Some time in the near-future, an asteroid is detected on a collision course with Earth. Its existence is denied by media and governments, but hackers find evidence of the “truth” in military and governmental computer systems. Damien is a slacker who believes in the asteroid. His plan is to find the safest place on the planet and then move there, but to do that he needs money. So he agrees to smuggle drugs into Korea for a friend; and then he stays on in Seoul to earn more cash by illegally teaching English to the kids of rich Koreans.
Sydney is a Canadian prostitute who has been taken to Korea by her boyfriend, Johnny Sandman, and is now working as a model. Johnny, an ex-gangbanger, works for ConGlam, which is some sort of shadowy transnational. One of the projects he is overseeing in Korea is VirtuWorld. This is the brainchild of genetics genius, Dr Kim Da Mi, who also plans to build a faux-European mediaeval theme-park village in the mountains north of Seoul, where her genetically-engineered “children” will survive the impending catastrophe.
Lee Mee Hee is a North Korean villager who has had herself smuggled out of the country. By ConGlam. She is taken to China, where she meets a number of other women from North Korea. After they have recovered from their ordeal, they are taken to the purpose-built village in South Korea, where they are to become surrogate mothers for Da Mi’s “children”. Sydney will be the egg donor and Johnny the father. But Johnny proves to have some genetic abnormalities which rule him out. Damien, who resembles Hugh Grant, is a much better candidate. When he learns of this, Johnny is not happy; he’s also losing Sydney, first to a Korean artist and then to Damien, and he’s not happy about that either.
Seoul Survivors is a readable pacey near-future thriller but it seems a little confused as to what it is actually about. Mee Hee’s narrative is wholly about the village of soon-to-be genetically-engineered children, but Sydney’s story chiefly concerns her love-life. Damien is living the life of an illegal immigrant, saving up for a false passport and an airline ticket to Canada. When Da Mi recruits Sydney to the VirtuWorld project and Sydney persuades Damien to donate sperm, he’s not told the true reason. And the objective of the Virtuworld technology is initially presented as the ProxyBod – real-life avatars put together from corpses and various electronic systems. (Only one ProxyBod appears in Seoul Survivors, and it is used by Da Mi.)
Despite having been published by a genre imprint, Seoul Survivors doesn’t read much like science fiction. The near-future it describes so closely resembles the present, it’s hard to determine exactly what are meant to be genre tropes and what are simply setting. There is a vague move in the direction of one or two science fiction ideas – Da Mi introduces Sydney to a therapeutic VR tool; there’s the ProxyBod; and then there’s the asteroid itself lurking somewhere in the background (or not). The world-building is almost wholly reliant on depictions of present-day Seoul, although there are one or two mentions of climate-crash elsewhere and there’s a terrorist attack offstage in London two-thirds of the way through the story.
Foyle has chosen to present many of her Korean characters as speaking pidgin English throughout – in fact, the first line of the novel is: “‘Ni-suh, Sy-duh-nee – Omhada – look at camera – thank you – better – pro-fesh-ional – Now, play with Hot-Cold, plea-suh!” Though this may give the narrative some verisimilitude, these days it’s a difficult trick to pull off without causing offence. And, annoyingly, Foyle refers to the mobile phone throughout as a MoPho rather than mobile or cell or the actual term the Koreans use (which translates “handy phone”, apparently).
None of this, in and of itself, prevents the book from being readable and entertaining, but the cast are something of an obstacle. Sandman is racist, sexist and violent, thoroughly unpleasant, and responsible for several incidents of sexual violence which leave a sour taste. Damien is passive and not very interesting. Sydney is none too bright, while Mee Hee Lee is unworldly and naive. Even Da Mi is self-centred and arrogant and far from likeable. It’s not a particularly edifying group of characters on which to hang a story.
There’s a feeling throughout Seoul Survivors that it’s a book whose whole is not greater than the sum of its parts. While there are some well-handled set-pieces, the story-arc is sign-posted far too blatantly, and the violent climax comes across as somewhat cartoonish because it tries to resolve all of the narratives at once. The advance publicity calls Seoul Survivors a “cyber thriller”, and it certainly feels more like a thriller than science fiction. Whether this is a strength or a weakness… is hard to say.
Seoul Survivors, Naomi Foyle (2013, Jo Fletcher Books, £16.99, 978-1780875989)
This review originally appeared in Interzone #247, July-August 2013.
February 27, 2015 at 12:48 pm
“Foyle refers to the mobile phone throughout as a MoPho rather than mobile or cell or the actual term the Koreans use (which translates “handy phone”, apparently)”
How odd. The colloquial German word for ‘mobile phone’ is ‘das Handy’…
February 27, 2015 at 1:09 pm
When you think about it, all the terms are essentially descriptive. We call it a mobile, because it’s not fixed like a landline. The Americans call it a cell phone, because the network is implemented using a cellular structure. And “handy” because you can either hold it in your hand, or because it’s always to hand. And it seems most countries use one or more of those three terms.