Tag: sci-fi (page 17 of 35)

IT CAME FROM NETFLIX! HALO Legends

Logo courtesy Netflix. No logos were harmed in the creation of this banner.

[audio:http://www.blueinkalchemy.com/uploads/halo.mp3]

So a few years ago this new sci-fi franchise got started. It had some interesting ideas based on established literature and the first entry did a lot better than anybody could have expected. It spawned a couple of sequels that really didn’t measure up to the original but people really ate it up anyway and there were a couple of spin-off projects, too. Then, somebody got the bright idea to get Japan involved, and some of the best material ever associated with the franchise, as well as some mediocre disappointments, became collected into a series of shorts called… the Animatrix. No, wait, sorry, I meant HALO Legends.

Courtesy Bungie

Okay, that might be a little unfair, there are actually big differences between HALO and the Matrix. One’s a movie franchise, the other’s an X-box franchise. One’s based on shoddy poorly-written post-modern philosophy while the other cribs notes from Larry Niven and Robert Heinlein. One’s got a rabid fanbase of diehard fans who won’t brook any dissention against their beloved universe, and the other’s got a rabid fanbase of diehard fans who won’t brook any dissention against their beloved universe AND will teabag you if you don’t play the game as much as they do while calling you queer and saying how good your mom was last night. And when the collection of anime shorts was announced, one fanbase considered it a worthy addition to and refreshing change from the established material, while the other fanbase… well, let’s just say the words “RUINED FOREVER” were screamed more than once across the Interwebs. But how is the end product of HALO Legends? I’m going to go blow by blow and it might take a while, so grab a drink or other refreshment if you’d like.

Origins begins the project with a two-part history of the HALO universe narrated by Cortana, ranging from the Forerunners’ attempts to sterilize the Flood to mankind’s expansion into the stars. In another interesting parallel with the Animatrix, this is a rich, comprehensive narrative that is unapologetic in its characterization of mankind and his many follies. However, it belies the lack of this sort of substance within the game itself. It forms the spine of the games’ stories, but most people just want the meatier parts. I’ve seen at least one review of this bit saying it “needs more explosions.” Anyway, the challenge for the rest of the shorts is to take these concepts, these characters, and move in new & interesting directions.

Courtesy Bungie
This art really needs to be seen to be believed.

The Duel is not only interesting, it’s visually stunning; I’ve never seen anything quite like it. I’m not entirely sure how the visual effect of this short were achieved. I think the animation was CG but I can’t be sure, as the different patterns and shifting colors seem to have a life of their own. It’s like a muse blowing onto an oil painting, and the brushstrokes moving of their own accord in response. Underneath this artistic achivement is a story both lush and lurid told from the other side of the great war than engulfs the HALO universe. The Covenant always seemed more interesting than the games might have allowed them to be, but this casts them in not only a deep, nuanced light, but a very human one. It’s not easy to establish empathy for a character in so short a timespan, but The Duel does it very well, and the fact that the protagonist is a hostile alien makes the work all the more impressive.

When Homecoming began, I couldn’t help but smile not only when the SPARTAN not only doffed her helmet, but also at the sight of the tiny stuffed bear hanging from her armor. When you’re sauntering down one of HALO’s many metal corridors gunning down aliens, you never stop to think of the cost necessary to put a soldier like a SPARTAN there. Like The Duel, it humanizes an element that lacked that nature in the games; but in this case and by way of extension, it’s the player’s character that gets depth and emotion. While leaving the main character of a shooter an empty vessel for the player to pour themselves into makes sense, I can’t shake the feeling that just a glimmer of this sort of storytelling would elevate the games to a much higher level than the one they currently occupy. The story of HALO, Origins’ expounding notwithstanding, is a touch on the forgettable side; Homecoming is anything but.

Courtesy Bungie
Putting the “1337” in elite.

While those entries add some serious depth to the stories, Odd One Out takes the HALO universe in an entirely different direction. It’s just here to have some FUN with things. In this case, SPARTAN 1337, who may well be the Deadpool of this franchise, gets a powerful monster thrown at him by the Prophet of Truth, seen here as King Zarkon’s cantankerous little brother more than a diabolical yet eloquent if cryptic space-pope. (Crap, I think it’s rubbing off…) Even 1337’s astounding and manly heroism can’t beat this threat into submission alone, but thankfully he crash-landed on a planet that might be populated with characters from Dragonball. HALO’s done a lot of things, but this might be the first time the universe has made me laugh out loud in genuine humorous glee. I think it was 1337’s impressive introduction to the little kids that had me rolling; that, or the sight of his legs sticking out of the maw of a tamed T-Rex.

Prototype has some techno-geek fun with the idea of the UNSC developing a Macross or Gundam-style combat suit and unleashing it against the Covenant. The man inside the suit could have been a bit more interesting, but it’s still delivering more story and characterization than the games usually do. While it’s no Homecoming, it’s also not bad in the slightest, though it did signal a steadily declining trend in story quality as HALO Legends wore on.

Courtesy Bungie
As ambivelant as I felt about The Babysitter, this is still a poignant image.

The Babysitter is more typical HALO fare. It’s trying to tap that Starship Troopers/Band of Brothers vein and stabbing the wrong part of the arm a couple times before getting it right. While it’s nice to see an ODST story, if it were a touch more original it might make the Helljumpers seem like more than just a sci-fi send-up of Easy Company. Like Prototype, it isn’t necessarily bad, just nothing terribly outstanding especially when compared the earlier entries. And if you don’t see the big plot twist towards the end coming a mile away, you should read & watch more stories.

Don’t think HALO fanboys go completely unloved in Legends. Appleseed director Shinji Aramaki puts SPARTAN 117 through his paces in The Package. Once again, this bit can’t objectively be called bad, as there are no technical issues to speak of and it looks somewhat impressive in its execution. I was reminded of the CGI used by Skywalker Studios, particularly in the opening of Episode III of Star Wars. However, let’s leave that comparison behind before I start drawing more parallels between franchise characters and get angry emails from HALO fans saying that their beloved Master Chief would never slaughter children. Well, not human children anyway. He can kill as many Covenant kids as he wants, after all they’re different from us, right?

Courtesy Bungie
Think about it. Master Chief could be Darth Vader without the asthma.

All in all I feel relatively the same way towards HALO Legends as I do towards the Animatrix. It’s done some of the best storytelling in the franchise and lets some of Japan’s premiere visionaries take a Western narrative concept in new directions. Unlike the Animatrix, this is front-loaded with quality entries and the original stories and fun factor slowly peter out towards the end. Which is not to say that the latter bits are unwatchable by any stretch, they just don’t do as much with this universe or its characters. By all means, if you’re interested in this franchise, some recent successful science fiction or the work of the attached anime studios, queue this up on Netflix. I have to say the two hours watching this was probably more fun for me than playing HALO for two hours. As unoriginal as some of the entries feel, at least none of them ever tried to teabag me.

Josh Loomis can’t always make it to the local megaplex, and thus must turn to alternative forms of cinematic entertainment. There might not be overpriced soda pop & over-buttered popcorn, and it’s unclear if this week’s film came in the mail or was delivered via the dark & mysterious tubes of the Internet. Only one thing is certain… IT CAME FROM NETFLIX.

Book Review: Irregular Creatures

Courtesy Chuck Motherfucking Wendig

There have been doorstopper fantasies and sci-fi epics that have kept me enraptured for every page. Short fiction has a bigger task, as it needs to grab me, pull me in and keep me in the nuances of its story not with every page, but with every single word. Not every writer can do it.

Chuck Wendig does.

Irregular Creatures captures the madness, the brilliance and the desperation of ten years in a writer’s life. It has pieces long and short, narratives that tug the heartstrings and images that chill the blood. It’s a literary roller-coaster, the long hill of the opener coupled with quick drops and sudden, neck-snapping turns that surprise and confound. Any reader with the savvy and intestinal fortitude to pick this up will not be disappointed, and may ruminate upon the stories within for days to come or longer.

Okay, hyperbole and back-cover-copy aside?

It’s 3 bucks. For 8 stories. That will completely blow your mind.

Scroll back up and click “Buy.” You won’t be sorry.

Disturbed, surprised, impressed? Yes. Sorry? No.

So that’s the Amazon version. Was trying to keep it short for the benefit of bleary-eyed Amazonians just looking for a quick fix to get them through the cold, white months. Hopefully they found it helpful.

Here’s the longer, blow-by-blow version. There are synopses for these over on the page where you buy the thing, so let me tell you how each one hits you and where, and why each of them work on different levels.

Dog-Man and Cat-Bird (A Flying Cat Story) is that long hill before the initial big drop I mentioned. This one doesn’t just tug on your heartstrings, it gives them a hearty pull and then throws you over its shoulder into its dark but uplifting world. It’s a ride, start to finish, a microcosm of the entire work. Even if it weren’t part of an anthology, it’d be a stand-out bit of modern supernatural fantasy/horror. The protagonist is instantly relatable and earnest, the characters are realistically drawn to a one and it never feels contrived on any level. It justifies the entire project in and of itself. It’s no wonder Cat-Bird is on the thing’s cover.

A Radioactive Monkey follows the long drop with a short twist. A good little cautionary tale that still plays with our expectations. Clearly, whatever the reality taking unknown drinks from strange women is a bad idea.

Product Placement takes us to a place that is instantly familiar and thoroughly alien. You may take a closer look at the contents of your nearest vending machine the next time you’re craving a candy bar.

This Guy is you. Maybe. It could be. That’s the hook, the horror of it. The narrator’s an everyday guy, at least he starts out that way. But every day for the everyday guy is and feels the same, and that can change you. It feels like a straight on the coaster before it drops again.

Mister Muh’s Pussy Show feels greasy, dirty, delicious and very much a guilty pleasure.

Lethe and Mnemosyne. It uses every single fucking word precisely. Brilliant.

The Auction brings us back to fairy tale land. With a child protagonist and something that’s two parts Dahl and two parts Barker, we’re in for another wild ride. It front-loads with promise and, like the rest of the tales, does not disappoint.

Beware of Owner is another short that quickly yanks the rug out from under us. You can almost hear Chuck giggling as the full scope of the situation dawns upon us. Bastard.

Do-Overs and Take-Backs rounds out the anthology with another cautionary tale and a fine example of dual plot tracks slowly but surely becoming entwined. It has the horror, the humor, the weirdness and the brilliance of all that came before, and still remains its own creature. (See that? See what I did there?)

So, yeah, like I said. 3 bucks for 8 stories that’ll blow your mind. Basically, we’re robbing Chuck blind. He’s poured years of his heart and soul into this and we walk away with it for a song. You’ll be hard-pressed to find a better deal pretty much anywhere.

IT CAME FROM NETFLIX! Splice

Logo courtesy Netflix.  No logos were harmed in the creation of this banner.

[audio:http://www.blueinkalchemy.com/uploads/splice.mp3]

When I was growing up I would hear of stories, movies or episodes of television that were touted as ‘not for the faint of heart.’ They promised thrills and surprises aimed at an adult audience, one that could handle the nature of the material. Not that they wouldn’t have nightmares afterward, mind you, just that they could handle those nightmares. Had Splice come out in such a time, it definitely would have been called not for the faint of heart. I’d go one step further, though, and say it’s not for the slow of brain, either.

Courtesy Gaumont

Have you ever seen scientists acting or treated like rock stars? That’s the best way to describe Clive and Elsa. Iconoclastic, brilliant and possessed of the particular kind of crazy that makes advancements in modern science possible, they’re splicing together designer organisms for the benefit of a major bio-tech firm interested in the next big pharmacuetical breakthrough. Recent success has shown them the potential of splicing human DNA into the mix to provide clues for things like curing cancer and growing organs. Their sponsors, fearing a moral backlash, put the kibosh on that idea. So Clive and Elsa do it anyway. The experiment starts going awry almost immediately, but does result in a viable organism. Her name is Dren.

If I were to give a single piece of advice when it comes to Splice, I’d say go into it without any expectations. The movie’s plot, characters and structure pull the viewer in and carry them along while teasing their mind with questions of morality and scientific advancement. It doesn’t necessary spoon-feed you answers, but it doesn’t assume you don’t know what’s going on either. It’s the kind of movie that rewards, rather than punishes, higher thought aimed in its direction. It’s one of those movies you’ll be thinking about after you see it, and any revulsion you feel will probably be aimed at the subtleties of the subject matter rather than the movie itself. This isn’t a cheap, knock-off creature feature, folks. This is thoroughly cerebral and deeply disturbing science fiction.

Courtesy Gaumont
Something made a nummy noise, and it wasn’t Clive or Elsa.

Director Vincenzo Natali provides the movie with its very careful pace and nuanced mood. It’s clear that in telling this story, he not only wants to entertain, he wants to raise questions. And the questions end up being as shocking as the entertainment. How much is science being held back by old ideas and antique sentiments? While the motivations of Clive and Elsa’s superiors might be rooted firmly in finances, the impetus for their reluctance to back the scientists up is framed in the notion that “there would be a moral outrage.” As much as the duo extol the virtues and potential benefits of their work, it’s unfortunately true that champions of ‘decency’ and religion would be inconsolably enraged and disturbed at the very idea of using human material in designer organisms. The movie, however, never really addresses this issue and keeps its focus tightly on our pair of protagonists.

Sarah Polley and Adrien Brody play Elsa and Clive as very smart people with bright ideas and disapproving superiors, forced to go rogue and underground to make those ideas come to life. But over and above their idealism and intelligence is the fact that these are very much people, with all that entails. Sure, they’re brilliant, attractive and have great attitudes, but they’re also flawed human beings with neuroses and insecurities. A lot of movies in this vein can dial down the human element to emphasize the monstser or monsters in play, but Splice doesn’t do that. It never feels like a firm line is drawn with one side of the argument in the right while the other is wrong. It’s left up to us to decide, and at the same time, we’re presented with the question of Dren.

Courtesy Gaumont
Beautiful and disturbing at the same time, like a lot of stuff on DeviantArt.

For all of its highbrow ideas and good characterisation, this is still essentially a monster movie, and what a monster we have! Dren’s evolution happens before our very eyes, and without speaking a word she conveys volumes of emotion and information. As she matured I was reminded of the otherworldiness of a young Milla Jovovich in the Fifth Element, with the ways Dren moves and interacts with the world around her. This feeling is deepened with the subtle blending of great acting on the part of Delphine Chaneac and CGI never overwhelms the humanity of the actors. Dren is, like her ‘parents’, a very human creature, but is also so inhuman that it’s always quite clear we’re dealing with something different, something curious and intelligent… something thoroughly dangerous.

I’ve tried my utmost to avoid spoiling anything, because Splice is a movie best served without preamble or preconception. Like I said, leave your expectations at the door when this one starts. Unlike a lot of modern movies out there, it doesn’t hesitate to engage the mind while simultaneously entertaining and occasionally horrifying the senses. It never plays its odd elements for cheap scares, and disturbs in a way that’s much more David Cronenberg’s The Fly than anything dreamt up by Wes Craven or even Stephen King. It’s a superlative piece of work, probably the best science fiction film I’ve seen since Moon, and definitely, definitely worth a place on your Netflix queue.

Josh Loomis can’t always make it to the local megaplex, and thus must turn to alternative forms of cinematic entertainment. There might not be overpriced soda pop & over-buttered popcorn, and it’s unclear if this week’s film came in the mail or was delivered via the dark & mysterious tubes of the Internet. Only one thing is certain… IT CAME FROM NETFLIX.

Powers Cosmic

Courtesy Marvel Comics

I grew up on the old Buck Rogers and Battlestar Galactica TV series, at least until Star Trek: the Next Generation started. There’s a lot of good science fiction out there to be read, and while I definitely enjoy and appreciate harder sci-fi, from Niven & Pournelle’s The Mote in God’s Eye to Moon, the more sweeping and somewhat fantastical epics always find that soft spot in my heart, the place where I’m still twelve years old and believe that I can accomplish anything. Which probably explains some of my more erratic behavior.

Take Marvel Comics’ Annihilation, for example. A series of story arcs collected into graphic novels and consumed by Yours Truly, Annihilation is a war in space involving just about every character from the Marvel Universe outside of Earth (which was undergoing the Civil War at the time). Old characters got modern revamps, hated enemies forged alliances of convenience, Thanos was a canny and manipulative bastard and “normal” folks got some of the best lines. There’s plenty of action and great alien locations, making a Halo campaign look like a day at a firing range in comparison. There’s a sequel (Annihilation:Conquest) and a follow-up series, Guardians of the Galaxy, that had my attention for that short while I was able to afford monthly comic books. I’ll always have Annihilation, though.

Recently my wife and I finished watching the re-imagined Battlestar Galactica series. It was her first time watching it, and the first time I’d watched that many episodes back to back. In retrospect, RDM modernizing the “Wagon Train to the Stars” storyline and deepening the mythologies at play was a very smart decision, as it deepened the characters and made the story more gripping. Even the much-maligned series finale plays much better by the light of what goes before it, without weeks of fanboy speculation/rage clouding the issue. However, in watching it again I noticed there were some interesting similarities between it and Annihilation that makes them and their ilk so damn appealing to me.

I’m a sucker for good characterization, and these stories tend to provide a heaping amount of characters. BSG in particular involved quite a few ascended extras. Marvel went back to the barrel and pulled out a lot of semi-forgotten cosmic characters, from Drax the Destroyer to Quasar, and brought them front and center in a variety of ways. Drax goes from a hulking green-skinned joke of a character to something resembling Riddick. It was like seeing Starbuck change from the ladykilling Dirk Benedict to the foul-mouthed insubordinate best-frakking-pilot-we’ve-got Katee Sackhoff. In both cases, the campy old version makes me smile and chuckle, while the updated version makes me smile because the character’s gone from camp to badass in the space of 5 minutes.

Doctor Who probably qualifies under this sort of science fictiony pleasure as well, but that’d be a post in and of itself.

Free Fiction: The Jovian Gambit

Jupiter & Callisto

Continuing experiments in cross-pollination between old myths and newer storytelling genres. They didn’t have spaceships and ray guns in ancient Greece, after all.

As always, you can download the PDF or read the text after the spoiler tags. However you enjoy your fiction, this is how to do it.

Spoiler

Tranquility Base was a misleading name for the installation, at least on the date in question. After a great deal of communication between the Terran government and the Jovian military, a single vessel was authorized to cross the interplanetary void. It docked at Tranquility Base under the watchful remote visual links of the installation’s massive MAC batteries. The turrets turned back towards the infinite emptiness as the docking collar was secured and the ships’ passengers walked to their destination.

Rear Admiral Cyprus knew what to expect. He sat behind the carved mahogany desk, his hands resting on the blotter as he monitored the progress of his guests through the polished metal corridors. He reminded himself, as he often did, that this heirloom had required as much fuel to move from Terra to his office as a lightly-armed infiltration squad. He didn’t want to forget that some sacrifices were necessary while others were frivolous.

Next to him stood his adjutant, who kept an ear out for the trod of incoming boots which were somewhat muffled by the carpeted walkways. Their guest had a presence, however, and both men felt it when the doors parted to admit him and his handful of armed escorts.

“Welcome to Luna, General Minos,” Cyprus said cordially. “I trust your journey was a pleasant one?”

“Space travel is a tedious and uncomfortable experience.” Minos of Io was flanked by four of his personal guard, veteran soldiers, killers to a man. “Not to mention I have very little patience for Terrans in general and Terran Command in particular. The politicians and peaceniks may be interested in peace between us, but as far as I’m concerned the Jovian Colonies deserve to be treated as separate, sovereign worlds. But I’m not here to debate our independence. I’m looking for a scientist.”

“You’ve come to the right place. Tranquility Base is one of the Terran Confederacy’s premiere research stations. We have quite a few scientists here.”

“I’m looking for one in particular. Rather than dance around verbally, however, I have a means of discovering if he is here.” The general handed a small data card to the admiral. “Transmit the contents of this data card to your research staff. It contains an algorithm that, I am told, is unsolvable. It was being developed on Callisto before the abduction of the scientist in question, and we believe he might be able to solve it.”

Cyprus nodded, doing as the general asked. The admiral’s adjutant looked on as Cyprus sent the data to the terminals throughout Tranquility Base. Once the transmission was complete, the admiral leaned back to regard his Jovian counterpart.

“Why don’t you take a seat, General? This might take a while.”

“I suspect it won’t.” Minos stroked his mustache. Cyprus made a non-committal noise. Terran tracking stations had been observing Minos’ spacecraft as it made its way through the asteroid belt and stopped on the Martian moons. Both stops had seen the general storming into the commanding officer’s presence, make this same demand and leaving after all of the scientists and mathematicians at both installations had given up. Minos, however, was undeterred. Cyprus knew the Jovian would scour the surface of Terra if he had to.

A soft ping was heard from Cyprus’ terminal. He looked it over for a moment, and then turned the screen to face Minos. The equation staring back at the Jovian general made no sense to him, but the fact that it was a solution caused him to lean across Cyprus’ desk with a snarl.

“I want Professor Daedalus returned to Jovian custody at once.”

“Professor Daedalus is not a prisoner.” Cyprus’ fingers interlaced under his chin as his elbows rested on his blotter. “He is our guest, and if it is his wish to return to Callisto…”

“He was abducted!” Minos roared, pounding the desk with his fist. “An infiltration squad of Terran soldiers came to Callisto, using the storms and gravitational shadow of Jupiter to mask their presence. They navigated our corridors, kidnapped Professor Daedalus, stole or destroyed his research, and killed several of my men, including my base security chief, Colonel Talos. His presence here is all the proof I need. You will release him to my custody, and if you wish to prevent a full-scale interplanetary war, you will hand over the terrorists responsible for this cowardly act!”

Cyprus remained unmoved in expression. After a moment, he addressed his adjutant without looking away from the enraged Jovian.

“Lieutenant Commander Theseus, here, will take you to Daedalus. Commander, if you would.”

“Aye, sir,” Theseus replied, moving to the door. “This way, gentlemen.”

Minos was surprised, but hid his emotions behind his mustache. The Terrans were capitulating too easily. Something was going on that he didn’t like. Was he being deceived? Had they moved Daedalus to another location, or were they perhaps in the process of doing that now?

“You commanded the Taurus division,” Theseus observed as they walked, “which was involved in more exchanges during the war than any other unit on either side.”

“That’s true.” Minos tried to put his frustration and suspicion behind him. “They served with courage and honored us with their sacrifices.”

“I have no doubts about that,” said the younger man, guiding them through the brushed steel corridors, “but I have to wonder why the Martian colonies were so brutally handled. Most of the population there were civilians, and I hear the noxious weapons used on the crop domes fed into the air processors in a way that will take decades to clear up before new colonists can settle there.”

“Much of that is hyperbole and propaganda,” Minos said dismissively. “There were reports of Terran troops hiding among the civilian population. There were civilian casualties on Mars, yes, but the damage done to the fragile and fledgling eco-system was as much the fault of the cretins designing the processing plants as it was any Jovian action.”

Theseus nodded and changed the subject. “I can understand why you want Professor Daedalus returned. He’s been a real asset since his arrival, and has made several key changes to the installation.”

“You’ve been forcing him to work?”

“No, we haven’t. We don’t force people to do anything when they come to us willingly.”

The commander’s words made Minos stop in his tracks. Theseus turned. The Jovians were standing in an intersection of corridors, and when Theseus reached out and touched a spot on the wall, four heavy doors slammed down around them. Each door had a small, thick porthole in it, and Theseus was visible through one of them. There was the hissing sound of a pressure seal, and Minos’ men raised their weapons.

“Put those down!” Minos snapped. “You want to kill us with ricochets, you idiots? Burn us out!” One of his men fumbled with a backpack looking for his torch when a speaker snapped on.

“As I was saying before I was so rudely interrupted,” Theseus said coldly into the handset he now held, “Daedalus has made some changes to our installation, such as these heavy blast doors that resist hard vacuum. He prepared them specifically for your arrival. He told us you’d be coming.”

“You coward!”

“I’d save your breath, General. You haven’t got much time left. Do you have a message for your family? You see, I was never given the opportunity to send one to mine. They were colonists on Mars, who were slaughtered on your orders.”

Minos raised his chin. “How does this make you any better than me, Commander?”

Theseus stalked to the porthole, scowling at Minos. The general was taken aback. The man who had appeared as nothing more than a glorified secretary suddenly had a countenance appropriate to the blackest pages of human history, an absolute terror to behold.

“When I kill, Minos, I kill soldiers. I kill those fighting to kill me. I killed Talos because he was about to send me to my family by way of a poisoned dagger at my throat. As for the civilians on Callisto, not a single one was harmed and I doubt most were even aware of our presence. War is an ugly and brutal thing to behold, let alone participate in, and yet you brought it into people’s homes when you had no right. Children and pregnant mothers died choking on their own vomit because of you. Seven thousand souls, and you snuffed out every single one without having the courage to show your face.”

Minos tried to muster a defiant response, to salvage some sort of moral or pyrrhic victory from this. The guard trying to get his torch working finally lit the white hot flame.

“Take a good look at my face, Minos,” Theseus was saying. “This is the face of a murderer who looks his victim in the eye. It’s the last thing Talos saw. Now you two have that in common. Daedalus would tell you to give his regards to his son, but we both know you’re not going the same place he went.”

And with that, Theseus activated the chamber’s upper door. It opened to the blackness of space above Luna. Minos maintained eye contact with the younger man before he was pulled upwards into the void. Without pressure suits, all seven men were dead within minutes. Theseus turned away and adjusted the channel on his handset.

“Get a cleanup crew to junction DA-12, exterior. Have the bodies put back on the Jovian ship per Professor Daedalus’ instructions.”

He walked through the installation and down a flight of stairs, into the very bowels of Luna. He found his quarry sitting at a terminal in the corner of one of the workrooms, indistinguishable from the other desks. The man’s hair had grown along with his beard, but when he looked up his eyes shone with the intelligence and resolve Theseus had seen from the moment he’d found the physicist in the darkness of Minos’ base.

“It’s done,” Theseus said quietly. Daedalus sighed a bit, passing a hand over his eyes.

“My son can rest in peace. Are their bodies being put back on their ship?”

“Just as you asked. It happened just as you said, right down to him using that equation to determine you were here. How did you know he’d do that, by the way?”

“You can’t determine one human biorhythm from another unless you get very close. Using a negrav ship for our escape masked our trail, and he had little else to go on after I deleted my files & backups and you trashed the servers.”

“So why this equation in particular? What is it, exactly?”

“It’s a small program I put into long equation form. A bit of a cypher, really. It expresses the intent and procedure of the program mathematically, like using an encryption key to make a simple text message appear as random characters. I never did get to finish the equation version of the program, however, and without my files…”

“You brought some with you, didn’t you? I mean you’ve been working on a new negrav design…”

“Yes, my boy, but I didn’t save any information on this program. I couldn’t. I didn’t want Minos to have any idea what was in store for him. But now that the equation is complete, I can tease it out into a programming format and use it for its intended purpose. Instead of him going to war to get me back, he used the equation to track me down, when all the while I’ve been here waiting for him. The program he unwittingly helped complete will cause his ship to have an accident on the way back to Callisto. The accident will occur after he reports, in his own voice, that I have been retrieved without incident.”

“I’m sure the Jovians will cry sabotage.”

“They might, they might indeed. But I hope you and I will be far enough from this place that it won’t matter. You mentioned my new design, Theseus, and I’m curious as to your input.”

The physicist called up a schematic of his design, and it sprang to life above the desk, floating in midair, rotating slowly to allow Theseus to take in every angle. He was speechless, and Daedalus smiled for the first time since before his son left Callisto for the last time.

“I’m glad you like it, Commander. I call it the Argo.”

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