Archive for the ‘Interviews’ Category


I’ve been up to my eyeballs in book editing and proofing (not my own, other people’s) this last week. I’m having a wee break today before I edit the final title assigned me, and thereafter commence work on my next Black Library novel (nope, I can’t tell you what it is about). As I’ve not posted any archive material for a few days, here’s three for you from early 2008:

An extensive feature on TV show Ashes to Ashes, the follow-up to genre-crossing Life on Mars. Written as the first series was launched, most of the cast are interviewed here, as is the writer and producer. Check it out.

A review of one of the Sookie Stackhouse books, Definitely Dead.

And finally, a review of the BBC’s update of The Three Billy Goats Gruff, Billy Goat.

 

 

 

 


Hearken and click! Here’s an interview with Alec Gillis, the man behind the aliens and predator monsters.


From Death Ray 10, an interview with Laurell K Hamilton, author of the Merry Gentry and Anita Blake books.


That got your attention, no? And well it should. Some of my favourite interviews I’ve conducted have been with people who are not primarily connected with SF (probably because it made a change from chatting to actors). This one from 2007 with Nick Pope, the ex-MoD man who used to investigate UFOs for the UK government, was really fascinating.

Yeah, it’s an archive post, but it’s a good one. Promise.


A couple more for you. At this rate, my war with my Death Ray back issues will be over by Christmas.

So, here we have an interview with one of my favourite artists, Paul Bonner, and a review of his art collection book, Out of the Forests…


…because I have a lot to do. How fitting that it is this interview from Death Ray 10 with the one and only Adrian Paul, star of the TV version of Highlander.


To give myself a quick break before heading off to the great quarry of words, which must be broken free from the bedrock of language by exhausting main effort, I’ve put up a few more reviews on here on the blog, plus an interview. We have:

Masters of Horror A review of part of the anthology TV series (I love anthology horror).

Let The Right One In The Swedish book that became a Swedish film that became an American film. And an interview with its author, John Ajvide Lindqvist.

Fenrir Part two of MD Lachlan’s centuries-spanning werewolf/Norse saga.

Mammoth A silly TV movie from SciFi. So bad that it’s simply bad.

Laters!


This is an interview with the author Gregory Maguire who wrote the novel Wicked, which was turned into a wildly successful musical of the same name. From Death Ray 05, published in 2007.

Gregory Maguire

Gregory Maguire is an American writer with a passionate interest in children’s literature, being co-founder of a charity dedicated to furthering reading among the young.

He is primarily known for penning revisionist fantasies, often based upon well-known fairy tales. However, his most famous works take their inspiration from a more recent source. Maguire has taken L Frank Baum’s famed series of novels, borrowed his world and put his own stamp firmly upon it, often adding his own characters into crucial points of the stories, or looking at Baum’s own characters from alternative points of view. The first book, Wicked, centres on Elphaba, the Wicked Witch of the West, and portrays her as a passionate rebel rather than as a hook-nosed harridan with a nasty allergy to water. It has been adapted into a musical that has enjoyed great success both Stateside and in London town.

Guy Haley: You are very passionate about literature for children. Why do you think that is important that children read?

Gregory Maguire:  I heard a report this week that said at the age of 10, only 43% of American kids read for pleasure. At the age of 15, that has dropped to 19%. When I hear statistics like these, I fear for the loss of certain skills that imaginative reading enhances; apprehension of subtlety, ambiguity, tolerance for differences, willingness to suspend judgment until the last page (or even beyond). I think reading for children, even more than reading for adults, is central to the survival of a literate citizenry. That is why I still write for children, even though my income is much richer and stronger when I publish for adults.

GM: Tell us a bit about your organisation, the CLNE.

GH:I helped found an educational charity called “Children’s Literature New England” 21 years ago. For two decades we met (four times in the UK) and considered topics of literary interest as they are dealt with in books for children: “Am I my brother’s keeper?”; “Swords and ploughshares”; and “The Fairytale belongs to the poor.” Writers and artists such as Philip Pullman, Quentin Blake, Maurice Sendak, Ursula K Le Guin, Philippa Pearce,  Jill Paton Walsh, Penelope Lively, Peter Dickinson, Susan Cooper, Russell Hoban, John Rowe Townsend, Alan Garner, and many others collaborated with us to consider these literary themes as expressed in books for the young. This is built on the notion that children’s literature is no less an art form than novels for older readers.

GH: Why do you choose to use the “toolbox of the fantastical” to tell your tales? Do you think that fantasy is more effective at bringing messages to children (and adults) than stories with a contemporary setting?

GM: I am afraid that as a Luddite, someone who doesn’t have an iPod, a cellphone, a play station, or a digital camera, I cannot convincingly portray our increasingly technological contemporary world with any verisimilitude. So writing stories that take place in the past or in a fantastical setting makes me much more comfortable.

That said, I also think that the kind of relaxation that once must go through in order to tolerate a “magic” story might just make one more tolerant of larger themes, too, and I care deeply about the themes of my stories – more than about the plots, characters, settings, or the mechanics of magic.

GH: Some of your greatest successes have been with stories set in Oz. Why have you chosen to use L Frank Baum’s world?

GM:  Oz – unlike Middle-earth or Wonderland – is an imperfectly realized magic land. I admire much of what L Frank Baum did, but it is what he failed to do, or did less well, that allows me license to parachute into his magic kingdom and see if I can make any more sense of its history or politics than he did. Basically, I took a land of fabulous incongruity and I tried to superimpose an orderly civilisation upon it, with its own history, religions, cultural conflicts, etc – to be an anthropologist of Oz.

GH: Do you ever feel awkward, playing in the sandbox of such a renowned man?

GM: He is conveniently dead, so I am seldom embarrassed at dinner parties.

GH: You also use fairytale a lot, especially in revisionist fantasies for adults. This seems quite popular in film and literature at the moment. Why do you think that is?

GM: As we become something of a post-literate society – or perhaps I should say that as our shared literacy becomes more audiovisual and less textual – the fairy tales, like the parables, remain conveniently portable and functional vessels of story that, because we get them young – and frequently – may in fact be the final shared narrative that most people in the west can agree that they share in common.

GH: How do you feel about the success of the musical Wicked? Are musicals as valid an art form as literature in your mind?

GM: I love the musical Wicked and am buying tickets today to see it for the 26th time. It is a different art form than the novel and as such made some changes to the plot, which do not bother me. The basic theme of the story is the same as in the novel I wrote – which is that we should beware demonising our enemies, or seeing the world in absolute moral tones of black and white.

GH: You say that you enjoy English novels. Why is that?

GM: I believe the English write more delicious prose, by and large. I also grew up in a time when English writers for children were very easy to find in the libraries in the US I loved CS Lewis at the age of 10, also the books about Mary Poppins, Paddington Bear, and Tom’s Midnight Garden.

There are exceptions. Among my favorite US writers living and working today are Jess Walters, Ron Hansen, and Daniel Handler.

GH:Who are your major influences?

GM: As to the Wicked cycle, I would say TH White’s The Once and Future King, Grahame Greene as to a spooky tone and sinister atmosphere, and perhaps Ursula Le Guin as to someone who took and takes fantasy writing with utmost seriousness.

Did you know?

Gregory Maguire is married to painter Andy Newman.


I did this interview with Dan in 2010, prior to the release of the Warhammer 40,000 animated movie Ultramarines, for SFX 201.

DAN ABNETT

He’s the man with the golden pen – a 3000-words-a-minute model that can lay waste to whole star systems…

Dan Abnett is one of the UK’s most prolific SF authors, producing up to 300,000 words a year (his estimate, probably conservative). Beginning his career at Marvel UK in the 1980s, Abnett became a mainstay of 2000 AD in the 90s. For years comics of all kinds provided his bread and butter – he was SFX’s regular comics reviewer, too – before he began penning novels for Games Workshop’s Black Library. Work on Torchwood, Doctor Who and Primeval followed. With his first non tie-in novel Triumff out last year from Angry Robot and his first movie, Ultramarines, in production, the fickle gods of SF have amply rewarded Abnett’s industriousness.

Ultramarines is Games Workshop’s first foray into motion pictures. It’s set in their dystopian 41st Millennium where mankind’s Imperium stands on the brink of destruction, and features their signature Space Marines – genetically modified warriors. The company has licensed out its intellectual property in the past, but it’s long been wary of dipping its toe into the murky pool of Hollywood, fearing a loss of control (think Stallone, Dredd, no helmet…). Not so here, with London-based Codex Pictures making the feature and Abnett providing the script, we’ll be getting a proper Warhammer 40,000 film.

“Retaining the essential atmosphere was the key thing,” says Abnett. “My focus was a story that was absolutely true to the spirit of 40k. I needed it to fit inside the production constraints, ‘Listen, Dan, this may be an animated film, but you simply can’t ask for eighty million Space Marines to come galloping out of the Eye of Terror on choppers’, they said, and I was determined not to dilute the very bleak but heroic feel of the universe. Most of all, I wanted it to be a story that suited a film, rather than something designed to fit a novel or a comic. From what I’ve seen so far, it’s fantastic. The action, the amazing voice cast (John Hurt, Terrence Stamp, Sean Pertwee, Johnny Harris etc). And, my god, it’s got mood and atmosphere. It’s been a very interesting, educational job. The producers have been very good to work with, and I’ve learned a lot. I want to do more work for film, and I have two or three immediate opportunities to do so.”

Although GW provides much employment for Abnett, he continues to work for others. He’s still writing strips for 2000 AD, and together with Andy Lanning he signed a deal with Marvel two years ago to work on their cosmic characters. These are but two of his regular gigs.

The secrets of Abnett’s success are several. Although he tells us his specialisation was entirely accidental, he has an affinity for his “SF war” niche, so much so that real veterans sometimes assume he’s served in combat. Chiefly he’s done so well because he doesn’t hold anything back when he’s writing for other people’s worlds.

“What is generally termed ‘tie-in’ fiction gets a really bad press,” he says. “It’s not ‘proper’ books. It’s reheated crap churned out to cash in on a property.  Bollocks to that. There is a vast audience that wants to read good stories connected to their favourite show or film or whatever. If you think tie-in books are ‘cheap’ then you’re saying that the audience is cheap too, so shame on you. If they’re prepared to shell out for a book and invest the time reading it, someone had bloody well better have written it properly. I am constantly amused by the notion that I have two ‘grades’ of writing in me, my everyday style I use to lob out tie-in potboilers, and my Sunday best, proper quality style I only get out on special occasions to write ‘real books’ with. Yes, that’s exactly how it works. If you sit down and consciously think to yourself ‘I can knock this out using my economy rate writing,’ then step away from the keyboard. The book’s going to be shit, and you’ve got no business ripping readers off.”

Having said all that, for such an imaginative man, you would have expected an original novel from him earlier than last year.

“I write whatever comes next,” he says, “and for a long time, it was hard to find a gap in the schedule for Triumff. But it was immensely rewarding. I’m finishing my second Angry Robot novel now. It’s called Embedded, a combat SF thriller, but in a rather different vein to the war stories I write for BL.”

Another novel, on top of everything else?

“I work a lot because I love what I do,” he says. “I’m not suggesting it’s never hard work – everyone has bad days at the office. But I’m doing what I really want to be doing. But I have had to slow down. In September 09, I was suddenly pole-axed by seizures,” he says. “Turned out, after two anxious months waiting for a diagnosis, to be ‘just’ late onset epilepsy. Considering what it could have been, that was a relief. I had to gently get back on the horse, re-invent my working day, reduce the stress, work around the anti-epilepsy meds etc. This is going to sound strange, but it was an oddly satisfying experience, very liberating. I had been working ridiculously hard for too long. I got time to take stock. No more late-nighters for me. Lots of relaxed, clean living. I go to bed, get a good night’s sleep, rise early, get started. I’m sitting here at 6.30am. I can’t believe I’ve been missing out on such a great time of day for so long.”

BIODATA

Occupation: Freelance author

Born: 12th October 1965

From: Maidstone, Kent

Greatest hits: Sinister Dexter and Kingdom (2000AD), Gaunt’s Ghosts and Eisenhorn (novel series, Black Library), Guardians of the Galaxy, Nova, Star Trek: Early Voyages (Marvel Comics), Legion of Superheroes  and The Authority (DC/Wildstorm).

Random fact: His great-great-something-something grand mother was Lady Emma Hamilton.


The frankly stunning cover to Champion of Mars was painted by Dominick Saponaro. Visit his website for more examples of his work.

My new book, Champion of Mars, is out in the UK today. I’m excited about this one, as the story the book grew from has always been close to my heart. An epic tale spanning hundreds of centuries, Champion of Mars takes in the near future, the far future, and the times in between.

Here’s what famed SF author Stephen Baxter had to say in his review for SFX:

Kim Stanley Robinson meets Edgar Rice Burroughs. That’s how Guy Haley’s jam-packed sugar-rush of a novel reads, as you dive into its two alternating Martian timelines: one a gritty near-future Mars, reminiscent of Robinson’s mighty Red Mars trilogy, where pioneers seek out native life and struggle with the noble goal of terraforming, and the other a very-far-future Mars so advanced it’s come out the other side and turned into a bronze-age-ish hero society not unlike Burroughs’ Barsoom. The champion of the title is called Yoechakanon, and with his spirit-lover Kaibeli he is trying to save the remnants of mankind from a strange pan-dimensional invasion. But it gradually becomes clear that in fact the champion’s far future is intimately connected to the near future, both through an interweaving of very imaginative era-by-era interpolating episodes, and through mysterious deeper linkages, such as the presence on the young Mars of an enigmatic artificial woman called Cybele …

The whole thing is a marvellous planetary romance which crams in what feels like every Martian trope sf writers have ever dreamed up – and maybe that’s timely, in the year of the Barsoom movie John Carter. In places it strains at the seams, the final wrapping-up is a little rushed, and sometimes Haley’s prose is a touch pulpish, though it’s a tone that actually fits the subject matter very well. But all in all this is a novel with an ambition on the scale of Olympus Mons itself, and it delivers. Recommended.

There are other reviews here and here. You can also read interviews with me about the book (and my other work) at SFX, the Solaris Editor’s Blog, and on I Will Read Books.

And, here’s an extract! This is “The Last War of Tsu Keng”, one of the bridging chapters that, through the course of the book, bring the stories of the far future and the near future closer and closer together.

The Last War of Tsu Keng

Year 15,105 of the Hegemony of Man

 

The ships sang for joy as their pilots approached, eager to be free of their hangar.

The cavernous eyrie of the Royal Dock vibrated with energy, men and sheathed spirits running to and fro, support automata refuelling the machines and loading them with projectiles. The scramble alarm chimed its carillon, a calm exhortation to battle. Light dazzled, caught on a million facets of crystal and metals. The Royal Dock was a wonderful display of the decorative arts; that, and power.

Tsu Keng’s principle eyes were poor at such close quarters. He saw the furthest ships clearly: slender, killing darts a kilometre distant. They would appear distorted to a human’s perception, for Tsu Keng’s field of vision extended all around him; everything nearer to him was a smear of colour and movement.

But he could feel his pilot, the ripple of his approach cutting through the Second World as he walked toward the ship. He walked Tsu Keng’s gangway and presented himself at the ship’s main port. Krashtar Vo came into sharp focus as he came close to Tsu Keng’s near-sight eyes around the door. Behind him floated the spirit form of his companion, Kybele, ethereal against the tumult of preparations for war.

Tsu Keng saw the pilot in both worlds: as he was now, a Martian bred for the rigours of combat space flight – squat, heavy featured, dense bones, thick muscle, internal organs protected by fluid sacs and strengthened by encysted smart gels – and as he was in the Library, a flickering mass of faces, of histories, one laid over the other, a line of personalities stretching back to the dawn of this era. Permissions and activation whispers swarmed from Krashtar Vo, to interface with the ship’s own Second World self. Tsu Keng’s soul was different, monolithic. Not for him the psyche-clouds of the human Martians, or the choirs of the spirits, whose co-operative subminds made up a greater whole. Tsu Keng’s material and psychic self were indivisible. He was made for one purpose, and desirous only to serve that purpose.

Tsu Keng lived to fly, nothing but to fly.

His systems thrummed in anticipation of it.

“Greetings, Tsu Keng.”

“Greetings, Krashtar Vo. Welcome aboard, my pilot.”

Tsu Keng’s door skin developed a seam and rippled apart, and Krashtar Vo stepped inside. The gangway and door deliquesced, and Tsu Keng drew their lead-grey substance back into his larger mass. His door eyes rolled backward, their eyelids closed, and these too retracted into his body. The portal became smooth skin. His epidermal layer shivered, and a pattern of scales rippled, diamond plates lifting sharp edges up and then lying flat as Tsu Keng activated his armour. The atomic structure of his hide interlocked and became rigid, pressurising the liquid and ablative layers below it.

Krashtar Vo’s feet made only a padding sound as he waddled through the ship. He was heavily adapted for his role, and could lead a comfortable life neither upon the surface of Mars nor within a microgravity environment. It was said some of the pilots enjoyed the deep habitats within the atmospheres of the gas giants, but they seldom stayed there long; the call of deep space was too great. A sacrifice, this modification, some of the humans held.

What do they know? Krashtar spoke mind to mind. He had been a pilot only a few years, but already his bond with Tsu Keng was such that they could achieve interface without the aid of machine or spirit. No price is too great for this.

Tsu Keng thought this true. He had no conception that it could be otherwise.

Krashtar Vo gained the command bridge; he slipped into his couch and lay back. Tsu Keng wrapped himself about the pilot. Krashtar Vo’s body was hardened to the perils of slip space, and so required no stasis field, but Tsu Keng held him tight nevertheless.

There was a sensation like a kiss, and their minds ran one into the other. Tsu Keng felt a caress, and the man’s companion departed. They were lovers, it was said, Krashtar Vo and Kybele, and had been through many lifetimes. Unusual, a man and his companion to be actively engaged in an affair of the heart, or so Tsu Keng had been told. This also, Tsu Keng did not truly understand, not even when he and Krashtar Vo were one.

A call echoed through the canyon; one note, long and low, the song of the squadron alpha leader. The other ships responded, and the hangar became a sounding chamber for a harmonious outpouring of emotion.

We are ready, the ships and their pilots thought as one. We will fly.

The cradle arms holding the alpha ship folded back, and the ship dropped from the racks, plummeting to the floor. Gravity engines came alive, and it sped toward the dock mouth and out into sunlight.

Follow, it thought. The beta ships dropped – one, two, three. Then all the ships rained down, like oak leaves in autumn. They twisted around one another, a cacophony of hooting song sounding in both worlds, the electomagnetic spectrum crowded with their delight.

Tsu Keng and his squadron mates jockeyed for position, not breaking formation, not quite. Below them on the floor of the Royal Dock, men and machines moved painfully slowly, as slow as unphased Stone Kin. Tsu Keng and his kin laughed at them, fighting the desire to engage their slip drives there and then.

Not here, not now, said Krashtar Vo. Not safe.

The ships tumbled out of the hangar mouth into the Marrin, great bats leaving their roost. Sunlight turned their grey skins silver, and when they passed through the broad beams of the mirror suns, the scales of their armour sparkled iridescence.

Onward, upward! To war! To war! the alpha sang. Five hundred combat ships obeyed, falling into formation. Their shadows raced up and over the canyon bluffs, drawing excited gestures from onlookers below. In the Second World, companion spirits mobbed the souls of the ships and their pilots, wishing them well, good hunting, come home. Air roared against Tsu Keng’s skin, his sharp prow forcing it aside.

Oh, to be a ship of war! they sang. Oh, to be in flight!

Sky turned from caramel to blue to purple to black, the ship’s song became thin and then vanished into vacuum, heard only now in the Second World.

Stars shone unhindered upon the raiment of infinity. They were not alone. The heavens blazed with shiplight, bright dots moving swiftly, vessels the size of countries diminished by distance to needle-tips. Thousands upon thousands of them filled the sky in long trains, rising from Earth, Venus, and Mars, from the habitats, from the belt, from the moons of the giants, heading away from the Solar system, heading out for the stars and for safety.

The greater part of mankind was in flight.

Out from the warships, past the crescent of Mars, a great light burned, one that appeared foul and wrong to the eyes of the ships, a second sun in place of Jupiter.

The Stone Sun, brighter now than the tear in the sky it would close. The hyper-dimensional object Jupiter was becoming would constrain the Stone Kin within the gravity well of Sul, seal the tear in reality and keep the Stone Kin from infecting the wider universe. Sulian ships swarmed about the transmogrified gas giant, the fruit of Man’s last great labour, working without pause to ignite this second, uncanny star and save mankind.

It was here the Martian ships flew. This is where the Stone Kin concentrated their efforts. The craft of the kin descended to the lower dimensions and assailed the construction fleet daily, for they, like Man, wished to be free. This was but the latest of a thousand skirmishes.

To the fight, my brothers! called the alpha ship. To the battle!

Tsu Keng’s wings unfurled, as did those of his brothers and sisters. Their unity of purpose and mind saw them all drop up from this world, their wings folding them into complex eleven-dimensional geometries where the wills of the pilots could more effectively move them.

You are not here. Krashtar Vo’s inner voice, indistinguishable from Tsu Keng’s own, told him of his place in the universe, convinced him utterly that he belonged somewhere else. You are here.

Concentration was difficult. Things assailed them as they passed the Veil of Worlds into slip space, the infections of the Stone Kin spreading even there.

Screams scarred the higher reality of the Veil as ships succumbed to raking claws and incomprehensible technologies.

A short slip. Tsu Keng knew that he was elsewhere. That was the natural order of it. How could it be otherwise?

The Martian squadron materialised deep in the Jovian subsystem and into the heart of battle. Tsu Keng’s wingmate flew straight into a cloud of debris at near-luminal speed, tumbling into a million pieces. Tsu Keng’s combat wing split, the four remaining ships spiralling in evasive manoeuvres as thousands of anti-collision hardbeams vaporised the debris.

Krashtar Vo looked upon the battle through Tsu Keng’s eyes, his mind comprehending their situation as Tsu Keng bent his own mind to the task of survival. Their battlefield spanned anything up to eight spatial dimensions, only the highest and the second temporal axes safe, unsullied by violence. Combat was conducted at speeds approaching the four-dimensional maximum for objects of their mass. At such velocities, relative position at a distance was impossible to judge, so they fought at close quarters.

A dozen Terran ships fought a desperate fight with four Stone Kin vessels. The Terran ships were near-identical to those of Mars, the same in all but song. Their armour was scarred and their movements panicked. The Stone Kin craft – if they were craft, none had ever been captured, and no crew ever seen – warped and flexed. Their presence was an intrusion into three dimensional space, and their forms were not fixed. It was as if they rotated in their own space, presenting first this aspect of themselves to the lower dimensions, then that, where they could be understood only as disparate parts. The spirits and humans of ordinary spacetime perceived them no more clearly than blind men describing an elephant. Beams of exotic particles erupted unpredictably from their surfaces. Their effusion and potency defied analysis. Eleutheremics could not predict them. They might impact upon a ship with less effect than a ray of moonlight, or they could cut it in two.

The alpha ship severed the fleet’s higher linkages, lest the Stone Kin infiltrate the ship’s cortices. Training, experience, and force of will would determine the outcome of the day.

The Stone Kin shattered two more of the Terran ships to glittering clouds, and bright fire roiled and died in the vacuum. The remaining Terran craft fell back, joining with the Martian fleet. The ships greeted each other with long songs, broadcast on inter-ship ranges, but they were muted. The Terran ships were exhausted and afraid.

Today they could all die. They were poorly matched against the Stone Kin, no matter how many Sulian craft crowded the sky. The Stone Kin’s power was ineffable.

Survival did not matter, not to Tsu Keng. He and his fellow ships found the Terrans’ fear contemptible. To fly, that was all. To fight, that was what was demanded. He had no fear, he would fly, he would fight. Death was immaterial.

The Martian fleet surged forward. They ducked and arced like dolphins as their engines pushed at the fabric of space.

The Stone Kin revolved their incomprehensible bodies to face this new threat. Beams jagged out from them, all targeted unerringly on the alpha craft. Beams of infinite colouring intersected on the space where the alpha swam. Too late, its pilot attempted to exert her will and force the ship elsewhere. Its wings were part unfurled as it was cut into a hundred pieces, fragments of it spinning out and impacting on those following it.

Some of the younger vessels, those with inexperienced pilots, hesitated and swerved, songs vibrating with panic. The rest hurled themselves on, diving through the lattice of beams the warping Stone Kin projected. More ships died in ecstasy, annihilated as they flew.

The Martians had lost thirty ships already.

Krashtar Vo and Tsu Keng moved themself into an attack pattern. They part-deployed their slip wings. Their remaining wingmates spiralled down after them, copying their leader’s action.

Pilot’s and ship’s shared skin prickled as slipshields came online. Krashtar Vo enforced his interpretation of events upon Tsu Keng and the craft jinked madly, moving from location to location without crossing the space in between.

Tsu Keng deployed his cannons and opened fire. Krashtar Vo extended his mind, unique organs in his brain pre-observing an infinity of outcomes. Their joined mind was capable of processing vast amounts of information at once. Self-imposed ignorance was the lever to the imposition of will.

Vo’s mind, pushed to great heights by that of Tsu Keng, observed all possible quantum outcomes exactly simultaneously, not sequentially, preventing any one state of truth being determined before the desired outcome was chosen and enacted.

Not all men could become pilots, just as not all spirits could be ships. The act of forcing one’s will onto an eleven dimensional space required a stupendous act of double-thinking, for they had to be both ignorant and aware they were doing it. Awareness that all possible outcomes existed contaminated the observance of said outcomes, reducing the number of outcomes to one, and crippling the possibility of success. Through denial, they thus preserved the undetermined state of things before the time was ripe for determination to come into effect. At the same time, they saw what they saw; the inevitability. What happened was always the only answer. The pilots of Mars were unshakeable in their conviction that they were right.

They were bred to defy fate.

All truths, however, are subjective.

Together, Tsu Keng and Krashtar Vo observed exactly where the Stone Kin would be, and fired. But the Stone Kin operated outside of time, observing their fire at precisely the same moment, their will undermining the certainty principles of the aggressor.

Even if it was inevitable it would be hit, if the target could force its own interpretation of events onto the firer, then it would miraculously avoid the shot. Always. If the ship could force its own observed interpretations on a target’s, then the opposite would occur – it would always be hit. The target would either always be hit, or always be missed, but never both, as decided by the eleutheremic arguments constructed by the duelling craft, and how well they tricked their opposite number into adopting their point of view.

Combat was a matter not of flight, then, but of sheer will.

For a few brief moments, two observable realities vied with each other for dominance. Only one held true at any one time, but both could be true at different times, and the ships, the Stone Kin and the cannon’s ordnance flickered into and out of existence, describing multiple fractured courses and positions, the universe blurring into a myriad possibilities, time spread like a rainbow. The fabric of reality groaned under the strain.

Probability was wracked by a monstrous contest of wills. Packets of energy exploded or failed ever to have existed about the weaving, poly-possible craft. The ship was, then wasn’t, then was again, its potential ruination hanging on the threads of contested interpretation.

Seventeen thousandths of a second and it was over. Tsu Keng’s fire raked over the body of the Stone Kin. Volleys from his wing mates crisscrossed the thing. For one moment its pulsations stilled and its form solidified into something ugly and squamous.

It imploded, and ceased to be.

The Martian fleet flickered through the space the alien craft had occupied, rolling and singing as they moved from one potentiality to the next. Emboldened, they assailed the remaining three Stone Kin. Many died.

The sky wept tears of light as ships left mankind’s birthplace in their millions, fleeing the tear in the sky. The harsh light of the transformed Jupiter glared at them all as they fled. The Stone Sun was one fight closer to being kindled, the Stone Kin one step closer to being trapped. Earth, Mars, Venus – the ancestral homes of Man – would be entombed with them, but the plague of the Stone Kin would go no further.

Tsu Keng did not care. Tsu Keng flew.

Finally, if you’d like to read the first two chapters, you can do so right here.

Champion of Mars is available at all good bookshops, and off that internet thing.