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But there's more to it than that. A lot more. How about the years'-long wait for Act IV of Starship Exeter : "The Tressaurian Intersection"? Or Yorktown: "A Time to Heal" — an attempt to resurrect an aborted fan film from 1978 starring George Takei? For fans of old-school Star Trek (the ones who pre-date "Trekker" and wear "Trekkie" as a badge of honor), not since 1969 has there been a better time to watch Star Trek: The Original Series.
(Oh, and there's plenty content out there for you "Trekkers" and NextGen-era fans. It all varies in quality, but it doesn't take much effort to find them. This is truly a Golden Age. Recognize it and enjoy it while it lasts.)
1) Mars doesn't have any life on it at all. And now, it's looking more likely that there could be bacteria living beneath the surface. 2) There would be enough of the chemical compounds we need to survive. 3) There's nothing poisonous to us on the surface. In fact, the surface is covered with perchlorates, which are highly toxic to humans, and the original Viking mission did not detect these. "It's no longer a simple matter," Robinson says. "It's possible that we could occupy, inhabit and terraform Mars. But it's probably going to take a lot longer than I described in my books."
The Golden Age science fiction publishing market was heavily geared toward magazines and short stories. And then suddenly, there was this huge demand for tons of novels. According to Andrew Liptak, this left many science fiction authors caught in a hard place: Many had come to depend on the large number of magazines on the market that would pay them for their work, and as readership declined, so too did the places in which to publish original fiction. The result was an innovative solution: repackage a number of preexisting short stories by adding to or rewriting portions of them to work together as a single story. This has its advantages; you get more narrative "payoff" with a collection of stories that also forms a single continuous meta-story than you do with a single over-arching novel — because each story has its own conclusion, and yet the story builds towards a bigger resolution. Fix-ups are a good, representative example of the transition that the publishing industry faced at the time, and how its authors adapted. Liptak says, "It's a lesson that's well-worth looking closely at, as the entire publishing industry faces new technological challenges and disruptions from the likes of self-publishing and micro-press platforms."
For example, in The Wages of Humanity, visitors from space demand the redistribution of Earth's wealth, and explain that runaway capitalism almost destroyed their civilization. In Taking Care of Gods, the hyper-advanced aliens who, billions of years ago, engineered life on Earth descend from their spaceships; they turn out to be little old men with canes and long, white beards. "We hope that you will feel a sense of filial duty towards your creators and take us in," they say. "I doubt that any Western sci-fi writer has so thoroughly explored the theme of filial piety," writes Rothman. In another story, The Devourer, a character asks, "What is civilization? Civilization is devouring, ceaselessly eating, endlessly expanding." But you can't expand forever; perhaps it would be better, another character suggests, to establish a "self-sufficient, introspective civilization." "At the core of Liu's sensibility," concludes Rothamn, "is a philosophical interest in the problem of limits. How should we react to the inherent limitations of life? Should we push against them or acquiesce?"
Continues has two more days to go in their Kickstarter campaign. They have already raised enough money to produce two more episodes and meet their first stretch goal: creating a set for Engineering. They're also bumping up against their next stretch goal: creating a planet set so the Continues Enterprise team can visit strange new worlds and experience the tragic loss of nameless redshirts.
Turning serious science fiction into a literary genre ranks among Ballantine's greatest feats. Prior to Ballantine Books, science fiction barely existed in novel form. He changed that with the 1953 publication of "Fahrenheit 451," the firm's 41st book. "That was obviously a key moment in the history of science-fiction publishing," Glass says. In 1965, when Tolkien's rights to his "Lord of the Rings" trilogy lapsed, Ace Books published his books without paying royalties and Tolkien responded by conducting a personal campaign against Ace. Tolkien began to urge the fans who wrote to him to inform them that the American copies were pirated: "I am now inserting in every note of acknowledgement to readers in the U.S.A. a brief note informing them that Ace Books is a pirate, and asking them to inform others." Ballantine quickly bought the rights and included Tolkien's back-cover note: "Those who approve of courtesy (at least) to living authors will purchase it and no other.""