Tag: sci-fi (page 7 of 35)

Flash Fiction: The End?

Courtesy fuckyeahspaceship.tumblr.com

Behold, the last 1000 words of a non-existent novel.


He surveyed the damage from the Tower. It, and he, rose high above the palace, and he could see the Lightning Field, now back online, reflecting off of the shattered glass and twisted structural damage of his throne room below. Crews were already hard at work cleaning up the mess. They knew what it meant to disappoint Ming the Merciless.

His arms were behind his back, and he felt an errant twitch in his left hand. That was to be expected. The Consciousness Transmitter hidden in his signet ring always took a toll on him when it was activated. If he were a superstitious ruler, he would be thanking some amorphous, imaginary being like those worshiped by his duller subjects that the rebels had not discovered the Vats, and the cloned bodies Klytus had hidden within. But no god had intervened to restore Ming to life. Like all things within Mongo, life and death were the purview of Ming himself.

Even if Gordon was too stupid to realize that.

Gordon. Ming’s fists tightened. The Earthling’s defiance was a problem. When he and his companions had first appeared, their crude flying machine caught in one of the storms Ming had transmitted from Tropica to the insignificant planet Earth, Ming had welcomed the distraction. Mongo’s princes were dull, predictable guttersnipes, all too easy to manipulate. The Earthlings were quite similar to most of his subjects in form and function, and even as Ming continued to rain destruction on Earth, he had wondered what the princes would make of the newcomers.

Now he knew. Gordon’s fragile but effective alliance with the Hawkmen and the insufferable Prince Barin proved that the Earthling was both a warrior to be respected and a leader to be watched. In the wake of his raid on the palace, Klytus was dead, Baylin missing, and Ming’s prize, Dale Arden, stolen. Apparently, Dale was ‘married’ to the Earthling Zarkov, whatever that meant, and Gordon’s selfless act of throwing himself into the teeth of both Ming’s guard and the Lightning Field to rescue a female not his own was capturing hearts and minds throughout Mongo.

Ming toyed with the idea of summoning some concubines. Two? No, three at the very least. His rage at Gordon coupled with the thrill of facing so worthy an opponent and brushing against the sweet, ever-present and waiting embrace of oblivion would make his passion powerful. He’d likely kill one. But he was willing to wait. He had plans to make, first.

“What commands for your loyal subjects, O Emperor of Mongo, O ruler of my heart?”

He smiled, turning to face his daughter. Aura knelt before him, demure and obedient, eyes shining in the semi-darkness of the Mongo evening, the Lightning Field catching in the gold filigree worked into her hair. His seething anger gave way to pride. His daughter was fearful of reprisal for her failure. Her attempt to play Gordon and Barin against one another had failed, unfortunately, and being spurred by both of them could not be easy for her. She, like Ming, was used to getting what she wanted. Gordon was to be her plaything, and Barin the means to ensure tighter control over Mongo. Ming knew she toyed with the idea of usurping him, and it amused him to watch her try. He reached down and touched her hair.

“Do you mean to rule in my stead, dear daughter?”

“Only until you are well enough to return in full, my lord.”

“And you will step aside willingly on that day? It may come too soon for your liking.”

She took his hand in both of hers, kissing his palm and wrist. “Now more than ever, we need your power and brilliance. Mongo will fall into chaos without your fist clutching its lands and people.”

His lips slowly curled into a smile. “Did you say something similar to Barin?”

Her eyes looked up, seeking his. “It doesn’t matter what I said to him, Father. Or to Flash Gordon. Seeing your body dead by their swords… I did not expect to be so upset by it.”

“Especially if you mean to take my throne by force one day,” Ming said. “I did not come to my place of power by being Ming the Merciful. You must harden yourself against death, my daughter. You will see it just as often as you cause it.”

“Yes, Father. I do not expect you to forgive my indiscretions. I await your punishment.”

He stroked his beard, and fought down the errant twitch in the hand doing it. It would take time for those things to subside. And he did not want Gordon or Barin or Vultan to know he was alive while any potential weakness existed.

“Your punishment is to deal with these sniveling upstarts. Double the guard patrols, step up the execution schedule, and cancel all state holidays until further notice. Mongo is ours to rule, and as long as we rule it, it shall do well to remember what it means to cross Ming and Aura.”

The Princess rose, her stunning smile a mask for the malice in her eyes. “They will never forget me. They may think they’ve won, that I will be weeping in my chambers for their lost hearts, but when I show them their hearts, still beating, they will regret choosing ‘freedom’ and ‘friendship’ over Aura.”

“Now those are the words worth of Ming’s blood.” He took her hand and kissed it. “Go, and show no mercy.”

She sauntered away, and Ming turned back to the window. Somewhere out there, in Arboria or perhaps the Sky City, Flash Gordon was likely celebrating a victory. Ming hoped the Earthling enjoyed it. Soon, pain and misery would be all he knew, and the so-called ‘Saviour of the Universe’ would beg Ming for mercy before the end, mercy that would never come, and honestly, Gordon should know better than to ask.

Ming activated the intercom to the wing of his palace containing his concubines.

“Send up three… no, four to the Tower immediately. The night is young, and it shall not be wasted.”

The Limitless Genre

Courtesy Eidos Interactive

If you step away from science fiction, you may see a tendency among its writers and creators to divide it up into different sub-genres. Time travel is practically its own sort of story, as is ‘hard’ sci-fi, along with various “_____punk” styles and derivations of the space opera. I mean, Blade Runner is noir, Flash Gordon is camp, and never the twain shall meet. Right?

This doesn’t always have to be the case. Imposing the limits of a particular style of story can make writing said story easier, but you also run the risk of falling into cliches and conventions of said style. At a Barnes & Noble yesterday, I saw that a good portion of the sci-fi & fantasy racks had been set aside specifically for “teen paranormal romance.” Something tells me I have a good idea as to the content of those books, and of their average quality. Some may be spectacular, but I suspect others are sub-par to the point of making Twilight look good.

Let’s get back to science fiction as an overarching genre. I don’t feel you need to pick a particular sub-category into which you must pigeonhole your story. Deux Ex: Human Revolution doesn’t. The game has noir & renaissance overtones throughout but goes from conspiracy intrigue and solid character moments to incredible action and out-there sciences within moments. Yet none of it feels out of place. It is consistent with the themes and timbre of the story. Adam Jensen is a man reborn and remade, both struggling to maintain his identity and utilizing the benefits of his augmentations to do his job and find his answers. In most detective yarns, a scene where the protagonist punches through a wall before turning invisible would be rather out of place. Likewise, few are the space operas that truly tackle the aftermath of a tragedy the way this game does. The elements are balanced in such a way that all of them combine without losing sync and creating a richer, more rewarding storytelling experience.

Why shouldn’t sci-fi go for multiple tones and moods? Obviously this needs to be done with care, lest the emotional moments become too saturnine or the high-action ones come off as overly ridiculous. In a story like this, you only get so many style points in your tale with which you can get away with “cool shit” moments. Too many and you’ve become style over substance. Too few, however, and your story becomes dry and plodding. Again, the watchword is balance.

And I believe it is a balance worth striking. Science fiction can include all sorts of threads from other genres of storytelling, from romance to horror to crime to adventure. Once all is said and done, be able to look over the work and say, “I’ve got a _______punk action-mystery” can be useful for marketing it, but my point is the genre only has the limits we choose to impose. Moon is phenomenal because of how hard its science is, and if your goal in writing is to go for something similar, by all means work within those constraints. There is, however, no obligation to pick a particular pigeonhole from the outset. Science fiction is our contemplation of the heavens, the nature of the universe, the exploration of the impossible, and the examination of the individual within all of it. It is, like those heavens, and like our imaginations, limitless.

What examples of sci-fi that break from traditional molds come to mind for you?

On The Fringes

Courtesy FOX

When I watch a good television program or film, one with a narrative that builds its characters and takes the plot in ways one might not expect, I feel the dichotomy in me between watcher and writer. In the moment the story is happening, the emotional connections I feel with the characters, if they are written and acted well enough, feel vital and affecting. Afterward, in retrospect, I can observe the direction and outcome of those moments, and fully understand the foundation behind the decisions the writers made as well as postulate where they might be headed.

It’s important to remember that any character in a story can die. It’s all in the manner of how, when, and why. I think ‘why’ might be the most important piece of the puzzle, and I don’t mean the motivations of their in-story killer. The writer, callous and unfeeling as they might seem, should have good reason for offing one of their creations, especially if that creation is well-liked. Knowing this, I think, actually helps in reading stories as well as watching them. Chuck Wendig could easily kill Miriam Black. Jim Butcher’s under no obligation to keep Harry Dresden alive. And we all know how George R.R. Martin feels about the immunity of popular characters to the flashing scythe that is his pen. Character death is one of those writerly decisions that can hang on the fringes of the story, either making the whole thing more tense or dragging the whole thing down.

Continue reading

Game Review: XCOM Enemy Unknown

I may be accused of cheating on this one. Not because of my “save scumming”, mind you, as there is zero shame in doing that when it comes to XCOM Enemy Unknown. I’ll get to why in a bit, but suffice it to say the reason some may not relish the idea of me writing up a review for the game is I’ve technically done it twice already: once for its classic old-school flavor and once as a first impressions.

However, at time of writing I’ve poured 32 hours into the game, which is more than I’ve spent in some MMOs, so there’s got to be something to it worth talking about.

Courtesy Firaxis Games

The playability of the game may be tied into its emphasis on long-term goals and costs. When the game begins, after your first firefight, you’re given the choice of where to place your initial base. This is actually a crucial decision, as the bonus you get tied to the continent you choose is rather significant and stays with you throughout the game. Research takes time, manufacturing takes resources, and soldiers rarely start at a high rank, meaning each aspect of the game requires investment aimed towards a future payoff. In the case of the soliders, it’s payoff you may never see if they die in combat.

Speaking of combat, the few problems I’ve encountered with the UI during missions remain, but are thankfully not terribly frequent. Soldiers still occasionally shoot in the wrong direction, hot buttons for skills can move around which messes with you when you feel the pressure to get the Heavy out of the way of that charging Berserker he is about to go all Juggernaut on your ass, so on and so forth. But it still holds up in spite of the bugs and rewards forethought, positioning, mixed unit tactics, and not charging headlong into the enemy.

Courtesy Firaxis Games

While some of the complexity and outright terror of the original game has been lost, the current iteration of XCOM remains tense and absorbing. This is especially true of Ironman mode. When you are unable to save when you wish and cannot load a previous save from within the game, you are forced to face the consequences of every action you take. Each decision must be weighed carefully. A mistake can spell disaster, and there is no going back. I consider this the ‘proper’ way to play, but if you’re unfamiliar with XCOM, don’t enable Ironman the first time you play. It can be an absolutely punishing experience, and without the safety net of so-called “save scumming”, your only recourse is to start the entire game over.

I have long admired this game’s previous iteration for its difficulty and complexity, and I continue to do so. While it may have lost some of its depth with the loss of time units and the watering-down of in-combat options, the perfect balance between developing your resources in your anthill-like base and getting said resources by shooting at aliens is entirely intact. As frustrating as it can be to lose a high-ranking soldier, playing the game never ceases to be fun and challenging. Even if you reload the same mission half a dozen times because a would-be sniper apparently can’t hit the broad side of a barn.

Courtesy Firaxis Games
“I’ve got a bad feeling about this…”

Stuff I Like: The new aesthetic and the cutscenes have grown on me. There’s an emphasis on planning and coordinated tactics that is good to see. The way in which the challenges ramp up keeps the game tense.
Stuff I Don’t Like: The random nature of the alien assaults and the payouts for missions can be a touch frustrating. The aforementioned bugs can get in the way of a ‘clean’ gaming experience. And would more than one accent really have been that difficult to nail down?
Stuff I Love: Pulling off a mission with no casualties makes you feel like a boss. The base-building is surprisingly involving and ties very closely into mission performance, which makes the whole game flow very well. An excellent soundtrack psyches you up for your missions, raises tension when enemies are in sight, and maintains an aura of dread even when all is well. And while this may be unintentional, the knowledge of bugs and miss chances means that your soldier pulling off an excellent shot is all the more satisfying to watch.

Bottom Line: Reviving XCOM could never have been an easy sell, and the fact that Firaxis pulled it off this well is astonishing in and of itself. XCOM Enemy Unknown proves that its blend of resource management and tactical turn-based combat is viable in an environment of modern military shooters and RPG-like slash-em-ups. In spite of its bugs, it is one of the best games I’ve played all year.

Movie Review: Prometheus

I liked the first two Alien movies, and would happily watch either one again given the chance. I’m also a fan of Ridley Scott’s work in general, especially his Director’s Cuts. Noomi Rapace, Michael Fassbender, Idris Elba, and Charlize Theron are some of my favorite actors working today. And science fiction is pet genre of mine, especially when it takes itself seriously and doesn’t go straight for space opera or overdoes the camp of the pulp sci-fi of yesteryear.

So why is my heart not jumping bloodily out of my chest with enthusiasm for Prometheus?

Courtesy Scott Free Films

The year is 2094. The Weyland Corporation has sponsored a pair of dedicated archaeologists, Elizabeth Shaw and Charlie Holloway, to follow the evidence they’ve found that mankind was visited by alien beings in our ancient past. The starship Prometheus was built to find these aliens and discover what, if any, connection they have to our origins. Following star maps extrapolated from cave paintings, Prometheus sets down on an inhospitable moon and almost immediately finds evidence of the archaeologists’s fabled “Engineers”. They also find something that threatens all life as we know it, to say nothing of the crew of the ship.

Prometheus begins by introducing us to some very interesting themes, especially for a science fiction film involving starships and extra-terrestrials. The ‘chariot of the gods’ concept is becoming well-tread ground, from the Stargate series to recent things like Thor and Indiana Jones and the Crystal Skull. Rather than just focusing on the aliens themselves, Prometheus sets its sights on the questions inherent with such visitations. Why did they visit us? What role did they play in our development? If they had a hand in creating us, why did they do so? From my standpoint, the focus of the narrative could have been maintained on these questions rather than pushing towards familiar Alien territory.

Fassbender in Prometheus

Despite the breathtaking visuals, haunting score, and fantastic use of 3D (even in home theater settings), Prometheus suffers first and foremost from an identity crisis. It simply can’t decide what it wants to be. A serious sci-fi film asking questions about faith, creationism, and the origins of life would be fascinating, the Alien franchise is desperate for a high-quality entry to redeem its dalliances with those wacky Predators, and Ridley Scott wouldn’t mind starting a new film series. Prometheus tries to do all of these things, admirably so, but fails in hitting the mark with any of them. The questions it wants to ask fall by the wayside when body horrors begin cropping up, the answers we do get tend to beget more questions, and characters, for the most part, behave more for the sake of advancing the plot than they do from their own motivations and personalities.

Consider David. Michael Fassbender is giving probably the strongest performance of the ensemble here, carefully channeling David Bowie into a soft-spoken android obsessed with Lawrence of Arabia. He doesn’t seem to be interested in being more human, regarding those around him with a detached curiosity rather than any longing, and it soon becomes apparent the Prometheus is something of a personal laboratory for him. However, his motives for his experimentation are tenuous at best, his methods make little logical sense, and what reasoning we do get seems to come in the form of throw-away lines and vague conversations on the relationship between creator and created. It’s cool that he has his own agenda, and he pulls of being a creepy facsimile of human life very well, but he, like much of Prometheus, is simply poorly explained.

Courtesy Scott Free Films

The biggest saving grace of the film is probably Elizabeth Shaw. Noomi Rapace is not just doing a send-up of Ripley. She’s also playing one of the few characters who acts in a consistent nature, uses their head on more than one occasion, and has an interesting arc complete with tangible loss, crises of faith, and a staggering amount of determination and survival instinct. It’s very difficult not to care about her after everything we see her going through, and like us, she’s still looking for the answers to her, and our, questions.

While Prometheus suffers from some pretty major problems, it’s still the best thing to happen to the series Ridley Scott started back in 1979 since Aliens. Scott does great work behind the camera and in terms of production, the actors I mentioned are all great, and the presentation is great, at times downright stunning. The problems with the plot and character motivations can’t be overlooked, though, so while it’s hard to classify it as a strictly bad movie, it’s also difficult to give an unqualified recommendation. Being a fan of this director, these actors, and this concept and its execution, I’d probably watch it again, as the parts I enjoyed outweighed those that left me perplexed or frustrated. Just be forewarned: I don’t think Prometheus is for everybody.

Older posts Newer posts

© 2024 Blue Ink Alchemy

Theme by Anders NorenUp ↑