I did not get on with Trapped in the R.A.W., a fact that is all the more painful to me for having such excited expectations. Our time together could best be described as a blind date gone horribly wrong.
Its strong historical roots serve as a measure of restraint on the speculation that sets Tell Them of Battles, Kings, and Elephants apart from mere wishful thinking.
Race, it turns out, does matter in time travel; it is just one of those things that is difficult to see until it is shown, but then, can never be unseen.
There is nothing quite like the special brand of exasperation produced by a book that captivates in the first third, aggravates in the second and alternately bores and confuses during the finale.
The focus has changed, and subsequently the film is firmly set around the grief that comes from dislocation, not that which comes from the determined practice of destruction.
It is common in the overwhelmingly white genre of speculative fiction for race to be an allegory. In Dread Nation, there is no need for race to be an allegory; it’s simply the historical reality of the genre.
