#sci-fi

jakob@pod.orkz.net

Work team 5

Just finished this work. A bit gloomy, I know. Things out in the world are depressing enough, but here it is. Now that it is official that my old profile is gone I feel a bit homeless, but if you use the #katharsisdrill tag the latest things should show up...

The high resolution version can be found on my website: Work Team 5

The girl to the far right is taken from a photo of child workers - heart breaking and sadly not history yet.

#art #mywork #krita #Katharsisdrill #childlabour #sea #sci-fi #sciencefiction

wurstaufbrot@pod.geraspora.de

Immortal

#Streaming, #Animation, #Sci-Fi. UK, 2004, 102 min

Regisseur: #Enki #Bilal

2095 hat #Horus - der Ă€gyptische Gott des Lichts, der in einer schwebenden Pyramide ĂŒber New York wohnt - nur noch sieben Tage zu Leben. Damit sein Tod nicht das Ende seiner Existenz bedeutet, möchte er einen Nachkommen zeugen.

thefifthseason@venera.social

Tales from the Loop (TV-Series)

Image/photo

The townspeople who live above "The Loop," a machine built to unlock and explore the mysteries of the universe, experience things previously consigned to the realm of science fiction.

https://www.imdb.com/title/tt8741290/?ref_=fn_al_tt_1
https://www.youtube.com/watch?v=fIUb8P-Dvzo (Trailer)- - - - - -

My-oh-my such a wonderful production. Lovely setting and story telling. Now, this is a slow paced tv-series so you got to make time for it. If you do you'll be well rewarded. Here you get cool inventive science fiction flicks woven into a calm everyday life tales of people. It is a thoughtful tv-series, full of feelings. Each episode is unique, different theme and sci-fi influence, yet all episodes weave together. A gem for sure.

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#TV-Series #TalesFromTheLoop #Sci-Fi #Drama

mikhailmuzakmen@pod.geraspora.de

#music #experimental #electronic #radiophonic-workshop #sci-fi #score

La PlanĂšte Sauvage by Stealing Sheep and the Radiophonic Workshop

  • RenĂ© Laloux’s celebrated 1973 sci-fi animation ‘La PlanĂšte Sauvage (Fantastic Planet)’, is overhauled with a re-imagined soundtrack by electronic modernists Stealing Sheep and legendary sound innovators The Radiophonic Workshop. This exclusive release is part of Fire Records’ re-imagined score series, and is released on Delia Derbyshire Day 2021.
christina_engela@joindiaspora.com

Christina Engela Interview With Robb Wallace

This was an interview conducted by Robb Wallace, published on October 16, 2021.

Christina Engela Author Bio:

Christina Engela, one of South Africa’s most unique, prolific and skilled storytellers, has already written and published numerous fiction and non-fiction titles and is best known for her creative sci-fi stories and realistic characterization. The Port Elizabethan writer brings a wealth of personal experience to each of her stories, and with more than one new offering in the pipeline at any given time – and new titles being made available in audiobook format, the future is bound to be busy for her fans! You can find out more on ChristinaEngela.com

christina-engela-interview-image

Check her out at Moon Books Publishing!

Get “Blachart” – book 1 in the Galaxii Series by Christina Engela on Audible now, audiobook narrated by Nigel Peever!

You can find out more on ChristinaEngela.com

“Christina Engela is a South African editor and author of horror, fantasy and science fiction novels. Her books are never short of suspense, adventure and humor, while her colorful characters and thought-provoking settings take readers into another world, making her one of the most gifted and creative storytellers. A firm supporter of the LGBT community, Christina believes that Sexual and Gender Minority characters aren’t reflected enough by authors due to a number of reasons. As such, Christina’s writing isn’t stereotypical, and her characters aren’t stereotypes, regardless of their sexuality or gender.” – Booksradar.com, June 21, 2021.

https://www.booksradar.com/engela-christine/engela.html

An interview with science fiction author Christina Engela

About Christina Engela (Who, why, when, where, what):

Q: Tell us something about your books, including your genre and your characters and/or themes.

A: My primary genre is science fiction. My usual style is that of space opera, with a good deal of action and adventure thrown in, also including elements such as suspense. I also include touches of horror and fantasy for good measure.

My lead characters tend to be heroic inspirational types like Mykl d’Angelo or Joe Lofflin, and sometimes they’re anti-heroes like Blachart the Corsair. While my leads generally fall somewhere on the LGBT spectrum, this is not always the case. For me storytelling is about the people and their issues and obstacles and how they overcome them. That’s why I don’t write high science fiction – for me, sci-fi is more about the adventures of friends living in a distant different future than about explaining the fine details of how future tech works!

Q: Where are you based?

A: I live in the city of Port Elizabeth, on the South-eastern tip of Africa, in a country called South Africa. I was born here nearly 50 years ago – and unless something goes incredibly right, I’ll probably die here too!

Q: Latest releases and upcoming titles?

A: My latest print/eBook release was a novel called “Mirror, Mirror” (2019). I just finished the first draft of another novel, “Sentinel”, which is book 4 in the Galaxii Series, but that will need to go through the editing process before anyone sees it! A few of my books have begun to appear in audiobook format – the latest is “Black Sunrise”, book 1 in the Quantum Series narrated by Darla Middlebrook. She’s still busy with book 2, which should be coming out shortly.

Q: What are you currently working on?

A: I usually work on several books at once – it tends to keep things more spicy that way, don’t you think? I just finished “Sentinel” last week, and I’m still busy with “The Song Of The Drillipede”, “Underground Movement” (Quantum book 7) and “Where Darkness Softly Treads” (Galaxii book 5). I also have a horror story lurking ominously in the background that needs finishing (shivers)! Its working title is “Pets”.

Q: What inspires you to write?

I’m not so sure “inspires” is the right word. For me writing is more than that – it’s a drive, an obsession almost. Inspiration is just about WHAT I write
 I’m almost never happier than when I’m deep in thought behind a PC typing away at a story! Perhaps it’s an escape? Maybe. But what an escape it is then!

Q: When and why did you get into writing fantasy/Sci-fi?

A: To clarify, I don’t write pure fantasy – at least I haven’t yet! My main genre is sci-fi, but I blend sci-fi with elements of fantasy. The same is true for horror.

It was in about 2005 when I wrote the first book in the Quantum Series, “Black Sunrise” that I first started to blend elements of other genres with sci-fi. Yes, it’s set in a sci-fi framework, but there’s a lot of fantasy elements in the series – from the character of Fred the Arborian, who’s an alien walking, talking pot plant who causes drama and theatrics wherever he goes – to critters like the crabby-grass that roam the sidewalks and parks of Atro City, to the strato-penguins that fly high overhead, with the occasional straggler exploding if it strays too high. In later books, Vampires have also made the occasional appearance, and they begin to feature quite strongly from book 5 onwards.

In my third series, “Panic! Horror In Space”, I blend sci-fi with horror to create a satirical look at how people in a higher tech future would deal with paranormal events such as hauntings and things which so far defy scientific explanation – like zombies for example! Naturally, there’s a lot of comedy in this series because it’s meant to be a parody. There are also serious parts, and there are things in there which do truly frighten me!

Q: Who are your favourite sci-fi/fantasy writers/authors?

A: That would have to be Harry Harrison and Terry Pratchett!

Q: What is your favourite fantasy series and why?

Terry Pratchett’s Discworld series of course! I’ve always admired his writing technique, his wit and intelligence, and how he tells a story. He also had a way to construct the text so that you could read the same book again and pick up on something new that you missed the last time – which is something I absolutely admire! He told human stories, and his ability to cut through all the pretense and bullshit to expose the core of the matter was remarkable. His character and world-building was intricate and life-like. He could play his audience like a maestro conducting an orchestra. If there were any writer of any period or genre that I could hope to evoke, it would be him.

Q: What is your favourite sci-fi series and why?

A: Star Trek, without a doubt – although Star Wars always seemed to come a close second. Firefly was also right up there with them too! There’s adventure, tech, excitement – but also emotion and depth. It’s not just a bare-knuckle brawl or things blowing up for no reason, it’s about purpose, doing the right thing, helping people, being better. It’s inspirational. Best of all, the tech is based on actual science of the time! I like happy endings I suppose, because if we were to consider the story of our species with all its problems and its history of falling and rising civilizations and failures to reach the stars to attain equality with the gods of old, then Star Trek would be that happy ending.

Q: Who are some of your all-time favourite sci-fi characters? And why do you think they became your favourites?

A: Spock from the original Star Trek of course! I admired his logical mind, his Sherlock Holmes methodology and style – and his abilities to control his own pain and his struggles with his own limitations.

Q: Do you follow any entertainment outside of books? (Video Games, Boardgames, Comics etc)

A: I have a collection of around 2000 comics! I collect a fair variety, and I have most of the Star Trek comics, and also items like Magnus Robot Fighter, Flash Gordon, Buck Rogers, BSG, Space Family Robinson etc. In the graphic novel department, Tintin, Asterix and Lucky Luke are my all-time favorites. I also have a selection of figurines and models spanning the same interests – it’s just a pity that in South Africa most of anything we find here is Star Wars and not much else!

Q: What’s going on in the next few months? Anything on the Horizon?

A: I recently signed with a local publisher called Hally Park, who will finally bring my books into South African book shops in print! This country’s publishing and book selling industry is still steam-powered, and nouveau publishers like Hally Park are likely to break the strangle-hold on indie authors in South Africa! They have a contract to supply books to public schools, so what this brings forward is the likelihood that my books could be appearing in schools in future!

Q: What kind of books did you read that contributed to your upbringing, as far as fantasy and science-fiction?

A: I grew up reading a lot of sci-fi, mostly Star Trek (the TV adaptations of the original series by James Blish). I read those a lot! Also, there was an old series called Tom Swift by Victor Appleton that I enjoyed too.

Tintin was a huge influence on me as a child, and although it wasn’t sci-fi on its own, Tintin and his companions did travel to the Moon in one of their adventures (Destination Moon & Explorers On The Moon), and were saved in another by a UFO (Flight 714)!

Q: Was your upbringing pretty geeky?

A: (Whispers) I loved learning about dinosaurs and science and space travel from books, and read encyclopedias at the breakfast table! When I was 14 I had fifty copies of National Geographic magazine on my shelf!

Q: Do you have a process, do you plan or do you fly by the seat of your pants?

A: I plan the broad strokes of the story, but the finer detail – well, that writes itself!

Q: How has your writing process changed since you first started writing?

A: When I first started writing, it was literally with pen and paper! Since 2003 it’s been digital. This has made revising and editing much easier – and relegated writer’s cramp to the past! Having the internet handy for research has also improved the process.

Q: How long does it normally take you to write a novel, and what proportion of the time is spent doing what?

A: That varies! I worked on “Blachart” from 1991 until 2005 (14 years!) while “Sentinel” (begun in 2020) took just over a year to complete the first draft. The difference here was that I’d started writing “Blachart” in the old-school style – with a pen and paper, rewriting each draft over manually, which is very time consuming and labor intensive! In 2003 I digitized it and then it became much quicker and easier to write and edit my books! In 2005, I wrote the first three books in the Quantum Series in just three months!

Starting a new story for me begins with mentally developing a picture of what I’d like it to be about, then working out how it will influence or fit in with the over-all story arc of whatever series it’s in, and then planning which characters will appear in it. If it’ll be previously used characters, that saves time, but if I need to invent new ones, I spend a little time working out who and what I’ll need, determine their roles and create interesting backgrounds for them, picture their appearances and personalities and so on. Often I won’t know I need a new character until I get to a certain point in the story, and then I’ll do this on the spot!

I generally work on more than one project at a time, so in one week I might work on two or three different books more or less simultaneously. I do this so that I don’t get in a rut; it helps to keep it interesting – and if the writer remains interested, then the readers will too!

Q: What is your favourite part of the writing process?

A: When I hit my stride and I’m typing away furiously, my mind already two sentences ahead of what’s appearing on my screen! It’s a rush!

Q: Have your previous vocations influenced your writing?

A: Definitely. I’ve been a lot of different things in my life, including being a soldier and a computer technician and I have plenty of anecdotes and experiences to enrich my writing!

Q: Do you involve other people in your writing, as collaborators or editors? How do you make this work?

A: Not often, but it has happened! I co-wrote some short stories with Alex S. Johnson, and I assisted Deena Larsen with the translation of her Rose Project into Afrikaans. Collaboration can be very difficult, so there needs to be some form of chemistry between participating writers! As for my own writing, I do it all myself.

Q: As far as writing goes, what do you use? Software, Apps, Hardware etc?

A: For the last decade or so I’ve typed and processed my stories on a succession of laptops which I carry virtually everywhere I go! I use nothing special, just Word to type and format the manuscripts in, PowerPoint to design covers, posters and book trailer videos, and Exel to track and manage sales and distribution.

Q: Do you do a lot of research for each book? If so how do you conduct your research?

A: Define a lot! Ha ha. Well, it depends on the individual book. There might be aspects of the book that I’d need to research, and where my personal experience and my creativity run out, my usual avenue is the internet!

Q: How do you overcome blank writing spells?

A: I start by opening a manuscript I’m still working on, read through it, and then do a little editing – which turns into embellishing – and then (if uninterrupted) this turns into full-blown writing. Honestly, if nobody stops me I might not be seen for hours!

Q: A number of fantasy/sci-fi authors have been known to use art, music, exercise, alcohol and even drugs as a way to find inspiration to enter the zone! Do you use any tools to enter into your creative headspace?

A: I find that music helps.

Q: Do you prefer to write in silence and or have some sort of sound in the background?

A: That depends on my mood. Mostly I prefer to have soft music in the background, usually playing on the laptop I use for writing!

Q: Will your next book be traditional or indie published?

A: “Sentinel” (already completed) will be published exclusively through Hally Park Publishers.

Q: Would you recommend self-publishing to aspiring authors, or would you suggest a more traditional path?

A: Definitely. It’s pointless and counterproductive to sit around and wait for a traditional publisher to accept your manuscript, or to “discover” you. Meanwhile, you could be self-publishing, refining your work, and most importantly, building your audience and your brand!

Q: What sort of input do you give to formatting, cover design, marketing?

A: I edited, formatted and designed covers for my books, and also did most of the marketing. In the case of books distributed through Moon Books or Hally Park, they have either used the covers I supplied with them, or asked me to approve the ones they made to suit them.

Q: What do you do pre and post-release to help get your books noticed?

A: I mention the book and its series in posts and articles, also in my newsletters. I also write articles to promote them and share these all over social media. I promote them to reviewers and then circulate and promote the reviews.

Q: Marketing is so important nowadays, what’s your best advice to fellow authors?

A: Get rich some other way 😉 Write for the love of it. Marketing consumes all your free time which would be better spent writing more.

Q: How did you decide the pricing of your material; how did you go about promotion/advertising and distribution of your work?

A: Since I live in South Africa and most of my book sales are via the internet, the income is calculated in USD. The Rand-Dollar exchange rate is pitiful really, so in terms of sales this is the only time it benefits me at all! For every $1 I get in royalties, that works out to around R15 – so conversely what I decided to do was price my eBooks as low as I reasonably could. To determine a base-line price I researched similar books by other authors and then set what I felt was a reasonable low price for my books! In most cases, my books go for around $2.99, which I think is quite cheap! Even in South African Rands, it only works out to about R60, which is far cheaper than some other similar novels in eBook format!

As for marketing and promotion, I was always a firm believer that this should be handled by publishers – but I’ve had to roll with the punches, and accept that this simply doesn’t seem to happen anymore. My US publisher has run a few Facebook ads in the past though it’s hard to gauge how effective that has been.

When it comes to spending power, the currency conversion rate that worked in my favor in terms of earnings, now works against me in this department as the ‘only $50’ asked by some internet marketers works out to R750! The worst part is, that’s per title, not per author – and I have over 30 titles I need to market! The $3000 per title asked by others at the opposite end of the scale works out to R45,000! (Plop!) I have no idea what sort of person thinks a poor struggling author could possibly afford to pay fees like that, but what I do know is, they’re delusional! Consequently, I had to learn to do marketing on my own, picking up tips here and there and figuring it out as I went along. Honestly, there’s only so much you can achieve with free marketing.

Q: Advice on making an impact in today’s busy Scifi and Fantasy markets.

A: It’s so difficult to stand out in todays’ crowded markets! There are so many writers out there all peddling their stories as unique and creatively different or innovative – and readers really are spoiled for choice! The only thing, I think, writers can hope for without having the power of a big publishing or advertising company behind them, is to stand out enough to have their own little niche audience form around them.

Q: Must-read sci-fi novels?

A: “The Stainless Steel Rat” and “The Technicolor Time Machine” by Harry Harrison, “The Door Into Summer” by Robert Heinlein.

Q: Must-read non-sci-fi novels?

A: The Discworld series by Terry Pratchett, “Riotous Assembly” by Tom Sharpe (in fact, anything by him!)

Q: Most prized book in your collection?

A: My Tintin and Asterix books!

Q: Do you read digital, paperback or hardback or do you listen to audiobooks?

A: I’m not too picky! These days cost is a factor, so being well-aware that eBooks are cheaper, I often read those – and I don’t blame other readers for doing the same! EBooks are easier to read in the dark, after all – or on the move! I like audiobooks too, especially the ones that have sound effects and lively narration! They remind me of the dramatized radio shows I grew up listening to!

Q: What are some difficulties you’ve experienced in your writing career; how do you handle book critiques/criticism?

A: My first traditional publisher was a small press that made me take down all my self-published books – and then spent the next two years putting up just two of them. In the meantime I lost goodness knows how many sales while I waited for them to edit, format and design new covers for those books
 and I also had no items to link to in order to promote! In short, while I waited, the reading world forgot about me. During the time I was with them, the publisher did zero marketing other than for their own staff members books; my own books were not promoted at all other than an initial announcement at release, and when I asked about marketing I was gruffly told “that’s how the publishing industry works”! In addition, they were as transparent as concrete about sales – and every time I made enquiries, I was rebuffed or spoken down to. Then after wasting two and a half years of my time, one day out of the blue, they decided to rebrand themselves as a “pure horror” publisher and dumped the rest of their author stable, and me along with them.

Since then I’ve been stubborn about sticking to self-publishing and distrustful (and even resentful) of so-called traditional publishers! As a writer one has to be very careful who one signs contracts with! I find indie publishing to be an integral part of the creative process – not only do I get to write the story, I also get to design the cover and layout!

I have since signed with two small press traditional publishers (one in the US and the other in South Africa) – which means that I actually have two publishers at the moment – but I still retain the right to distribute existing titles on my own via my own indie channels as well! That way I don’t need to lose any income (or my internet footprint) while I wait for any promises from said publishers to materialize!

When it comes to book reviews and critics, and even reader reviews, I’ve had good experiences over-all so far! That said, I know sci-fi isn’t for everyone, and even sci-fi that includes a few novelty items like vampires or talking plants isn’t for every sci-fi fan. Mind-bogglingly, some people don’t like sci-fi that contains LGBT characters that aren’t horrible cliché’s or disparaging stereotypes, or which tackle current affairs and social issues head-on, and will take the trouble to leave their comments or send nasty notes via email.

I’ve always rolled with the punches and taken criticism from whence it came. A friend of mine once sagely advised me that ‘there’s no such thing as bad publicity’, so I list all my hate mail on my website for posterity. I visit them now and then for a good laugh.

Q: What are the best experiences in your writing career?

A: Writing itself (of course)! Finishing a new story and looking through it. Announcing to the world that my new book is available. Reading genuine heart-felt and honest reviews of my writing. Stumbling across public comments about my books on websites or forums etc. that I didn’t know about. People I meet in shops asking about my next book. Feeling fulfilled when I look back at one or more of my stories and notice something funny or profound I’d forgotten about.

Q: What are some encouraging words you’d give to another author/writer?

A: Write for yourself, publish for fame and fortune by all means – but never forget who it is you’re writing for.

Get in touch with author Christina Engela:

Website & Social Channels:

My author website & blog – https://christinaengela.com/

Moon Books: https://moonbooks.net/authors/christina-engela/

My Facebook page: https://www.facebook.com/ChristinaEngelaAuthor

Twitter: https://twitter.com/pinkfuzzyninja

GoodReads: https://www.goodreads.com/author/show/3358833.Christina_Engela

Book links:

Amazon: https://www.amazon.com/Christina-Engela/e/B00OBY5PD8/

Barnes & Noble: https://www.barnesandnoble.com/s/christina+engela?_requestid=2972541

Newsletter:

I have a monthly newsletter which is circulated from my website (https://christinaengela.com/)! I also put out weekly updates of goings-on in my life!

Quantum Series <a class=#1 - Black Sunrise by Christina Engela - Cover sml">

Quantum Series <a class=#2 - The Time Saving Agency by Christina Engela - cover sml">

Quantum Series <a class=#3 - Dead Man's Hammer by Christina Engela - cover sml">

Quantum Series <a class=#4 - Loderunner by Christina Engela - cover sml">

Quantum Series <a class=#5 - Prodigal Sun by Christina Engela - cover sml">

Quantum Series <a class=#6 - High Steaks by Christina Engela - cover sml">

When Darkness Calls by Christina Engela - Cover sml

Best Served Cold by Christina Engela - Cover sml

Galaxii <a class=#1 Blachart by Christina Engela - Cover sml">

Galaxii <a class=#2 Demonspawn by Christina Engela cover sml">

Galaxii <a class=#3 Dead Beckoning by Christina Engela - Cover Sml">

Lifetime by Christina Engela - Cover

Mirror, Mirror by Christina Engela - Cover - Small

Panic! Horror In Space <a class=#1 Static by Christina Engela - Cover sml">

Panic! Horror In Space <a class=#2 Life Signs by Christina Engela - cover sml">

Panic! Horror In Space <a class=#3 Dust by Christina Engela - cover sml">


Until next time, keep reading!

Cheers!

Digital Autograph Christina Engela


Catch me on social media!

Facebook | Twitter | LinkedIn | Academia | Minds | Instagram | GoodReads | Author’s Database | Library Thing | YouTube | Pintrest | Stage32 | The Book Marketing Network

All material copyright © Christina Engela, 2021.

#author #autobiography #best-books-with-transgender-protagonists #bio #biography #books #books-with-lgbt-characters #christina-engela #deep #disclosure #ebooks #experience #exploration #fiction #interview #lgbt-heroes #moon-books-publishing #paperbacks #personal #radio-interview #robb-wallace #sci-fi-books #sci-fi-series #sci-fi #science-fiction #science-fiction-audiobooks #science-fiction-books #science-fiction-series #scifi #south-africa #suspense #thriller #transgressive #writer

Originally posted at: https://christinaengela.com/christina-engela-interview-with-robb-wallace/

ramona@framasphere.org

Eine Serie fĂŒr Hacker, Philosophen und Sci-Fi-Fans

Ich möchte euch in diesem Beitrag die Serie Devs vorstellen: https://s.to/serie/stream/devs

Bei der Vorstellung werde ich etwas spoilern, weil die #Handlung am Anfang so verwirrend ist. Man muss die ersten 4 Folgen sehen bevor man einen leisen Verdacht ĂŒber die Haupthandlung entwickeln kann. Wenn du also allergisch auf Spoiler reagierst nicht weiterlesen!

Die erste Folge kommt einem wie ein #Krimi vor, da offensichtlich die Freundin eines Entwicklers herausfinden möchte warum ihr Freund aus heiterem Himmel Selbstmord begangen haben soll. Dies ist sogar ziemlich spektakulĂ€r geschehen indem er sich auf dem Campus der Technologiefirma selbst verbrannt hat. Dabei ist er kurz vorher in das sagenumwogene Elite-Entwicklungsteam "Devs" (Kurzform von Development) berufen worden, dass die nĂ€chste großartige Technologie fĂŒr die Firma entwickeln soll. Jeder Entwickler möchte in dieses Team aber Keiner weiß so richtig was die so machen. Sie haben ein eigenes Labor auf dem Campus, das den höchsten Sicherheitsmaßnahmen unterliegt.

In der zweiten Folge kommt einem plötzlich alles wie ein #Spionagethriller vor und es wird angedeutet, dass es um #Wirtschaftsspionage geht.

Die dritte Folge verwandelt das Szenario plötzlich in einen #Psychothriller weil die Freundin des verstorbenen Entwicklers anscheinend unter psychischen Störungen leidet.

In den weiteren Folgen offenbart sich dann die Rahmenhandlung und was es mit dem Entwicklungsteam Devs auf sich hat. Die Folgen in der Mitte haben teilweise ihre LĂ€ngen und bringen die Handlung nur langsam voran bis sich zum Ende hin alles in einen riesigen Mindfuck verwandelt.

-- Ab hier wird schon ziemlich viel gespoilert und dann das Ende philosophisch betrachtet.--

Beim Devs-Team geht es letztendlich um einen #Quantencomputer, der jedes einzelne Atom simulieren kann. Dadurch kann man dann den Zustand der Atome messen und diesen Zustand dann beliebig in der Zeit verschieben. Damit ist es möglich, in die #Vergangenheit und Zukunft zu schauen. Man einigt sich zuerst darauf, nur die Vergangenheit zu betrachten. Zuerst wird ĂŒberprĂŒft, ob Jesus wirklich gelebt hat und man kann mit Hilfe des Quantencomputers #Jesus am Kreuz sichtbar machen. Die Frage ist jetzt handelt es sich um eine mögliche Vergangenheit oder ist es wirklich die Vergangenheit? Der Projektleiter, der den anderen verboten hat, die Zukunft zu betrachten macht es dann doch selber. Dabei stellt er fest, dass er nur wenige Monate in die Zukunft schauen kann. Das macht ihn natĂŒrlich neugierig und er findet heraus, dass ein ganz bestimmtes Ereignis im Labor des Quantencomputers mit jener Freundin des toten Entwicklers eintritt. Er geht davon aus, dass sie irgendetwas unternimmt, was zur völligen Zerstörung der #Raumzeit fĂŒhrt und dass damit das Universum selbst, ausgelöscht wird und alles aufhört zu existieren. Da er nicht herausfinden kann was genau sie tut sucht er den Kontakt mit der Freundin und eine merkwĂŒrdige Beziehung entsteht zwischen den Beiden. Letztendlich erzĂ€hlt er ihr was er weiß und zeigt ihr den Computer. Daraufhin meint sie, dass sie sich doch nur dem Computer am besagten Tag fernhalten muss und das Universum wĂŒrde nicht zerstört werden. Gesagt getan und es kommt natĂŒrlich wie es kommen muss. Eine Verkettung von ungewöhnlichen Ereignissen oder ein kompletter #Mindfuck fĂŒhrt dazu, dass sie doch zum besagten Zeitpunkt im Labor ist. Letztendlich geht viel zu Bruch und Menschen sterben aber das Universum existiert weiter. Dass Problem vor dem der Quantencomputer stand und warum er die Zukunft nicht weiter berechnen konnte war, dass es nicht möglich war vorherzusehen, wie sie sich in dieser Situation entscheidet. Da ihre #Entscheidung fĂŒr die Zukunft aber wichtig war, konnte der Computer ab diesem Zeitpunkt keine Voraussagen mehr treffen. Damit wĂ€re dann die Existenz des freien Willen nachgewiesen. Das philosophische #Dilemma, das daraus erwĂ€chst ist: Warum konnte der Computer so viele Monate in die Zukunft berechnen? Niemand im nĂ€heren Umfeld hat monatelang irgendeine wichtige weltbewegende Entscheidung getroffen. Alle haben nur ganz normal ihr Altgasleben gelebt, was fĂŒr den Computer einfach vorauszuberechnen war. Was sagt das ĂŒber die #Gesellschaft und unser #System aus, in dem alle nur das machen was man von ihnen erwartet. Sie haben einen freien Willen nutzen ihn aber nicht und das #Leben lĂ€uft ab wie am Fließband wo alle nur kleine RĂ€der im Getriebe sind und sich brav immer drehen ...

Bildbeschreibung hier eingeben


#Serie #Zukunft #Universum #Simulation #Quanten #Computer #Philosophie #Freiheit #Entwicklung #Menschheit #Technologie #Hack #Sci-Fi #devs #Paralleluniversum #Zeitachse #Existenz #Schicksal #Alltag

crenel84@joindiaspora.com

Several years ago, my oldest prompted me to enter a writing contest on Reddit. The end result was Wolf Block. Readers often complain about the ending being too abrupt, a lesson I have tried to learn and apply in later work. I'm considering continuing the story via Kindle Vella, the new/upcoming serial fiction platform that Amazon is rolling out.

If you would like a free copy of Wolf Block, despite knowing the ending is abrupt, you can grab a free copy via BookFunnel. That offer is valid for the rest of this month (April 2021).

#sciencefiction #science-fiction #scifi #sci-fi #free #freebie #freebies #ebook #books #ebooks

lain@joindiaspora.com

"The Ones Who Walk Away from Omelas" by Ursula Le Guin is a short story published in 1973 that won the prestigious Hugo Award. It is a great story worth reading because it relates to our own society.
If you haven’t read it yet, you can do so here:
https://learning.hccs.edu/faculty/emily.klotz/engl1302-6/readings/the-ones-who-walk-away-from-omelas-ursula-le-guin/view

"Quelli che si allontanano da Omelas" Ăš un racconto pubblicato nel 1973, che vinse il Premio Hugo. E' una metafora della societĂ  e della storia, e anche per questo vale la pena leggerlo. E poi, Ăš di Le Guin.

#Omelas #TheOnesWhoWalkAwayfromOmelas #QuelliCheSiAllontananoDaOmelas #UrsulaLeGuin #LeGuin #allegory #shortstory #philosophicaltale #raccontofilosofico #HugoAward #PremioHugo #allegoria #sci-fi #fantascienza

QUELLI CHE SI ALLONTANANO DA OMELAS

Con un clamore di campane che fece volare altissime le rondini, la Festa dell'Estate venne alla cittĂ  di Omelas, con le sue torri fulgide in riva al mare. Il sartiame delle barche nel porto scintillava di bandiere. Per le vie, tra le case dai tetti rossi e dalle facciate dipinte, tra i vecchi giardini invasi dal muschio e sotto i viali alberati, oltre i grandi parchi e gli edifici pubblici, avanzavano le processioni. Alcune erano decorose: vecchi
in lunghe vesti rigide color malva e grigie, gravi maestri artigiani, donne tranquille e ilari che portavano in braccio i loro figlioletti e camminavano chiacchierando.
In altre vie, la musica aveva un ritmo piĂč svelto, uno scintillio di gong e tamburelli, e la gente avanzava danzando, la processione era una danza. I bambini correvano dentro e fuori, e i loro acuti richiami s'innalzavano come i voli incrociati delle rondini sopra la musica e i canti. Tutte le processioni si snodavano verso la parte settentrionale della cittĂ , dove sul grande prato irriguo chiamato Campi Verdi ragazzi e ragazze, nudi nell'aria luminosa, con i piedi e le caviglie macchiati di fango e le lunghe braccia agili, allenavano prima della corsa gli irrequieti cavalli. Questi non avevano finimenti ma solo cavezza senza morso. Le criniere erano intrecciate di nastri argentei, dorati, verdi. Dilatavano le narici o scalpitavano e si vantavano reciprocamente; erano immensamente eccitati, poichĂ© il cavallo Ăš l'unico animale che ha adottato come proprie le nostre cerimonie. Lontano, a nord e a ovest, sorgevano le montagne, che cingevano per metĂ  Omelas sulla sua baia. L'aria del mattino era limpida e la neve che incoronava ancora le Diciotto Vette ardeva di un fuoco d'oro bianco attraverso le distese di aria assolata, sotto l'intenso azzurro del cielo. C'era
abbastanza vento da far garrire di tanto in tanto gli stendardi che delimitavano la pista della corsa. Nel silenzio dei vasti prati verdi si poteva udire la musica che si snodava per le vie della cittĂ , ora prossima e ora lontana ma in costante avvicinamento: una gaia e lieve dolcezza dell'aria che di tanto in tanto tremolava e si raccoglieva e prorompeva nel grande scampanio gioioso.

Gioioso! Come si puĂČ parlare della gioia? Come descrivere i cittadini di Omelas?

Non erano gente semplice, vedete, sebbene fossero felici. Ma noi non diciamo molto spesso, ormai, le parole della gioia. Tutti i sorrisi sono divenuti arcaici. Data una descrizione come questa, si tende a formulare certe ipotesi. Data una descrizione come questa si tende a cercare il re, montato su uno splendido stallone e circondato dai suoi nobili cavalieri, o magari su una lettiga d'oro portata da schiavi muscolosi. Ma non c'era
un re. Non usavano le spade, e non avevano schiavi. Non erano barbari. Non conosco le regole e le leggi della loro societĂ , ma credo che fossero pochissime. Come facevano a meno della monarchia e della schiavitĂč, cosĂŹ facevano a meno anche della borsa-titoli, della pubblicitĂ , della polizia segreta e della bomba. Eppure ripeto che non erano gente semplice, pastori zuccherosi, buoni selvaggi, miti utopisti. Non erano meno complessi di noi. Il guaio Ăš che noi abbiamo la pessima abitudine, incoraggiata dai pedanti e dai sofisticati, di considerare la felicitĂ  come qualcosa di abbastanza stupido. [...]
Come posso parlarvi degli abitanti di Omelas? Non erano bambini ingenui e felici, anche se i loro figli erano effettivamente felici. Erano adulti maturi, intelligenti, appassionati, le cui vite non erano disastrate. Oh miracolo! Ma vorrei poterlo descrivere meglio. Vorrei riuscire a convincervi. Nelle mie parole, Omelas sembra una cittĂ  di favola, lontana nel tempo e nello spazio, "c'era una volta". Forse sarebbe meglio che la immaginaste
come ve la suggerisce la fantasia, ammesso che sia all'altezza della situazione, perchĂ© di certo non posso accontentarvi tutti. Per esempio, la tecnologia? Credo che non ci sarebbero vetture o elicotteri per le vie e sopra le vie: questo consegue dal fatto che gli abitanti di Omelas sono felici. La felicitĂ  si basa sulla giusta discriminazione di ciĂČ che Ăš necessario.
Nella categoria mediana, perĂČ (quella del superfluo non distruttivo, della comoditĂ , del lusso, dell'esuberanza, e cosĂŹ via), potrebbero benissimo avere il riscaldamento centrale, la metropolitana, le lavatrici, e tutti i meravigliosi congegni non ancora inventati qui: sorgenti luminose fluttuanti, energia senza combustibile, la cura per guarire il comune raffreddore. Oppure potrebbero non averli: non importa. Come vi piace. Io tendo a
pensare che la gente venuta dalle cittĂ  piĂč in su e piĂč in giĂč sulla costa sia arrivata negli ultimi giorni prima della Festa su trenini velocissimi e tram con l'imperiale, e che la stazione ferroviaria di Omelas sia il piĂč bell'edificio della cittĂ , benchĂ© piĂč semplice del magnifico mercato agricolo. [...]
Quasi tutte le processioni hanno raggiunto ormai i Campi Verdi. Un meraviglioso odore di cucina esce dalle tende rosse e blu dei mercanti di commestibili. Le facce dei bambini sono amabilmente appiccicose; nella benigna barba grigia di un uomo sono aggrovigliate alcune briciole di torta. I giovani e le ragazze sono montati sui loro cavalli e cominciano a radunarsi intorno alla linea di partenza. Una vecchietta grassa e ridente distribuisce fiori da un canestro, e giovani uomini alti portano quei fiori nei lucenti capelli. Un bambino di nove o dieci anni siede al limitare della folla, solo, e suona un flauto di legno. La gente si ferma ad ascoltare, e tutti sorridono; ma non gli parlano, perché non smette mai di suonare e non li vede, e i suoi occhi scuri sono completamente assorti nell'esile e dolce magia della musica. Finisce, e abbassa lentamente le mani che stringono il flauto di legno.
Come se quel piccolo silenzio privato fosse un segnale, all'improvviso squilla una tromba dal padiglione accanto alla linea di partenza: imperiosa, malinconica, penetrante. I cavalli s'impennano sulle snelle zampe, e alcuni rispondono con un nitrito. Seri in volto, i giovani cavalieri accarezzano il collo dei cavalli e li calmano mormorando: «Buono, buono, bello, speranza mia...» Cominciano a schierarsi lungo la linea di partenza. La
folla lungo la pista Ăš come un campo d'erba e di fiori al vento. La Festa dell'Estate Ăš incominciata.

Lo credete? Accettate la festa, la cittĂ , la gioia? No? Allora lasciate che descriva un'altra cosa.

In un seminterrato, sotto uno dei bellissimi edifici pubblici di Omelas, o forse nella cantina di una delle spaziose case private, c'Ăš una stanza. Ha una porta chiusa a chiave, e non ha finestre. Un po' di luce polverosa filtra fra le crepe delle tavole, e indirettamente da una finestra coperta di ragnatele di fronte alla cantina. In un angolo della stanzetta un paio di strofinacci, ancora induriti e incrostati e fetidi, stanno vicino a un secchio
arrugginito. Il pavimento Ú sporco, un po' umido, com'Ú di solito nelle cantine. La stanzetta Ú lunga circa tre passi e larga due: uno stanzino delle scope o un ripostiglio in disuso. Nella stanza Ú seduto un bambino. Potrebbe essere un maschietto o una femminuccia. Dimostra circa sei anni, ma in realtà si avvicina ai dieci. È scemo. Forse Ú nato cosÏ, o forse Ú diventato stupido per la paura, la denutrizione e l'abbandono. Si mette le
dita nel naso e di tanto in tanto giocherella vagamente con le dita dei piedi o i genitali, mentre siede aggobbito nell'angolo piĂč lontano dal secchio e dai due strofinacci. Ha paura degli strofinacci. Li trova orribili. Chiude gli occhi, ma sa che gli strofinacci ci sono lo stesso e che la porta Ăš chiusa a chiave e che non verrĂ  nessuno. La porta Ăš sempre chiusa a chiave; e non viene mai nessuno, solo che qualche volta - il bambino non sa cosa sia il tempo - la porta fa un rumore terribile e si apre e lascia apparire una persona, o parecchie persone. Una, magari, entra e sferra un calcio al bambino per costringerlo ad alzarsi. Le altre non si avvicinano mai, ma sbirciano con occhi impauriti e disgustati. La ciotola del cibo e la brocca dell'acqua vengono riempite in fretta, la porta viene richiusa, gli occhi scompaiono. La gente sulla porta non dice mai niente; ma il bambino, che non Ăš vissuto sempre nel ripostiglio e puĂČ ricordare la luce del sole e la voce di sua madre, talvolta parla. «SarĂČ buono» dice. «Fatemi uscire, per favore. SarĂČ buono!» Loro non rispondono mai. Un tempo il bambino urlava per invocare aiuto, di notte, e piangeva parecchio; ma adesso si limita a piagnucolare, "eh-haa, eh-haa", e parla sempre meno spesso. È cosĂŹ magro che le sue gambe non hanno polpacci; il ventre Ăš gonfio; vive di una mezza ciotola di farina di granoturco e di grasso al giorno. È nudo. Le natiche e le cosce sono una massa di piaghe infette, perchĂ© sta seduto di continuo tra i suoi escrementi.

Tutti sanno che Ú lÏ, tutti gli abitanti di Omelas. Alcuni sono venuti a vederlo, altri si accontentano di sapere che Ú lÏ. Tutti sanno che deve stare lÏ. Alcuni di loro comprendono perché, e alcuni no; ma tutti capiscono che la loro gioia, la bellezza della loro città, la tenerezza delle loro amicizie, la salute dei loro figli, la saggezza dei loro dotti, l'abilità dei loro fabbricanti, perfino l'abbondanza dei loro raccolti e il benigno clima dei loro
cieli, dipendono interamente dall'abominevole infelicitĂ  di quel bambino.
Di solito ciĂČ viene spiegato ai bambini tra gli otto e i dieci anni, appena sembrano in grado di comprendere; e quasi tutti quelli che vengono a vedere il bambino sono giovani, sebbene spesso un adulto venga (o torni) a vedere il bambino. Per quanto la cosa sia stata loro spiegata bene, i giovani spettatori sono sempre scandalizzati o nauseati da quello spettacolo. Provano disgusto, al quale si ritenevano superiori. Provano
collera, sdegno, impotenza, nonostante tutte le spiegazioni. Vorrebbero fare qualcosa per il bambino. Ma non possono far nulla. Se il bambino venisse portato alla luce del sole, fuori da quel posto fetido, se venisse pulito e nutrito e confortato, sarebbe davvero una bella cosa; ma se questo avvenisse, in quel giorno e in quell'ora tutta la prosperitĂ  e la bellezza e la gioia di Omelas avvizzirebbero e verrebbero annientate. Queste sono le
condizioni. Scambiare tutto il bene e la grazia di ogni vita di Omelas per quel piccolo, unico miglioramento: gettare via la felicitĂ  di migliaia di persone per la possibilitĂ  di renderne felice una sola: questo significherebbe veramente lasciar entrare il rimorso tra quelle mura.
Le condizioni sono rigorose e assolute: al bambino non si puĂČ rivolgere neppure una parola gentile.

Spesso i giovani tornano a casa in lacrime, o in preda a una rabbia senza lacrime, quando hanno visto il bambino e fronteggiato il terribile paradosso. Magari ci rimuginano sopra per settimane o per anni. Ma col passare del tempo cominciano a rendersi conto che, anche se il bambino potesse essere liberato, non guadagnerebbe molto dalla sua libertĂ : il piccolo e vago piacere del calore e del cibo, senza dubbio, ma poco
di piĂč. È troppo degradato e scemo per conoscere la vera gioia. Ha avuto paura troppo a lungo per poter essere libero dalla paura. Le sue abitudini sono troppo squallide perchĂ© possa reagire a un trattamento umanitario. Dopo tanto tempo, probabilmente si dispererebbe perchĂ© non avrebbe intorno i muri che lo proteggono, e l'oscuritĂ  per i suoi occhi, e i suoi escrementi su cui sedersi. Le loro lacrime per la tremenda ingiustizia si asciugano quando incominciano a percepire la terribile giustizia della realtĂ  e ad accettarla. Eppure sono le loro lacrime e la loro collera, la prova della loro generositĂ  e l'accettazione della loro impotenza, a costituire forse la vera fonte dello splendore delle loro vite. La loro non Ăš una felicitĂ  svampita e irresponsabile. Sanno che loro, come il bambino, non sono liberi. Conoscono la pietĂ . Sono l'esistenza del bambino e la conoscenza della sua esistenza a rendere possibile la nobiltĂ  della loro architettura, il significato della loro musica, la profonditĂ  della loro scienza. È a causa del bambino che sono cosĂŹ gentili con i bambini. Sanno che se quell'infelice non fosse lĂ  a piagnucolare nel buio, l'altro, il suonatore di flauto, non potrebbe suonare una musica gaia mentre i giovani cavalieri si allineano, bellissimi, per la corsa, nel sole della prima mattina d'estate.

Adesso credete in loro? Non sono un po' piĂč credibili? Ma c'Ăš un'altra cosa da aggiungere, e questa Ăš veramente incredibile.

Talvolta uno degli adolescenti (maschio o femmina) che va a vedere il bambino non torna a casa per piangere o ribollire di rabbia: anzi, non torna a casa per niente. Talvolta anche un uomo o una donna di etĂ  piĂč avanzata tace per un giorno o due e poi se ne va via da casa. Costoro escono in strada e s'incamminano soli per la via. Continuano a camminare ed escono dalla cittĂ  di Omelas, attraverso le bellissime porte.
Continuano a camminare, attraverso le terre coltivate di Omelas. Ognuno va solo, giovane o ragazza, uomo o donna. Cade la notte: il viandante deve percorrere le vie dei villaggi, tra le case con le finestre illuminate di giallo, e procedere nell'oscurità dei campi. Da solo, ognuno di loro si dirige a ovest o a nord, verso le montagne. Proseguono. Lasciano Omelas, procedono nell'oscurità, e non tornano indietro. Il luogo verso cui si dirigono Ú un luogo ancora meno immaginabile, per molti di noi, della città della gioia. Non posso descriverlo. È possibile che non esista. Ma sembra che loro sappiano dove stanno andando, quelli che si allontanano da Omelas.

carnel@pluspora.com

Preview: Mothership

Mothership is a #roleplaying #game of sci-fi horror/survival. It has an old-school element in that it is a collection of rules with an implied background.

That background is kind of like Aliens and Dead Space. The rules allow you to create crew members on a ship that is exploring a huge and dangerous universe.

Core mechanics

The main dice used are d10s are the main mechanism is a d% check as per so many Runequest-inspired games.

The other elements such as saves and advantage and disadvantage will probably be familiar to most people through Dungeons and Dragons though.

Skills

The skills are maybe the most distinctive thing about the system as they are setup in a tree with three tiers where higher-tier skills have prerequisites.

Higher-tier skills cost more to buy and offer a bigger percentage towards checks (which seems like a sensible way of dealing with percentile whiff).

While a bit involved (and with the naturally debatable choices about whether given skills sit in the right tier and have the right prerequisites) I can see that this might be an acceptable balance of crunch with simplicity of play.

Starships

Like skills the rules for Starships are both relatively short while not being simple. You choose the things you want your ship to have and then things like engines and so on are calculated on the basis of your choices.

The entire ship spend then goes towards building the stats for the ship.

It is reminiscent of Black Book Traveller but again has a number of improvements over that system while still benefiting from a calculator. Mainly that it focuses on the outcome you want and then backfills the costs and the calculations.

Art

Mothership is hands-down the best illustrated game of 2018. That's because its art is integral to the content and used not just to illustrate but to illuminate the meaning of the text. This is not merely beautiful drawings that sit alongside the text, here form and function merge and become one. It's beautiful and utilitarian and is setting a new benchmark for me.

Final thoughts

Mothership seems a dense but neat system for playing combat and exploration orientated #sci-fi games. However as a set of rules it doesn't really have a lot to say about horror. It is one of those games which hopes that throwing out a simulationist approach will result in the game it wants. Ultimately there's nothing to explain why horror will happen on the protagonists will get involved in it.

I like Mothership a lot but its going to take a mix of the right idea and the right group of players to make it work.