In)efficiency: What Does the Future Hold?’?

Continue reading “SF and the future of security: an interview with Ping Zheng”

Lone Wolf Bioterrorists and the Trajectory of Apocalyptic Narratives

By Polina Levontin, Jo Lindsay Walton, John Mumford, and Nasir Warfa. 

In this academic article, the authors explore a range of science fictional texts dealing with so-called ‘lone wolf’ bioterrorism, and ask what we might learn from them about dealing with the real bioterror threats of the future. The possibility of an engineered pandemic is one of the more terrifying new risks of the 21st Century. As technology lowers thresholds for developing bioweapons, even individuals with relatively ordinary knowledge and budgets could become responsible for extraordinary threats. Although several real-life bioterror incidents are known, no large-scale pandemic has yet occurred as a direct result of terrorism. Fiction, however, offers detailed scenarios of such events. Writers of these narratives find themselves at the intersection of modern science and deep literary tradition of pandemic narratives, originating with biblical accounts of plagues. This academic working paper examines portraits of ‘lone wolf’ bioterrorists in several contemporary fictional sources, focusing on how writers draw on counterterrorism discourse, particularly in their attempts to psychologically model the perpertrators. It flags up the dangers of a truncated speculative space, and concludes with a discussion of impacts these imaginaries might have, through influencing how emergent bioterror threats are perceived by scientists, policymakers, and the public.

CAS_4qyz (1)
Type-I CRISPR RNA-guided surveillance complex (Cas, blue) bound to a ssDNA target (orange). By Thomas Splettstoesser

Dr. Polina Levontin, Centre for Environmental Policy, Imperial College London

Dr. Joseph Lindsay Walton, Institute for Advanced Studies in the Humanities, University of Edinburgh

Prof. John Mumford,  Centre for Environmental Policy, Imperial College London

Dr. Nasir Warfa, Centre for Trauma, Asylum and Refugees & Department for Psychosocial and Psychoanalytic Studies, University of Essex

Continue reading “Lone Wolf Bioterrorists and the Trajectory of Apocalyptic Narratives”