Cool Ships (volume XI)

armageddonBack once more to the Eve universe, thank you Mr. Zidar for suggesting it in the first place! Here we have the Armageddon Battleship, the main heavy warship of the Amarr Empire. Packing a lot of firepower into its long, heavy frame, command of one of these is considered the greatest honor an Amarrian Captain can acheive within the Empire.

In terms of armaments, the Armageddon is studded with heavy turret batteries. Its forward section is also heavily reinforced, giving it the ability to ram into enemy ships while pulverizing them with weapon’s fire. It is also heavily shielded in addition to its armor, making it virtually impregnable to all but the most heavily armed cruisers.

Battle Galaxy Carrier:
battlegalaxy-carrierMuch like the SDF-1 from the Macross universe, the Galaxy Carrier is massive transforming ship that comes in two modes. In carrier mode, it is a massive ship that is capable of space flight and sea faring. In its battle mode, it takes the form of a massive mecha which is capable of kicking some very serious ass!

Build in the early-mid 21st century by the New United Nations government, its primary purpose was to act as a colonization vessel for the Macross fleet. And unlike previous colonization vessels, it boasted many new technologies – such as cybernetics and implants – which were meant to continually evolve as the ship traveled through space. On top of all that, it possesses cutting edge stealth technologies that make it capable of slipping past Zentraedi forces and blockades.

battlegalaxy-attackIn terms of armaments, the Battle Galaxy lives up to its name! In addition to an advanced Gunship Type Macross Cannon, which converts into its main firearm when in battle mode, it also has 12 heavy beam cannons (also available in battle mode), multiple phalanx beam cannons and missile launchers, and a compliment short range micro-missile batteries for point-defense.

Firstborn Monolith:
monolithIt would be an understatement to call this one a classic. Taken from the Arthur C. Clarke novel and the movie of the same name, the Monolith was the mysterious aliens means of transport in 2001: A Space Odyssey. Known as the Firstborn, this race was basically the first species to achieve sentience in the galaxy, making them many millions of years old. After eons of evolution and space exploration, these beings had basically evolved to the point where they were no longer flesh and blood.

So really, these monoliths were not so much ships as chariots to carry their uploaded consciousness to the stars. Composed of unknown material and impenetrable to everything from scanners to nuclear detonators, they were a mystery to humanity of the 21st century. It also didn’t help that the only man get within spitting distance of an operational one disappeared, his last words being “My God, it’s full of stars!”

GTF Ulysses:
gtf_UlyssesThis ship, taken once again from the Freespace gaming universe, was one of the fastest and most maneuverable ships in the known universe. A collaborative effort between Terran and Vasudan scientists, it possessed the best design features and technologies they could muster. The Ulysses was designed for service in the Great War, but because of its assets, it saw service with GTVA forces long after the Lucifer was destroyed and the last of the Shivans routed.

In terms of armaments, it was lightly armed compared to other fighters, with four gun mounts, but only two ordinance bays. In the end, its greatest assets were its speed and maneuverability which made it highly effective against faster Shivan ships. In a dog fight, few things could catch it, or get around fast enough to hit it!

Inhibitor Square:
black_cube_world-1024x768These are the mysterious, dark and malevolent machines from the Revelation Space universe. Also known as “The Wolves”, they are a semi-sentient race of machinery that is designed to locate sentient star-faring cultures and exterminate them. However, the Inhibitors didn’t do this using lasers or photon weapons.

Much like the Firstborn from Clarke’s Space Odyssey series, they relied on a series of natural processes. The only real difference was they did it for destruction purposes. For example, when they became alerted to the presence of humanity on Resurgam, they chose to disassemble the planet’s gas giant bit by bit in order to create a massive trumpet like device in space. This was basically a gravitational weapon which they began using to shake the system’s sun to pieces.

megathronAnother Eve warship, the Megathron is the battleship of choice for the Gallente faction. It accelerates quickly, has a high armor capacity, and is very versatile due to its seven turret slots and two launcher hardpoints. This last feature is rare in Gallente ships, which tend to focus on energy weapons.

Because of its many weapons slots, the Megathron can be adapted to long range fire, known as the “Sniperthron”. This vessel is capable of engaging enemies at a distance of 150 km, but leaves it vulnerable to close range attacks and strips of the ability to heal. Another common build is the “Blasterthron” where the weapons of choice or short-range blasters, making it one of the toughest battleships around.

NTF Iceni:
ntf_iceniOnce more onto the Freespace franchise, dear friends. Here we have the one-of-kind prototype vessel known as the Iceni, the brainchild of the Neo-Terran Federation’s commander, Admiral Aken Bosch. Designed to be a command ship and mobile research platform, the Iceni was also a highly capable attack vessel, boasting mutiple turrets, beam mounts and missile batteries.

As part of project ETAK, the Iceni was the only vessel capable of communicating with the Shivans. After being mistaken for a command facility in an asteroid belt, Bosch was forced to deploy this ship prematurely. After shedding it’s housing asteroid, it set course for Gamma Draconis, where it used an Ancient jump gate to flee into unknown space. After making contact with the Shivans, the ship was boarded and most of the crew killed. Once the survivors were rescued, the ship engaged its self-destruct sequence and was lost.

In addition to being faster and more maneuverable than most ships its size, the Iceni also packed as much firepower as a Deimos-class frigate. These included 3 large beam emitters, 7 heavy turrets, 9 defenses turrets, 2 flak batteries, and 4 defensive missile batters. As such, it was capable of standing toe-to-toe with any comparable ship in the Terran or Vasudan armadas, and outrunning anything larger.

prometheus_shipJust to be clear, I haven’t seen the movie… yet! I wanted to, but I dragged into seeing another film last night which also rocked (see below)! Luckily, I have seen enough trailers and promotional videos to know a few things about the eponymously named vessel. So here she is, just one day (finger crossed) before I see her on the silver screen! As an exploration vessel, the USCSS Prometheus was a designed for deep-space expeditions to alien worlds.

As a full-service space taxi, it was designed for both atmospheric and space flight and could therefore forgo the need for landing pods and shuttles. This was all made possible thanks to its reinforced hull, four multi-vector thrusters that allowed for verticle take off and landing, and an observation deck that allowed the crew a panoramic view of space and whatever landscapes they were surveying. During takeoff and atmospheric entry, these are enclosed by a series of protective shields.

Prometheus_ship_rearOn top of all that, it was packed with amenities for its crew. These included a large bay for heavy equipment and expedition vehicles, a full-service mess hall, a medical bay, recreational facilities, a built-in basketball court, long-range communications systems, crew quarters, cryogenic chambers, and holographic display windows. And of course, the ship’s own laboratory which served as its main research center. No doubt about it, ships like this, courtesy of the Weyland Corporation, ensured that crews could travel in style and comfort before being horribly killed by extra-terrestrials!

Special Mention: The Avenger Helicarrier!
Yes, I managed to get out last night to the movie theater. But instead of catching Prometheus as I originally hoped, I was coaxed into seeing the Avengers instead. It-was-awesome! Tons of cool action, a respectable, multi-layered plot, and lots and lots of cool shit! Kudos to Joss Whedon, I think he just became my hero!

And one of the things I liked best about this movie was S.H.I.E.L.D.’s own big-ass helicarrier! When they hinted that it was both a carrier and a sub, I was like “Whoaaaa! Like something out of Robotech!” But then, out came those massive turbofans and it took off! I just sat and stared for several, sustained minutes. My wife laughed at me. At that point, I said, “Okay, maybe you were right to want to see this.”

Anyhoo, much like something out of Robotech, this carrier was a massive machine that came in two modes. In its standard mode, it was your basic aircraft carrier similar in appearance to a Nimitz-class carrier. In its other mode, it is a freaking hovercraft, where four massive turbofans and two sets of jet engine clusters allow it to fly! It also has a comprehensive camouflage system where a series of reflector panels obscure it from sight, similar to adaptive camouflage.

And of course, as an aircraft carrier, it also has the usual amenities, which include several squadrons of F-22 and F-35 fighters and quinjets. And though armament didn’t come up in the movie, we can also assume that it has a full compliment of Phalanx point-defense cannons and Harpoon anti-ship missiles. But knowing S.H.I.E.L.D., I’m sure the list doesn’t end there. Most likely, they also got some cool stuff like an EMP, some rail guns, or laser devices in there too!

Ancient Aliens (Updated)

And I’m back with another conceptual post, hard at work exploring the ideas that run deep in the grand genre that is sci-fi. And this is one that I find particularly cool, mainly because it’s just so freaking existential! I mean what is there that can possibly throw a wrench into our collective anthropomorphism more than knowing that there is sentient life out there that significantly predates our own, especially if we were to find out that they had something to do with our own evolution…?

In some ways, this is a shout out to the “ancient astronauts” theory, which speculates that extra-terrestrials came to Earth long ago and left some evidence of their visit behind. This can be limited to something as basic as a structure or a relic, or can run as deep as having influenced human cultures, religions and technological development. Regardless of whether or not this theory is to be taken literally, it is well represented in the sci-fi community. Here are some examples that I have assembled:

2001: A Space Odyssey:
A classic example of an ancient species, ancient astronauts, and one of my personal favorites! Originally conceived in the form of a screenplay by Arthur C. Clarke and Stanley Kubrick, the concept of the TMA-1 monolith aliens was a central plot element to one of the most groundbreaking science fiction movies of all time. However, owing to Kubrick’s esoteric style, not much was ever made clear about the species that built the monoliths. Luckily, Clarke went on to develop the idea at length in his novelization of the movie and its many sequels.

According to the novel, and ongoing interviews with Kudrick, the beings that built the monoliths were known as the Firstborn – an extremely ancient race that achieved sentience millions of years ago and were exploring the galaxy long before humanity even existed. The monoliths were their means of traveling from star to star, which they did in order to seek out life and help it along. In the course of their travels, they came upon Earth four million years ago and discovered Simians that were on the verge of starvation. By teaching them to expand their diet through hunting and some basic tricks to cultivate their manual dexterity, they ensured not only the survival of higher order primates, but the eventual emergence of humans as a species.

The story of 2001 thus takes place in the near-future (from when it was originally written) where humanity has developed into a star-faring race and colonized the Moon. Not far from this colony, a monolith is discovered buried under millions of years of moon dust. After examining it, to no avail, they discover that it has sent a signal out to Jupiter. The ship Discovery is then dispatched to investigate, where it finds an even larger monolith in orbit around Europa. The mission ends quite mysteriously as David Bowman, the last surviving member of the crew, flies closer to it in a small pod and disappears. Adding to the mystery were his last words: “My God, it’s full of stars!”

In subsequent books, the mystery of Bowman’s disappearance and the nature of the monoliths is made clear. Essentially, the monoliths are alien machines that contain their consciousness, and some are gateways which allow for FTL space travel. Bowman, when he came into contact with the one around Europa, was transformed or downloaded (depending on how you look at it) and became one with the monolith. The reason they are hanging out around Europa is because they are currently working to transform Jupiter into its own star so that life may blossom on Europa (which scientists speculate is already teaming with life underneath its icey shell).

Cool idea! But you see, there’s a snag… Apparently, the First Ones have also been known to weed wherever they’ve sown. What would happen if they came to the conclusion that humanity was too aggressive for its own good, the result of them teaching us how to harness an appetite for killing other animals and members of our own species? This is the premise that is explored in the finale 3001: Final Odyssey, and which was left on a cliffhanger note. Unfortunately, Clarke died in 2008, leaving fan fiction authors to speculate on how this would all play out…

Alien vs. Predator:
Note: this is not a reference to the terrible movie or its even more terrible sequel! No, in this case, I am referring to the wider franchise, as exemplified by its many video games, comics, novelizations, and even the independent (non-crossover) movies. In these cases, we get a glimpse of two races that predate humanity by hundreds of thousands or even millions of years. Their outward characteristics alone make them cool, and they are both pretty badass in their own special ways. But what is especially cool about them is the fact that very little known about them, other than the fact that they are very, very dangerous!

“I admire its purity. A survivor… unclouded by conscience, remorse, or delusions of morality”. That is how the Alien, or Xenomorph in AVP terminology, was described in the very first movie. Their origin is unknown, as is the timeline of their existence and the circumstances of their evolution. However, one thing is clear: on this last note, it must have been something pretty harsh! I mean really, how difficult must life have been on their homeworld for something like the xenomorph to have emerged. They proliferate at an alarming rate, require living being to gestate, and are designed purely for the hunt!

Overall, their race is divided into two symbiotic and interrelated species. First, there are the “Facehuggers”, the spidery creatures that attach themselves to living creatures and implant them with embryos. This in turn gives rise to the “Chestbusters”, the warrior aliens that seek out, kill and capture creatures for the Facehuggers to use. At the top of the pyramid is the Queen, a Chestbuster who has evolved to become the egg-layer who gives birth to more Facehuggers. An interesting chicken and the egg type arrangement, and something which only adds to their mystery!

The Predators, on the other hand, are relatively straightforward. At their core of their society lies a warrior ethic, where each and every male member of their species is trained to be a hunter. In time, hunters accumulates honor and seniority within their culture by attaining as many kills and trophies (i.e. skulls) as possible, preferably from different species. In fact, it is rumored that a single scene from Predator 2, in which an Alien skull appeared in a hunter’s trophy case was the basis for the whole AVP crossover.

In addition, there are also some clear and apparent rules to the hunt. First, each hunter is drawn to arenas of conflict. In the first movie, one chooses a hunt in Central America where a guerrilla war is taking place. In the sequel, one travels to LA during the height of the drug wars. In both cases, the get a sense of their terrain, taking out the easy prey first, and gradually working their way up to the top carnivore. At first, they rely on their advanced weaponry and stealth. But when at last they face off with the strongest prey, they fight them in the open in hand to hand combat.

God knows how long they’ve been doing this. But given their obvious level of technology, its clear they are not exactly recent additions to space race!

The “Ancient Humanoids”:
Now this was one I didn’t much like, but it’s an example of the concept of ancient astronauts nonetheless. And it comes to us courtesy of Star Trek: TNG. from an episode named “The Chase” (episode 146). In it, Picard’s old friend and mentor turns up dead in the course of an expedition which he claims could be the most profound discovery of their time.

After retracing his footsteps, Picard and the Enterprise are joined by three other search parties – one Klingon, one Romulan and one Cardassian – in orbit around a dead planet. When they reach the surface, they find that all the clues lead to a recording left behind by an ancient species. In the recording, the humanoid alien tells them all that they are the progenitors of every sentient race in the quadrant, that their DNA was planted on countless worlds. This is apparently why so many species are humanoid, and means that humanity shares ancestry with all these would-be enemies.

Heartwarming, and kind of cool if it weren’t such a convenient explanation as to why all aliens in the Star Trek franchise are humanoid. This is something that’s always annoyed me about the franchise. It’s not enough that all the aliens speak English and look like people, minus the occasional molded plastic on their faces. But to make matters worse, they always got to make a point of drawing attention to their humanoid forms. So when it came right down to it, this episode felt more like a contrived explanation than a homage. Personally, I would have thought that limited budgets would be the reason, but what do I know? I’m no xenobiologist!

The First Ones:
Another favorite which comes to us courtesy of the Babylon 5 universe. According to the expanded storyline, the First Ones were the first beings to achieve sentience in the Milky Way Galaxy. By the time of the show, most of them had left our corner of the universe in order to explore other galaxies and what lies between them. Only two remains behind, ostensibly to act as shepherds to the younger races. They were known as the Vorlons and the Shadows. However, in time, the two races turned on each other because of their diametrically opposed ideologies.

The Vorlons believed that development and progress came from order. In the course of their long history, they travelled to many worlds inhabited by sentient races and began tampering with their evolution. In each case, they presented themselves as angels, thus ensuring that sentient beings would see them as creatures of light and truth. In addition, they fostered the development of telepaths for use in the coming wars against the Shadows, whom they knew to vulnerable to psionics.

To illustrate this, the Vorlons are often presented as being aloof and rather stodgy figures. In fact, Lyta Alexander, one of the show’s secondary characters, commented that despite their power, the Vorlons are a highly sensitive people who do not react well to change! In the course of the show, they were initially hesitant to commit their forces to fighting the Shadows, they were extremely irked when Kosh (their ambassador to B5) was killed, and when Sheridan went – and presumably died  – at Z’ha’dum, they began destroying entire worlds in the hopes of erasing every trace of the Shadow’s influence.

In addition, their esoteric, mysterious nature was summed up with one question that they would ask anyone who was privileged enough to speak to them: “Who are you?” If ever you found yourself being asked that, odds were you were meant for some higher purpose, one which the Vorlons had a hand in arranging!

The Shadows, by comparison, were much more enabling and  intriguing, even if they were a little… oh, I don’t know, shit-your-pants scary!  In the course of their history, they too traveled to many worlds as ambassadors, encouraging different people and races to embrace their ambitious, darker side and go to war with each other. Whereas the Vorlons asked “Who are you?”, the Shadows big question was “What do you want?” Again, if you found yourself being asked this question, it meant that you were on their radar and they had big plans for you. The proper response to this would be feelings of flattery followed by abject terror.

In any case, whereas the Vorlons believed in order and stability, the Shadows believed that evolution came only through conflict and disorder. This, they reasoned, is what lead to the development of stronger, more advanced races. As Morden, their own representative to B5 said, humanity would never have come so far so fast were they not constantly “at each others’ throats”. Sure, some races had to be sacrificed along the way to make this philosophy work, but that was all for the greater good. In the end, what came out of it was a series of species that were stronger and better than they were before.

This philosophy eventually led them into conflict with the Vorlons as well as several other First Ones. Many younger races found themselves taking sides as well or just getting caught in the middle. In fact, wars between the two sides became a recurring thing, happening every few thousand years. In the last, which took place 10,000 years before the main story, the Shadows were defeated by the last great alliance between the First Ones, most of whom then chose to leave the galaxy. Then, just 1000 years before the events in the show take place, the Shadows were once again defeated by the Vorlons and an alliance of younger races and forced out of the galaxy entirely. However, as the show opens, we quickly learn that the Shadows are once again returning to their old stomping grounds, and the first spot on the tour is a planet known as Z’ha’dum.

This world is doubly significant because it is this planet where another First One – THE first one in fact – is thought to reside. His name is Lorien, and he is the last of his kind and the sole First One outside of the Vorlons and Shadows that is left in galaxy. All of the others have long since abandoned it, leaving the Shadows and Vorlons to their war and all the other races that have chosen to enlist in it. In the end, however, Sheridan, Delenn and the younger races form their own alliance which they use to draw a line against both races. With the help of those First Ones that they are able to reach and enlist the help of, they are successful. After a brief but decisive fight, both races agree to leave the galaxy with Lorien, never to return. In the last episode, when Sheridan is on the verge of death , he is found by Lorien who takes him to the great beyond where the other First Ones now reside.

Like I said, its a personal favorite, mainly because I felt it was so richly detailed and in-depth.

The Forerunners:
Now here is an interesting take on the whole ancient astronauts concept. Whereas in most versions of this idea, aliens make contact with a younger race and influence them for their own purposes, in the Halo universe, things happen in a sort of reverse order. It is established as part of the game’s back story that eons after they died out, the Covenant races came upon the remains of an ancient race which are referred to as the Forerunners. After learning how to reverse-engineer their technology, the Covernant began to merge it with their own and was able to jump thousands of years ahead as a result.

At the same time, they began to develop a religion and even a theocracy based on the Forerunners and what they believed their most important relics to be. These would be the Halo devices, for which the game takes its name. Believing that the Halos were the gateway to the afterlife, or the source of deliverance, the Convenant became obsessed with finding a working Halo and activating it. All of their mythology for the past few thousands years was based on this, and they pursued it with absolute single-mindedness.

So in this way, the Forerunners had a profound impact on the development and beliefs of the Covenant, but not intentionally. Rather than coming to the Convenant while it was still in its infancy and manipulating them for their own purposes, the Covenant instead found them, but only after they were long dead. In addition, they were influenced by their own assumptions about the Forerunners, and not anything they chose to tell them. And in the end, this influence had a near disastrous effect, given that the Halo devices were weapons of mass-MASS destruction and not holy relics. By attempting to activate them, the Covenant very nearly brought about their own extinction, and that of every other sentient race in the quadrant. One would think there was a message in all this about the dangers of blind faith and the dangers of deification or something!

The Goa’uld:
Here is a perfect example of the ancient astronauts theory, so bang on that you’d think it was tailor made to fit the premise! In the Stargate universe, which has expanded considerably over the years, an advanced extra-terrestrial species known as the Goa’uld came to Earth during the neolithic period and had a vast influence on our history. In the original movie, this involved a single alien who took on human form and appointed himself God Emperor over his human subjects. This, in turn, gave rise to the Egyptian civilization, with the alien-god Ra at its apex.

In addition to creating ancient Egypt though, Ra was also revealed to have taken human beings through the Stargate, an means of near-instantaneous interstellar transportation, and established similar civilizations on distant planets. On each of these, the Egyptian motifs of pyramids and the cult of Ra persisted, in some cases for thousands of years. Meanwhile, back at Earth, a revolt unseated Ra and he fled into the cosmos, to be found thousands of years later when humans accessed the Star Gate on Earth.

In the expanded universe, we learn that the Goa’uld were merely one of many races that visited Earth and appeared as gods to humanity because of their advanced technology. But whereas most had benign intentions,  the Goa’uld were concerned solely with establishing slave colonies on many worlds throughout the universe. In addition, their interference extended to other less advanced races as well. As a result, humanity is now faced with the task of preparing to face this and other threats, all of which involve highly advanced races that have visited Earth at one time or another and could very well be hostile.

Although it was not too good a movie (in my opinion), the concept is still a very fertile one! It’s little wonder then why it was made into a series, one which has done quite well for itself. Aliens came before, they may come again… Can we stop them this time. Who knows? Spooky stuff!

The Orions:
In the video game series Master of Orion, there is yet another take on the concepts of ancients aliens. In this turn-based strategy game, players select from different alien races that inhabit the galaxy and begin the process of colonization and expansion. In time, the concept of the Orions comes up. It seems that each race, though they are different and possess varying special abilities, have their own legends about this particular race.

One of the aspects of the game is to find the Orions homeworld, a place full of secret and advanced technology, but which is defended by a powerful robotic starship known as the Guardian. Whoever is able to destroy this ship and land on the planet is the most likely to win the game. This is advisable, seeing as the how the purpose of the whole game is to become the undisputed master of the galaxy – the Master of Orion, as it were 😉

The Xel’naga:
Another example of this concept which comes to us from the gaming world. of which fans of Starcraft will no doubt be instantly familiar with! Translated literally as “Wanders from Afar”, the Xel’naga were apparently a race from a distant galaxy that was concerned with creating the perfect life form. In the course of their lifetime, they apparent “seeded and cultivated thousands of various species” (from the SC game handbook). This included the Protoss and Zerg, two of the major players in the game, and figures pretty prominently in the game’s backstory.

In the case of the Protoss, the Xel’naga thought that they had found beings that possessed “purity of form” and began manipulating them. However, when they revealed themselves to the Protoss, the latter turned on them and they fled. They discovered the Zerg shortly thereafter, a species which they believed possessed “purity of essence”. They began by enhancing them from the small, parasitic larvae that they were, but found that they were too primitive. They therefore developed the Overmind as well to give them purpose and direction, but this only made matters worse. In time, the Zerg found the Xel’naga, who had chosen to remain hidden this time, and consumed them.

In the course of the game, Xel’naga ruins make only one appearance, in the form of an ancient temple which possesses the ability to sterilize the planet of all other species. However, other ruins are apparently featured in one of the game’s novelizations. Otherwise their is no mention of them, their existence merely constituting part of the story’s deep background.

Final Thoughts:
After looking through these and other examples of ancient astronauts, a few things began to stand out. Like I said before, sooner or later aliens serve an anthropological purpose in science fiction. Or to put it another way, they will always play the role of mirror and meter stick. On the one hand, they are the means by which we project aspects of ourselves onto others so we can study them better. On the other, they are means by which we measure our own flaws and development.

But above all, aliens tend to fall into any one of four categories based on where they fit into the moral and technological spectrum. This spectrum, which I made up myself (!), breaks down as follows:

  1. Benevolent/Malevolent: How aliens behave in our favorite franchises and what purpose they serve often has much to do with their basic motivation. In short, are they kind of benevolent, enlightened overseers as envisioned by Arthur C. Clarke in 2001: A Space Odyssey and Childhood’s End, or are they hostile, conquering species as envisioned in War of the Worlds and Invasion of the Body Snatchers? In either case, the alien serve a basic purpose: as a commentary on humanity. Their murderous ways are our murderous ways, their benevolent, technical perfection what we aspire to be. As Nixon is said to have muttered to JFK’s painting: “Men look at you, they see what they want to be. Men look at me, they see what they are.”
  2. Advanced/Nascent: Another important aspect to the aliens in question is their level of technical development. And, interestingly enough, this can have much to do with their moral character. Oftentimes, the aliens in a franchise are both advanced and malevolent, blowing up the White House Independence Day-style or trying to make us one with the Borg! Other times, they are advanced and enlightened, technology and evolution having erased whatever primitive impulses they might have had, but which humanity still possesses. And in other cases still, their are aliens who are less advanced than humanity and are either ethically challenged because they are behind the times, or noble and “untainted” because they haven’t been perverted by civilization’s greed and avarice. It’s a toss up, really, where the benefits and downfalls of technological progress are seen as having an influence on moral and social development.

Again, these are all mere projections, designed to focus attention on moral and ethical dilemmas that arise out of our collective history. Still, it is fun to take these various examples from popular culture and see where they line up on the moral/technological graph. That way we can see where different franchise place their aliens in terms of the overall spectrum.  And like I said at the beginning, its a cool concept. I mean seriously, wouldn’t it be cool if it were actually true? No one can prove aliens didn’t visit Earth thousands or even millions of years ago and mess with our evolution, right? Yeah, it’s not exactly a sound basis for a scientific theory, but a very fertile source for science fiction!

2001: A Space Odyssey

Once more, a movie that was both a novel and a screenplay. But, unlike others I reviewed (Blade Runner, Dune), Space Odyssey was actually a movie that was later novelized. Not the cheap, dime-store novelizations that seek to cash in on the movies’ success mind you. No, this was a case of collaboration, where a scientist-turned-writer (Arthur C Clarke) collaborated with a filmmaker (Stanley Kubrick) to produce a movie, with the former writing the novel version simultaneously, but which was released after. And the combination worked pretty well, if I do say so myself! Clarke offered up the hard science and futurism while Kubrick brought the cinematic vision and directorial talent. But to be honest and fair about it, the novel was just not as good. I say that with all love and respect for Clarke, may he rest in peace. But that’s just the way I felt, having seen the movie and read the book. Whereas the movie was raw and emotional when it needed to be, capturing the awe and terror of space exploration and the unknown, Clarke approached these things with a sort of stoic detachment. And whereas the movie was a bit more complex in its depiction of technology and artificial intelligence, Clarke’s views were much more straightforward. But that was to be expected. Clarke was a futurist, after all, seeing humanity as perfectible through progress and the scientific method. Things like human nature, emotion, instinct and the fallibility of science were not really things that showed up on his radar much.

But that’s something for the literary reviews. Right now, it’s the movie that need dissecting. So once more, lets get into this sci-fi, cinematic classic and see why it was such a big hit.

Even though it received mixed reviews when first released, 2001 has gone on to become one of the highest ranked movies of all time. Fans, the Academy Awards, and numerous polls place it in the top 10, with the Moving Arts Journal going as far as to rank it the number one movie of all time in 2010. Its visual style and its classical score, along with its thematic breadth and scientific realism, make it a favorite of movie-goers, critics and cinema cultists alike. And time doesn’t appear to have diminished this much. Of all Kubrick’s films, 2001 is often ranked as his greatest accomplishment, though there has been no shortage of competition for the top slot! For Clarke, the novels that followed the movie’s release were largely responsible for him being rocketed to fame as one of the “Big Three” of science fiction, alongside Robert A. Heinlein and Isaac Asimov. In addition, the success of the original novel Clarke to pen three sequels, 2010: Odyssey Two, 2061: Odyssey Three, and 3001: The Final Odyssey, the first of which was also made into a movie (for a more in-depth look at these novels, see my review, Clarke and his Odysseys)

The film opens with the classic score, playing in front of planet Earth during a sunrise. I don’t imagine I need to tell anyone what a powerful opening this is. We see the planet Earth from space, is all its glory, and the music instantly captures the feeling of awe and wonder that defines the film. We then cut to the African desert, during what is referred to as “The Dawn of Man”, where a tribe of herbivorous apes are foraging for food in a hostile landscape. Through a series of images, we get a pretty clear view of their world and how they are struggling to survive in their harsh environment. All of their time is dedicated to foraging for food and water, they are in a constant state of competition with other animals and other tribes of simians (not to mention being preyed upon by hungry leopards!) However, their world changes forever when they wake up one morning and find that something in their environment has changed: a tall, black monolith has appeared out of nowhere and now sits in the middle of their encampment. Naturally, they begin to freak out and throw things at it, crying out loud and generally panicking in its presence. Slowly, they come to accept its presence and even begin to run their hands along its smooth surface, realizing that it does not pose them any immediate harm.

And I got to say, this scene was masterfully done! It’s perhaps the first example of everything the movie does right. The reactions of the actors playing the simians is perfect. How they initially panic and only slowly, very slowly, begin to calm down and even become intrigued by the monolith. The music also serves to heighten the feeling of uncertainty to the point where little is happening on screen, but we known in our hearts that something terribly significant is really going on. This music comes up again later in the movie, illustrating a direct parallel between when man’s early ancestors encountered the unknown in their own world and modern humans do the same with space exploration. It’s scary and exhilarating all at once.

Shortly thereafter, we see the simians going about their business as usual. But then, while picking amongst a set of dry bones, one of the tribe has a searing burst of revelation. Picking up what looks like an animal femur, he begins to realize (slowly, of course) that he can club things with it. As the scene picks up, the music reaching a crescendo, we get the same sort of feeling as when the apes encountered the monolith, except in reverse. What begins as a sort of tame display mounts until the ape is overcome with feeling, thrashing and smashing everything around him. And then, the camera cutting between the bones and a falling animal, we see him applying the lesson by killing another animal with it! That night, the tribe eats meat, and the transition from herbivores to omnivores has begun. We also see a frightening scene the next day, as a rival group of simians encounters them at a watering hole. But whereas the two groups would just shout at each other until one retreated, this time an ape is killed. The bone-carrying ape has passed on the lesson of the club to his kin, and they take turn beating their rival until he’s dead. The scene ends with a silent moment as the ape tosses the bone in the air, it swirls around and around, falling ever towards Earth… And then boom! The bone becomes a satellite, and the skies have become space in orbit around planet Earth.

Where do I begin? Once again, the sheer amount of significance in this scene. We are given, sans dialogue and through a series of brief but poignant scenes, a glimpse at how humanity came to evolve. From being herbivores who had to claw and scratch for every inch to omnivores who asserted control over their environment through the use of tools. And what accounted for this leap? A simple act of deductive reasoning, but clearly, higher forces appear to have played a part… Oooooo! Yes, that’s the impression we are meant to have, that the sudden appearance of the monolith and how it coincided with a jump start in evolution was no coincidence. But since there is no dialogue, all of this is going on in our minds, and it was bloody effective!

Cue part II, named TMA-1. The story begins to unfold then as we get some shots of life in orbit around Earth, aboard the international space station, and then moving through a drawn out montage to the Moon. This is perhaps one weakness in the movie, the many scenes that seem to go on and on, classically scored and containing no dialogue. They are pleasant, and you get an obvious sense of scope and breadth from them, but for the most part… they’re kinda boring. But as I realized when I first watched it, the movie was made in a time when people actually had attention spans! In addition, the idea is to give us a glimpse of the future which is both cheery and wonderful, showing how far we’ve come and how technology has made so much possible. They also pace the movie between its more dramatic bits, where there’s meaningful interaction or drawn out scenes where everything is tense and dramatic. In any case, as I said, the story unfolds. We are told in no uncertain terms that the Cold War is still on, that the Americans have a colony on the moon that is being quarantined and the Russians suspect something is up.

We then see Doctor Heywood Floyd, chairman of the National Council of Astronautics (a futuristic version of NASA) travel to the Moon where he discusses with his peers how the quarantine story is not holding up, followed by another, though comparatively brief, scene where he is being shuttled out to the surface so he (and the audience) can see exactly what it is they are hiding. Some dialogue serves to fill in the blanks, explaining what the real situation is around the colony and what TMA-1 stands for. Basically, they’ve found an object which appears to have been “purposefully buried” millions of years ago. Its designation is “Tycho Magnetic Anomaly-1”. Everything becomes clear when they set down and begin walking around the excavation in space suits, and we see that what they’ve uncovered is in fact a monolith, one that is identical to the monolith encountered by the apes… I’m getting the tinglies! I should also not that this scene is a perfect example of the movie’s scientific realism. Not a trace of sound is heard as the astronauts are busy walking about, save for their breathing and the rumpling of space suits. This is in keeping with the physics in the vacuum of space, no atmosphere equals no sound. But then, each of them is momentarily deafened by a huge burst of radio-static that sets their teeth on edge! When it passes, they all look tellingly at the monolith…

Cut ahead to Part III, which is named Jupiter Mission. Here we see the spacecraft Odyssey for the first time as it slowly passes beyond the reaches of the inner solar system on its way to Jupiter. The crew are just waking up and David Bowman, one of the pilots, is busy jogging around the ship’s centrifugal section. His counterpart, Frank Poole, is also up and about soon, and the two are going through some expository things. This includes an interview which they are watching, newscasters back at Earth having sent questions and taken their answers while editing out the time delay. The interview features as segment where they talk to the ship’s computer, HAL 9000, they eerily calm-voiced robot with the red camera eyes. He seems like a swell guy, and boasts that like all 9000 series models, he is error-free. Can you say foreshadowing? We get treated to some more exposition as HAL discusses some misgivings he has about the mission to David, mainly over the amount of secrecy and how its official purpose doesn’t add up.

And then, to get the plot rolling again, HAL announces that he’s found a malfunction in the ship’s main array. The pilots look it over and determine there’s no problem, and the folks back at Earth say the same. Apparently, HAL has made an error! While discussing their options in the privacy of one of the shuttle pods, Bowman and Poole decide that it might be best to shut HAL down and go on without him. But HAL can see them, and reads their lips. We get a nice, big closeup of his big red eye… and are worried! As well we should be, because when Poole goes out to put the array back together, his pod suddenly turns on him. Bowman is then summoned to one of the ship’s terminals and sees a video feed of Poole flying off into space, his oxygen hose broken and his body flailing. He then jumps into another pod, forgetting his helmet, and sails off to rescue Frank’s body. But when he returns to the ship, HAL refused to let him in. “I’m sorry Dave, but I cannot do that…” he says, a line that lives on in infamy! So Bowman decides to take a huge risk and open the ship’s secondary airlock, where he then blows out the pod’s door and is catapulted into the ship’s airlock. Before he can be sucked out again, he grabs hold of the controls and seals himself shut and re-pressurizes the room. While this might sound a tad far-fetched, it was actually very realistic. For one, there’s no sound until air starts flooding back into the airlock. Second, Poole’s body is tossed about like a rag doll by the explosive decompression and he barely survives it (clearly they used a real one).

Strapping into a spacesuit, Bowman then stalks around the ship while HAL tries to “reason” with him. Basically, he’s doing the sanitized, stoic version of begging for his life, and he’s right to because Bowman’s first stop is HAL’s circuit room. Slowly, HAL begins to shut down as David pulls more and more of his components out. A frightening scene, as we are basically witnessing the AI’s version of being lobotomized. As its happening, he keeps saying “I can feel my mind going…” until he finally breaks down and begins singing “Daisy” in a faltering voice. When Bowman is finally done, one of the monitors come on with a transmission from Earth. As if there could be a worse time, the true nature of the mission is now being explained. Seems the monolith on the moon was sending out a transmission, and its destination… Jupiter!

Thus begins the final part of the movie. The title is certainly indicative: Jupiter and Beyond the Infinite. This entire section is strictly visuals, that same frightening music in the background, and not a touch of dialogue. The entire climax is told with the special effects and facial expressions, conveying incredible awe, wonder, and terror. Thankfully, Clarke’s novel version told audiences what they needed to know. Essentially, Bowman has arrived within the vicinity of Jupiter’s Jovian moons, and found yet another monolith! This one is bigger, much, much bigger. And it appears to be moving around in response to his presence. When he gets close to it in one of the Discovery’s pods, it pulls up horizontally, its black profile disappearing into the dark of space. The camera then pans upwards, and a visual light show begins. We are told in the novel, and the second movie, that Bowman’s last words before “disappearing” were: “My God, its full of stars!” Like I said, no utterances in the movie, Bowman simply seems to have entered the monolith and is shooting through space and time. We get several stills of his face frozen in looks of terror, the colors becoming vivid and changing drastically with each frame. He also seems to be seeing incredible things, things that the audience can only guess at. But, for my money, he appears to be witnessing the birth of stars, the formations of planets, and the beginnings of life itself. In technicolor!

Finally, the light show ends and Bowman appears to be hovering over what appears to be an alien landscape. The colors are still psychedelic, but everything returns to a normal chromatic pattern when he finds himself inside a some kind of living space. At first, he’s himself, in his spacesuit walking around. He then sees himself change into an older man, eating a meal at the table, then transitions to the bed where he is a very old man and clearly near death. He then looks up and sees himself as a child still in the womb. More curious visuals the audience is left to puzzle over. Is he witnessing his own lifespan, or is this a metaphor for his death and rebirth as something new? According to the novel, the latter appears to be the case. He’s not sure why or even how, but making contact with the monolith has changed him. He’s become The Star Child, and he can see home from where he now sits. Earth, the moon, the stars, and the entire cosmos. Much like the apes who had undergone a great change in their own time, he too has achieved a cosmic leap in evolution, all because of his contact with an artifact that no one can even begin to understand.

As I’ve said before, this movie was masterfully done in the way it relied on visuals and music to tell the story. This was not always easy considering how complex the material was and how deep the themes ran. Almost without words, Kubrick and Clarke told said volumes about human evolution, consciousness, evolution, technology, and artificial intelligence. And it all ran together, in spite of what you might think. HAL’s malfunction was no stray commentary on the dangers of AI. If anything, it was a commentary on the dangers of intelligence, as personified by the apes who suddenly became very violent once they learned how to use basic tools. Bowman’s death and transformation was also a commentary on this process of evolution, how it can be painful and sometimes might involves a great deal of loss. And last, but certainly not least, there is the awe and wonder of it all. Nothing frightens more than the unknown, and nothing fails to inspire us more. But always there is danger in peaking around those corners. And what better way to personify this danger than through a big, black, monolith? Yep, I tell ya, those towering, featureless shapes still inspire fear and intrigue for me today. As does the classical store! If you haven’t seen it, do so. And for the love of God, do it sober! You need to be clear of mind to appreciate all the nuances of this movie. Never mind that it was made in 1968 and many people were high when they first saw it!

2001: A Space Odyssey:
Entertainment Value: 7/10 (bit slow, can be incomprehensible at times too)
Plot: 10/10 (oh yeah!)
Direction: 10/10 (double oh yeah!)
Total: 9/10

Of Clarke and his Odyssey’s

2001_Space_StationNo doubt about it, 2001: A Space Odyssey was one of the coolest, most memorable, and enduring movies I ever saw. Strange, considering there wasn’t that much dialogue in the film, and some would say that not much happened. But that’s the thing about Kubrick movies, they are very subtextual. And of course, Clarke’s involvement can not be minimized. But I’m here to talk about Clarke specifically, and the many books that came out of this screenplay that he and Kubrick created.

For starters, the books were quite different from the original movie. They contained only trace elements of the fear and intense awe that were there in the original movie. In fact, Clarke can be accused of being quite dry, in my opinion, his books somewhat technocratic and devoid of a lot of the complex emotions human beings are known to have. In fact, I was generally disappointed with the ending he wrote, how astronaut Frank Bowman was perfectly okay being whisked millions of light years away from home and transformed into the “Star Child”.

2001One would think that a person’s psyche would shatter under the strain of knowing that they were being transported across the universe, never to see home again. One would also think that a process of metamorphosis, whereby a human being was being forced to leave behind their corporeal body in favor of some higher form, would be absolutely terrifying. One would think that, but nope!

Still, Odyssey’s main strength lay in its scientific explorations of a future world as well its explorations of extra-terrestrial intelligence. The idea of an alien race that was so advanced and evolved that it had effectively left its bodies behind was groundbreaking, as was the idea of a monolith. The perfectly proportional shape, rectangles laid out in a ratio of 1:2:3; much better than bulky spaceships and little green men I must say!

Also, the story introduced the world to Hal, the AI who, thanks its exposure to human intrigue, becomes homicidal, all the while with that perfect, clinical manner of his! Frightening as he was in the movie, the book contained more depth and drew out the conflict between him and Bowman. In the end, Hal tried to decompress the ship when he realized he had lost control of the mission, which was much more effective than the rather truncated flow of events that happened in the original screenplay.

2010_cover2010: Odyssey Two, was similarly interesting. In this installment, a second mission is mounted to discern what came of the first. They discover the ship, reactive Hal, and learn that the secrecy surrounding contact with the Monolith was what drove him nuts and was the real purpose of the original mission. Ultimately, it is realized that the alien presence around Jupiter has to do with the moon of Europa, which was featured prominently in the original story because of new discoveries being made about the planet at the time.

For those who don’t know, it is widely believed that life exists beneath Europa’s outer crust, composed of ice and rock, since the oceans that lie beneath are warm from Jupiter’s intense radiation and magnetic field. As a case of art imitating life, Clarke decided that in his second book, the reason for the monolith’s presence around Europa – facilitators, if not creators, of life – was to help the natural process of life along.

2010_3By turning Jupiter into a second star – scientists have long known that the gas giant could have become a star if things had happened marginally different in our solar system – Europa’s ice crust melted, atmosphere formed, and life was able to crawl from its oceans. The book also reintroduced Bowman to the story, who is now a living entity inside the monolith around Europa.

After communicating with the crew, letting them know that “something wonderful” is about to happen and they need to leave, he disappears, only to show up near the end and invite HAL (who’s about to die when Jupiter goes Nova) to come with him. By the end of the story, Bowman and HAL, speaking from the Monolith, warn humanity never to go to Europa. The monolith’s experiment in life is to flourish freely there, they advise, without human interference.

2010_4In the movie adaptation, there’s also a saccharine bit about how the Cold War powers should live in peace, but that was thrown in there for the sake of the 80’s audiences who were still dealing with the Cold War. Much like most of the US-Soviet competition that characterized the movie, it never made it into the original book.

Then, years later, Clarke wrote Odyssey Three, his third installment in the series. Set in 2061, this book was again inspired by real events, the return to the Solar System of Comet Halley. Since it was not scheduled to return until 2061, he set the book in that year and began writing about a mission to go study it up close, during which time they will be doing a flyby of Europa. So Floyd, the main character of book II, a “celebrity guest”, goes on this mission with a new crew.

2061_odyssey3The main purpose is to investigate Halley’s comet, but the main story thread picks up when scientists on Earth and nearby Ganymede notice a new mountain that has formed on Europa (“Mount Zeus) which cannot be a volcano because of its asymmetrical nature. For reasons that are never fully-explained, the mission is hijacked and the crew become stranded on Europa.

During a rescue attempt, Floyd’s son, Bowman’s grandson, and the Afrikaaner character see the monolith on Europa and a wreck of a Chinese ship that tried to investigate earlier, in defiance of the monolith’s warnings. They see the monolith and the mountain confirm that it is, in fact, a giant diamond, a piece of Jupiter that broke off when it went nova and landed on the moon. All of this is consistent with scientific articles of the time that said that Pluto and Neptune had diamond cores, the result of carbon compression, and that the same was probably true of Jupiter.

In the end, the crew is rescued, Bowman makes an appearance in the dreams of a few people, and they come to realize that his consciousness now resides inside the monolith. The mountain also disappears beneath the surface of Europa’s ice. From all this, it is now clear that Europa is evolving, that Bowman and HAL are still alive in some form, and that a monolith is there, acting as guardian and watchman to the whole process.

3001Then, to finish things, Clarke wrote 3001: The Final Odyssey. This book I read when I was about twenty, at a time when my literary and critical reading skills were being honed by some seriously awesome teachers and course loads. Perhaps because of this, or because Clarke changed things up drastically in the last book, I was very disappointed.

Quick synopsis, the character of Frank Poole, the astronaut who was killed by HAL in book I, is brought back. His body floats back into the Solar System after having done a circuitous route to the outer rim, and since it’s 3001, they are able to revive him. The first half of the book is then spent showing Poole how different the future is, revising Clarke’s predictions about stuff that happened in the book 2001 but not in real life, deals with all kinds of millennial themes (since the book was written just a few years shy of 2000 and is set just after the third millennium), and asserts the rather weak conclusion that a person from 2001 would have little trouble adapting to life in 3001, as opposed to someone from 1001 adapting to 2001.

Why? Because by 2001, most things that will become a reality by 3001 would be being postulated. Now this I found weak for a few reasons. First, it assumes that what we predict will be taking in 3001 actually will. It assumes that progress is a completely linear thing, that history is devoid of repeats or regression, and is generally an example of Clarke’s technocratic mindset. It also manages to gloss over the fact that Clarke was wrong about most of his predictions for 2001.

For one, the Cold War didn’t continue into the future, commercial space travel was not invented, there were no colonies on the moon, and there were no exploratory missions to the rim of known space. These he attempted to minimize by saying that these things were at least in the planning stages. Yeah! In the same way that a trip to the Moon was in the planning stages during H.G. Wells time, but that didn’t make it close!

space_elevator_liftAnother major disappointment of the first half is the fact that the technological innovations he mentions look like they were ripped directly from Star Trek! For one, they have holodecks (or a close approximation)! They have brain caps they wear that download information directly into your brain. And (this one was my favorite!) genetically engineered dinosaurs that do manual labor! …WHAT??? Are you freaking kidding me?!

To make that worse, he throws in a bit about Poole was surprised to see this, even though he saw all the “Jurassic movies” as a kid. This, along with several other pop-culture references in the first half, made we want to gag! To be fair, its hard to write a book about the near future, especially over and over while the actual future is taking place. But these kind of revisions, penciling in the things that happened in real life, is just annoying! If anything, the real historical record should be minimized in the background.

Much like his talk of all the scientific feats that didn’t happen, it was probably something that should have been tacitly dealt with, but not talked so much about. Oh, and of course, his comments on religion. The way Clarke saw it, humanity had created a universal church in the future after the fall of Christianity. He figured that at some point in the future, the Vatican would open up its archives and it would subsequently fall in the same way the Kremlin did when it did the same. Are you kidding me?

world_religionsSure, its a neat parallel, but everyone already knows the church’s crimes, they’ve been documented endlessly. And the archives aren’t exactly sealed, they’re just not open to the general public. So what would opening them to the public really change? Furthermore, to suggest that humanity could do away with faith because technology meant it no longer needed it is both shallow and naive. It’s the same kind of dogmatic thinking that goes into fundamentalism, that asserts that humanity can’t live without religion because it would be totally lost without all its dogmatic signposts and explanations.

My own theory, humanity’s need for faith, as with everything else, is ambiguous and will not be subject to any one influence. Chances are, we will never outlive our need for spirituality, but that does not mean we can’t live without specific institutions. And we will NEVER be able to invent some bland, universal, all-inclusive faith. Not that we won’t attempt to, but chances are it will fail.

But I digress… the second half of the book deals with Poole deciding that he wants to go to Europa to see what became of HAL and his old colleague. So he goes, and unlike other ships that have tried and failed, he makes it. Then comes more disappointments, Frank and HAL are not transcendent entities as was suggested in previous books. They are merely downloads, digital copies of their original selves preserved inside the monolith – which isn’t a conscious being but is itself a computer. BORING!

2010_jul2012-a4After all that talk about intelligence and reaching the next great leap in cosmic evolution, this is what it all turned out to be? Bits and bytes in some big storage machine? And then there was the status of the Europan’s. Basically, that too, contrary to the hopes inspired by previous books, hasn’t gone so well. The Europan’s chemical and biological makeup, it is revealed, does not inspire confidence. The lifeforms are too basic, too slow and stodgy, to ever evolve into dynamic intelligent beings it seems.

So humanity won’t have counterparts then, children from the “other sun” to deal with in the future? ‘Nuther big letdown man! Well, the book wasn’t over so I went on reading. After all this slow build-up, we finally come to the climax of the story. Turns out, the monoliths are coming back to the Solar System. Why? The last transmissions they sent out were over 900 years ago, back when humanity was contemplating its own nuclear annihilation and breaking the quarantine on Europa.

Jupiter Moons MonolithThis causes the monoliths to conclude that humanity is too aggressive, an experiment gone wrong. So… humanity needs to prepare. They look at all weapons they have in their arsenal, but could possibly stop the monolith’s, a race eon’s older? They opt for a computer virus, another attempt by Clarke to pay homage to the time in which he was writing. They download the virus into the monolith on Europa in the hopes that it will transfer it to the others that are on their way.

Frank and HAL are meanwhile stored in a data crystal to preserve their identities, and before everything hits the fan, it all stops. The monolith’s get the virus, doesn’t really effect them, but they see that humanity has changed since they last saw them and decide to give them more time. Kind of a letdown. The final words, that humanity is still young and their God “still a child”, and they will be granted a reprieve until “The Last Days” were kind of chilling, but it still felt like an abortive climax.

Thus ended the Odyssey series. Some attempts have been made to keep it going by fan-fiction authors, but the less said about them, the better. Nothing worse than fan-fic’s who try to keep a series going after its creator retired it (see Dune and it’s Descendants for more on this point!). And while I was disappointed with the ending, I do think the series was very enjoyable and worthwhile overall.

268170-akira06_superSome of the concepts, transcendence, ancient species, directed cosmic evolution, were all picked up on by some of the best sci-fi minds, not the least of which were J Michael Straczynski (creator of Babylon 5) and Katsuhiro Otomo (creator of the cyberpunk anime Akira). Where he was weak was in his fundamental understanding of human beings and history; how he felt that people are mere subjects to technological evolution and would continue to progress on a linear pattern. Human beings are certainly affected by technological change, but that change is not altogether positive.

In fact, the changes it engenders are often negative and lead to backlash and rejection as a result. Far from replacing religion, technology is often seen as a substitute religion, inspiring the same kind of mindless devotion as fundamentalism, or encouraging people to revert to simple beliefs in the hope of being delivered from its cold rationality. These are the kinds of things I would hope for in any investigation of the future, the social as well as technological upheaval and how they were connected, or at least a balanced look at these kinds of issues.

But Clarke is not that type of guy, he’s a futurist so it’s naive of me to expect it from him. In the end, he got me thinking, both in tune with his thoughts and against them, so I have to be thankful. In the end, that’s what good author does, gets your mind going and your blood pumping. And he left an enduring legacy, many titles to his credit and millions of people inspired by his word, so I say kudos to him! Thanks for all the memories and inspired thoughts, Mr. Clarke. Hope you found a quiet place amongst the stars now that you’ve transcended that final barrier. Rest in peace, Star Child!