By Walter Jon Williams
Publish 12 months note: First released in 1997
In the Nebula-nominated Metropolitan, Aiah and Constantine gained the struggle for his or her world-city, Caraqui, via overthrowing the corrupt Keremaths. Their ace-in-the-hole used to be an enormous provide of plasm, the geomantic substance that provides the area its strength. Now Constantine has paired Aiah with their harmful "ally," the hanged guy Taikoen who lives within the plasm. For Constantine wishes aid to defeat the Silver Hand and safeguard his New Regime, regardless of how a lot it's going to rate Aiah. within the approach Aiah may well ultimately succeed in past the guard, an impenetrable barrier created via the Ascended Ones that seals Caraqui from the stars.
Nominated for either the Hugo and Nebula Award
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Extra resources for City on Fire (Metropolitan, Book 2)
47. 33. ’ p. 23. 34. Ibid. p. 25. 35. Ibid. p. 26. 36. Ibid. p. 19. 37. Ibid. p. 17. 38. Ibid. p. 20. 39. Ibid. p. 19. 40. Ibid. p. 20. 41. Ibid. pp. 35–36 The use of ‘barrier’ here relates back to Cavell’s earlier terminology, rather than being a term offered in Perkins’ argument specifically. 42. Perkins Film as Film p. 63. 43. Ibid. 44. Ibid. p. 70. 45. Ibid. p. 122. 46. Ibid. pp. 122–123. 38 | alternative worlds in hollywood cinema 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58.
Ibid. p. 33. Ibid. Cf. Ian Christie The Last Machine: Early Cinema and the Birth of the Modern World London: BFI Publishing, 1994, p. 15. A later film, The Countryman’s First Sight of the Animated Pictures (R. W. Paul, 1901) would seem to play on the fun of this effect by having a country ‘yokel’ in the film, watching an image of a train approach and reacting in the melodramatic fashion befitting one who thinks the train might race out beyond the screen and plough into him. Branigan, p. 33.
58 If 30 | alternative worlds in hollywood cinema we apply this terminology to the study of alternative worlds in film, we see that each of the films presents different manifestations of heterogeneous worlds, in that they harbour more than one world order. Yet, each film creates a relationship between the two worlds, thus unifying them in the story and evading arcane rupture. The relationship that the film maintains between the disparate worlds creates meaning and significance. The creation of meaning and significance, surely, is not merely the aim of Hollywood cinema, or even cinema itself, but a standard objective of storytelling.
City on Fire (Metropolitan, Book 2) by Walter Jon Williams