To celebrate the release of The Fall, I’ve got a special offer for Aussies. If you buy paperback copies of both The Gulp and The Fall together, you can have free shipping. So you get both books, both signed, and sent directly to your house for $49.90. Make sure you select Australia Shipping or it’ll charge you an extra $10. (If you’re not in Australia and want signed copies, click here.)

Aussies: If you’re keen, click here!

I’m afraid I can only offer this in Australia because postage anywhere else is brutally expensive. You can still order signed copies wherever you are, along with any of my other books, and postage will be calculated in the cart, so you can check before going ahead. Go here and select the Buy Now option, then select the signed paperback button at the top.

I was teaching a qigong class this morning and, obviously, my phone is on silent while I do that. But from the corner of my eye I kept seeing it flash with notifications. So during the break, I had a quick look in case someone from school was trying to reach me about my kid or something like that. And what do you know, it turns out the 2021 Aurealis Awards shortlists have been announced and I’m on there 3 TIMES! Three! Holy shit!

I’m so pleased to see The Gulp get some recognition like this. It made the preliminary ballot of the Bram Stoker Awards for Collection, but didn’t make the final shortlist, so this is especially sweet to see. The Gulp is up for the Aurealis Award for Best Collection, and two stories in it also got a nod – “The Band Plays On” is up for Best Horror Novella and “Mother In Bloom” is up for Best Fantasy Novella. I couldn’t be more chuffed. What an honour and a thrill. Huge congratulations to all the finalists. I’ll post the entire set of shortlists below.

BEST CHILDREN’S FICTION

The Boy Who Stepped Through Time, Anna Ciddor (Allen & Unwin)

Stellarphant, James Foley (Fremantle Press)

Dragon Skin, Karen Foxlee (Allen & Unwin)

The Curiosities, Zana Fraillon & Phil Lesnie (illustrator) (Hachette Australia)

Elsewhere Girls, Emily Gale & Nova Weetman (Text Publishing)

Barebum Billy, Nicholas Snelling (BAD DAD Publishing)
BEST GRAPHIC NOVEL / ILLUSTRATED WORK

The Curiosities, Zana Fraillon & Phil Lesnie (illustrator) (Hachette Australia)

Treasure in the Lake, Jason Pamment (Allen & Unwin)

Mechanix, Ben Slabak & Edoardo Natalini (Cloud 9 Comix)

Killeroo: Semper Fidelis, Matthew Soall & Ignacio Di Meglio (illustrator) (OzComics)
BEST YOUNG ADULT SHORT STORY

“The Woods Echo Back”, Tania Fordwalker (Beneath Ceaseless Skies #331)

“Don’t Look!”, Lisa Fuller (Hometown Haunts: #LoveOzYA Horror Tales, Wakefield Press)

“Of Slaves and Lions”, Pamela Jeffs (Stories of Survival, Deadset Press)

“Slaughterhouse Boys”, Emma Osborne (Hometown Haunts: #LoveOzYA Horror Tales, Wakefield Press)

“Way-bread Rising”, Tansy Rayner Roberts (Stories of Survival, Deadset Press)

“Hunger”, Marianna Shek (Hometown Haunts: #LoveOzYA Horror Tales, Wakefield Press)
BEST HORROR SHORT STORY

“Don’t Look!”, Lisa Fuller (Hometown Haunts: #LoveOzYA Horror Tales, Wakefield Press)

“Traces of Us, Hot Enough for Dinner”, Ephiny Gale (The Dread Machine 1.3)

“The House that Hungers”, Maria Lewis (Aurealis #146, Chimaera Publications)

“The Quiet Room”, Martin Livings (Midnight Echo #16, The Australasian Horror Writers Association)

“Sins of the Mother”, Tracie McBride (Spawn: Weird Horror Tales About Pregnancy, Birth and Babies, IFWG Publishing Australia)

“Mother Dandelion”, Antoinette Rydyr (Spawn: Weird Horror Tales About Pregnancy, Birth and Babies, IFWG Publishing Australia)
BEST HORROR NOVELLA

When the Cicadas Stop Singing, Zachary Ashford (Horrific Tales Press)

“The Band Plays On”, Alan Baxter (The Gulp, self-published)

“Hell’s Teeth”, Matthew R Davis (Haunted: An Anthology, Specul8 Publishing)

Cryptid Killers, Alister Hodge (Severed Press)

“All The Long Way Down”, Alf Simpson (Cthulhu Deep Down Under Volume 3, IFWG Publishing Australia)
BEST FANTASY SHORT STORY

“Who Wants to be a Reaper”, Jane Brown (The Centropic Oracle)

“So-called Bin Chicken”, E J Delaney (Curiouser Magazine #2)

“All my Tuesdays”, Laura J Fitzwilson (Cicerone Journal Issue 5: Curious Worlds)

“Old Souls”, Aiki Flinthart (Relics, Wrecks & Ruins, CAT Press)

“The Woods Echo Back”, Tania Fordwalker (Beneath Ceaseless Skies #331)

“Frabjous”, Alexander Gibbs (Cicerone Journal Issue 5: Curious Worlds)
BEST FANTASY NOVELLA

“Mother in Bloom”, Alan Baxter (The Gulp, self-published)

“The Little One”, Rebecca Fraser (Coralesque and Other Tales to Disturb and Distract, IFWG Publishing Australia)

“Bones Of The Sea”, Amy Laurens (Inkprint Press)

“Echo and Narcissus”, Tansy Rayner Roberts (Sheep Might Fly podcast, self-published)

“The Scarab Children of Montague”, Suzanne J Willis (Falstaff Books)
BEST SCIENCE FICTION SHORT STORY

“He Leaps for the Stars, He Leaps for the Stars” Grace Chan (Clarkesworld #178)

“For Autumn”, Melissa Ferguson (Revolutions, Deadset Press)

“Honey and a Hanging”, Aiki Flinthart (Tribute, Black Hart Publishing)

“The Reunion”, Emily Fox (Nature: Futures)

“Relict: (noun) A Widow; a Thing Remaining From the Past”, Alison Goodman (Relics, Wrecks & Ruins, CAT Press)

“Legacy of the Species”, Pamela Jeffs, (The Terralight Collection, Four Ink Press)
BEST SCIENCE FICTION NOVELLA

“Access Denied”, Baden Chant (Aurealis #142, Chimaera Publications)

The Cruise to the End of the World, Craig Cormick (Merino Press)

“The Birdsong Fossil”, D K Mok (Multispecies Cities: Solarpunk Urban Futures, World Weaver Press)

“Problem Landing”, Sean Monaghan (Analog Science Fiction and Science Fact Mar/Apr)

“Preserved in Amber”, Samantha Murray (Clarkesworld #178)

“A Vast Silence”, T R Napper (The Magazine of Fantasy and Science Fiction Nov/Dec)
BEST COLLECTION

The Gulp, Alan Baxter, (self-published)

Danged Black Thing, Eugen Bacon (Transit Lounge Publishing)

The Terralight Collection, Pamela Jeffs (Four Ink Press)

The Tallow-Wife & Other Tales, Angela Slatter (Tartarus Press)

Little Labyrinths: Collected Microfictions, Sean Williams (Brain Jar Press)
BEST ANTHOLOGY

Who Sleuthed It?, Lindy Cameron (Ed.) (Clan Destine Press)

Relics, Wrecks & Ruins, Aiki Flinthart (Ed.), Lauren Elise Daniels & Geneve Flynn (assistant Eds.), CAT Press

Hometown Haunts: #LoveOzYA Horror Tales, Poppy Nwosu (Ed.) (Wakefield Press)

Spawn: Weird Horror Tales About Pregnancy, Birth and Babies, Deborah Sheldon (Ed.) (IFWG Publishing Australia)
BEST YOUNG ADULT NOVEL

Waking Romeo, Kathryn Barker (Allen & Unwin)

Aurora’s End, Amie Kaufman & Jay Kristoff (Allen & Unwin)

Terciel and Elinor, Garth Nix (Allen & Unwin)

Echo in the Memory, Cameron Nunn (Walker Books Australia)

Dirt Circus League, Maree Kimberley (Text Publishing)

It’s Not You, It’s Me, Gabrielle Williams (Allen & Unwin)
BEST HORROR NOVEL

The Bridge, J S Breukelaar (Meerkat Press)

Midnight in the Chapel of Love, Matthew R Davis (JournalStone Publishing)

Papa Lucy & The Boneman, Jason Fischer (Outland Entertainment)

The Airways, Jennifer Mills (Picador Australia)

Holly and the Nobodies, Ben Pienaar (Hellbound Books LLC)
BEST FANTASY NOVEL 

Supermums – And So It Begins, Meg Grace (self-published)

The Rose Daughter, Maria Lewis (Piatkus / Hachette / Little Brown)

A Marvellous Light, Freya Marske (Tor)

Dark Rise, C S Pacat (Allen & Unwin)

She Who Became the Sun, Shelley Parker-Chan (Mantle)

All the Murmuring Bones, Angela Slatter (Titan Books)
BEST SCIENCE FICTION NOVEL

Waking Romeo, Kathryn Barker (Allen & Unwin)

The 22 Murders of Madison May, Max Barry (Hachette Australia)

Stealing Time, Rebecca Bowyer (Story Addict Publishing)

Papa Lucy & The Boneman, Jason Fischer (Outland Entertainment)

Aurora’s End, Amie Kaufman & Jay Kristoff (Allen & Unwin)

Deepwater King, Claire McKenna (HarperCollins Publishers)
SARA DOUGLASS BOOK SERIES AWARD

Lifespan of Starlight [Lifespan of Starlight (2015); Split Infinity (2016); Edge of Time (2018)], Thalia Kalkipsakis (Hardie Grant Egmont)

Elementals [Ice Wolves (2018); Scorch Dragons (2019); Battle Born (2020)], Amie Kaufman (HarperCollins)

Unearthed [Unearthed (2017); Undying (2018)], Amie Kaufman & Meagan Spooner (Allen & Unwin)

Lifelike [LIFEL1K3 (2018); DEV1AT3 (2019); TRUEL1F3 (2020)], Jay Kristoff (Allen & Unwin)

Winter [The Road to Winter (2016); Wilder Country (2017); Land of Fences (2019)], Mark Smith (Text Publishing)

Blood and Gold [Crown of Rowan (enovella, 2014); Daughters of the Storm (2014); Sisters of the Fire (2016); Queens of the Sea (2019)], Kim Wilkins (HarperCollins)

Me with my National Championship trophy and my teacher at the time, Sifu Ian Sibley.

I wrote this after the first few seasons (March 2022) and I’ve just watched the final episodes (Feb 2025), so there’s an addendum at the end.

Okay, this is something the students at my kung fu school have heard me rant on about a lot, but I need to get it down here, especially as I’ve binged all four seasons of Cobra Kai and I can’t wait for more. I hate it but I can’t stop watching, because I love it too. And we’ll talk more about why here. I have opinions, and they’re coming at you. Apart from my issues with this from a martial arts perspective, it’s also an excellent study in storytelling, so it enters both my professional lives. For those of you who only really know me from my writing, I also teach martial arts. I’m qualified as an international master (a Fire Dragon Disciple of Master Chen Yong Fa, Grandmaster of the Chan Family Choy Lee Fut School). I’ve trained in Judo, Muay Thai, and Karate in the past, and Kung Fu now, for over forty years. I don’t say this to brag – do anything for almost your whole life and you’ll hopefully be half-decent at it – but to clarify that I come at this from a perspective of knowledge and real experience. I’ve fought in many tournaments, semi- and full-contact. I’ve never been the All Valley Champion (because that’s not actually a thing anyway) but I was a British National Champion back in the 90s. So I get this stuff. I live this stuff!

So, why do I both love and loathe this show? It’s a complex relationship, to say the least.

Let’s take it back to the beginning. The best person in The Karate Kid is Johnny Lawrence (although he’s flawed like we all are). John Kreese, the original Cobra Kai sensei, is an abusive asshole. Mr Miyagi, Daniel LaRusso’s reluctant sensei, is a nice guy, but a terrible sensei (more on this later). Daniel LaRusso is an asshole, a spoiled brat, or as this excellent video calls him, a rotten little prick. Watch this 5 minute video to get an idea of why Daniel LaRusso is a rotten little prick. It only covers part of the problem, and I kinda disagree with the premise, but it’s an excellent frame for the other issues I’m going to raise.

Okay, so yeah, Daniel is a shithead and Miyagi is a demon sorcerer. I sorta disagree that Daniel’s a bully, but that’s up for debate. He certainly shows aspects of bullying, but there’s more to this that that. Way more. He’s spoiled, despite a hard childhood. He’s entitled. He refuses to learn. Not only in this film but throughout the franchise, Daniel again and again doesn’t listen, does whatever he wants, and causes mayhem. And again and again, Miyagi forgives his bullshit. But more than that, he encourages it. When Daniel is rightly beaten, Miyagi does his demon sorcerer nonsense. Whenever Daniel fucks up, Miyagi gives him another chance without even trying to teach him the error of his ways. There’s never any consequence for Daniel. That kid would be kicked out of my school in no time. I know it’s all a movie and there needs to be an arc, but no way would some slick kid be shown a few trick moves and then, in just a few short months of (quite frankly awful) training, show up and win the biggest tournament in the area. Despite what this film would try to have you believe, Daniel hasn’t earned it. Not even close. He’s actively worked against the lessons of the martial arts from start to finish. He’s the antithesis of a karate kid. He’s an anti-karate kid. He’s an asshole. So the writing in these movies is compelling, but the way it trades on the mystical woo-woo of the martial arts is frankly insulting.

In fact, Johnny Lawrence is the actual karate kid. He’s trained hard for years. His sensei is an abusive, damaged fuck, but Johnny has been determined and diligent and dedicated and all those other good D-words. He’s tested himself in combat, in the street and on the mat. He’s the All Valley Champion and he deserves that title. Daniel is none of those things – the only D-words that apply to him are Daniel and Douchebag. And Dickhead. Yet he expects to have all the accolades Johnny has earned handed to him simply for showing up.

There’s a real habit in the original films and in the recent Cobra Kai TV series for teenagers to train for a few weeks, or maybe months, and suddenly be kick-ass karate masters, beating out actual champion karate fighters with years of training. Daniel does it to Johnny Lawrence in The Karate Kid. Miguel does it to the current All Valley champ in the first Cobra Kai. And on and on. Kids who have spent more hours taking a shit than hours in the dojo are turning up to tournaments, putting on black belts, and winning. From a martial arts perspective, this is such egregious bullshit it’s hard to go past. It’s massively disrespectful to the martial arts in general, and to the people who’ve actually trained their arses off for years. Perhaps the only really deserved win in all of it is Hawk – his arc is by far the best across this entire franchise, but that’s a whole other post. The truth is, no matter what “secrets” we teach our students (spoiler: there are no secrets only good technique) you still have to put in the years to master them. I can show a student all kinds of bad-ass moves, fight-winning moves, but that student needs to put in the training. It’s not about simply knowing the technique, it’s about doing the thing, again and again and again. So here again we have the mystical woo-woo bullshit. As if anyone with years of training would be caught out by the stupid-ass one-legged crane kick. It’s insulting. But when you’re not a martial artist, it’s great storytelling, so the same thing actually manages to piss me off twice. And I can’t stop watching!

Great guy, terrible Sensei.

Asshole.

Anyway, let’s get back on track here. Despite the fact that Johnny is a bit of a dick (the reasons for which Cobra Kai does a nice job of covering), he’s an innocent in all this. John Kreese is an abusive piece of shit with no business running a dojo and he corrupts those people who come to him to learn. Miyagi is a lovely guy, but he has no place moulding the minds of young people. In Cobra Kai we get a nice arc where Johnny starts to repeat the behaviour of Kreese, but then recognises the problems and tries to redeem himself. It’s the best bit about Cobra Kai. Because Daniel is still largely an asshole. Cobra Kai also does a pretty good job of highlighting that too, but they can’t be really honest without undermining what they’re all about.

So this is why Cobra Kai is a great show. Because it does address these things. But it’s also a shit show, because it’s so unrealistic. The one thing that’s really missing from everything about this franchise is the concept of  mo duk (that’s Cantonese – in Mandarin, it’s wu de 武德). This is something that’s a massive area to cover in detail, but in short it means “martial virtue”. It’s the ideals of virtue in all aspects of life that are developed and exemplified in the martial arts. The principles of mo duk are things like righteousness, loyalty, respect, humility, trust, forbearance, perseverance, courage and a strong will. Or, to look at that list another way, everything Daniel LaRusso lacks. These principles should always be taught in the dojo. John Kreese teaches a broken and corrupt version of mo duk, but he does at least have a code, albeit a truly fucked one. Johnny Lawrence followed his teacher. Mr Miyagi acts like he’s all wisdom and sage advice, he makes all these little comments, but does nothing to actually develop those qualities in Daniel. And whenever Daniel has the chance to develop some virtue for himself, he chooses not to. And Miyagi forgives him and covers for him every time, even going so far as to beat up a bunch of kids on Daniel’s behalf. In some ways, this is the heart of what this franchise is exploring without realising that’s what they’re doing. It’s a body without a heart all the way through.

The Johnny Lawrence arc in Cobra Kai is powerful because he does actually come out from under the shadow of Kreese and, despite all the flaws of the 80s child grown into a manchild that he is, he grows and becomes something far better than he ever was before, while all the time trying to hold onto the essence of the martial arts that has been deep in his soul since childhood. Daniel kinda has similar revelations, but is still that guy who just won’t learn. Miyagi is dead by the time we get to Cobra Kai, and that’s the best thing that ever happened to Daniel, because now the man’s wisdom lives on without the man himself there to undermine it at every turn. And Daniel, in trying to honour the memory of Miyagi, actually has some growth in a positive way instead of simply being handed everything he doesn’t deserve.

But the real reason this entire franchise is compelling, the real triumph of the storytelling here, is because it’s a fantasy soap opera. Boom. I said what I said. This is the only reason we can forgive all of the above and still enjoy it. These people are able to walk in and out of their jobs however the story requires. Despite all the traumas of their lives, it’s always glossy and superficial. Massed fights in schools and shopping malls are huge fun, but entirely impossible. It’s the interplay between all the characters that is compelling (that’s the soap opera part) set against the backdrop of a feudal warrior state in modern California (that’s the fantasy part). And while we’re talking about fantasy, why do all these guys only teach teenagers? Where are the kids classes? The adults classes? It’s kinda creepy that middle-aged karate masters have squads of willing teenagers to pit against each other as proxies for their own damaged childhoods, and no one else in their schools. Teenagers are the hardest people to keep in the dojo – kids get brought by their parents, adults come of their own volition, but teens are famously capricious. But by focussing the storytelling tightly on teens and their hijinks managed by weirdo adults and their bullshit we get some compelling soap opera action that refuses to look too deeply at itself in the mirror. And for that reason, we simply can’t look away. It’s actually a pretty stellar achievement and, much as it pains me to admit, Cobra Kai has managed to take all the magic from The Karate Kid and distill into something far greater.

Anyway, the TL:DR of all this is that The Karate Kid franchise is 40 years of TV and movies trading on the martial arts that entirely misses the heart of the martial arts at every turn. Despite that, it’s a compelling fantasy show, and a soap opera. Deal with it.

EDIT:

Edited on 22^nd February, 2025, after watching the final episode of Cobra Kai.

After 65 episodes, what began as a YouTube homage to the movie franchise and grew into a massive Netflix hit is finally over. So does everything I wrote above still stand? Yes. Yes, it does. Across 65 episodes the central premise remains and only gets more and more ridiculous. And no less compelling. This was always a Johnny Lawrence redemption story, but it grew into more than that. Spoilers below the image if you haven’t seen the final episodes yet, so beware.

I talked above, as many others have, about what a brat Daniel LaRusso is and how Johnny Lawrence was always the real karate kid. He was done dirty from the start and everything about this series was exploring the damage he carried and his search for some kind of redemption, from pretty much giving up to refusing to be cowed to reclaiming his agency.

He was helped along the way by the LaRussos and others, but particularly by his students. By refusing to let his students give up, he reflected what he needed as well. The old adage that the real teacher is the one who trains a student to surpass them holds true. Even Kreese mentions this towards the end.

What’s interesting is that this show also worked in a redemption for both John Kreese and Cobra Kai as a dojo, which was a nice touch. Kreese’s turnaround was a bit shoehorned, but they managed it well enough. When Johnny Lawrence finally confronts Kreese and breaks down in the hall outside the Sekai Taikai we really see his full return. It’s some powerful acting by William Zabka and it sets up as well the redemption of the Cobra Kai dojo. The whole thing is cheesy as hell, as is every minute of the series, but it’s good cheese.

Of course, the whole thing is fantasy. The Sekai Taikai itself is ridiculous. A full-contact, no gloves or pads, under-18s world championship that “the world is watching”. Lol no. Not a thing. Can’t happen. Massive sponsorship deals for winners and runners-up. Also Lol no. Who cares? Sure, there would be small niche career opportunities, but not lifechanging sponsorship deals. However, we can ignore all that because underlying it is a story of underdogs, of people finding their truth (Miyagi-Do not being there to win, Johnny Lawrence facing his abuser, Tory getting her chance, and so on.)

The series wrapped up everything that needed wrapping up and everyone got what they deserved, even Kreese and Silver. (I haven’t even touched on Silver’s contortions to fit into the required narrative. *waves hands* Nothing to see here. *because plot* We’ll just let that pass.)

And, of course, Johnny Lawrence got to finally win what was lost in 1984 and he did it by combining Cobra Kai and Miyagi-Do philosophies. Kreese is taken care of. Cobra Kai never dies. Miyagi-Do (despite Daniel (really Ralph Macchio) somehow still being absolutely shit at karate even after all these decades) lives on as well and somehow students attend both schools equally. There’s a big fantasy right there – it’s hard enough to keep people coming to one school, but two at once?

My only real disappointment was right at the end, where Lawrence is teaching at Cobra Kai again and he abuses the kid with the glasses. That undid so much of the growth he’d shown otherwise and was a real mis-step with the character. You can be a hardass without being an asshole. Johnny Lawrence had learned that, shown that, so it was disappointing to see him forget it on his first class back.

But I stand by all I’ve said. Johnny Lawrence is the real karate kid and the entire premise of the movie and TV series is a modern fantasy sold as a soap opera. Despite completely misinterpreting the martial arts, it still manages to frame martial arts as a pursuit of self-improvement, of dedication, of camaraderie. Remember above where I talked about martial virtue? The core principles of the martial arts being righteousness, loyalty, respect, humility, trust, forbearance, perseverance, courage and a strong will? Those things, despite hiccoughs and mis-steps, do fundamentally shine through in the overall arcs.

I hate how much I enjoyed this show, given they got pretty much everything about the martial arts wrong. But there you go. Good entertainment is good entertainment.

I’m very happy to have another story published by The Saturday Paper, my second to appear there. You can find it here: https://www.thesaturdaypaper.com.au/culture/fiction/2022/02/26/all-i-can-do/164579400013379

It looks amazing! Take a look at the video here: