This last one and a half months or so I’ve been writing essays for Omni magazine on scifi movies, especially those with a space operatic theme, storytelling, mythopoesis, and pop culture, which I’ll be double posting here, along with any additional thoughts I have.
I’ve always been interested in scifi movies for their mythopoetic power, despite the lack of realism and story consistency, and indeed often inferiority next to most print science fiction (or “SF”). The reason I like movies is because cinema brings so much more to the table: special effects, music, actors. and so on.
Also, even though I write in text, I always think in pictures. It’s as if I have a cinema playing my own scifi movie in my head. Hence I always look for inspiration to movies, the visuals, the music, and so on.
I envisage there’ll eventually come a time when any creative person will be able to make a complete movie on their desktop quantum computer (and you’d need a quantum computer because of the rendering and computing needed for movie standard special effects!). In the meantime, we have to make do with either print stories or TV/movies (with some hybrid media like graphic novels, and new emerging independent movie and CGI film-making)
I’m going to be writing less essays anyway, not because I don’t enjoy writing essays (I do), but because I really need to focus on getting my first novel finished in six months.
Oh, and I still can’t figure put how to do realistic hair in Blender.
Here’s the newest version of the Zoneship Alcione. The term “zoneship” is used, rather than the equally appropriate “starship” or spaceship, because the Freehauler Alcioneverse assumes that reality consists of zones, which can be traversed in order to attain FTL (faster than light, hyperjump, whatever) travel. Most “space opera” science fiction uses the basic plot device of some sort of magic FTL drive to span the vast distances between the stars, but the rest of the story is pretty mundane, basically like society and politics on Earth today, or like a technological space-based version of a High Fantasy Earth, but with spaceships instead of naval vessels or freighters, planets instead of cities or countries, and alien races instead of cultures or nationalities. There’s nothing wrong with that, inasmuch as science fiction is often more about the present than the future (attempts to predict the future generally end disastrously anyway, e.g. we have smart phones but not moon bases). But I other worldsthought it would be interesting to incorporate different zones of existence into the story and worldbuilding.
So rather than normal/realspace propulsion and FTL (as is standard e.g. impulse drive and warp drive in Star Trek), I’ve got a magic/handwavium realspace reactionless drive propulsion (because there’s no way to realistically move a twenty million ton starship otherwise) using negative matter/mass/energy/unobtanium, plus hyperspace rotation, plus at least two distinct FTL propulsions, one for paraspace and one for aetherspace.
The spikey mace thingie was originally going to be used to generate the huge amounts of energies needed for the reactionless drive field, and based on Ken Burnside’s torchship design in his Attack Vector Tactical space-based wargame, but when I looked at the illustrations again I noticed they were an open grid. Since I like the medieval feel of this mace thingie, I decided to go the full science fantasy Art Major School of Physics and make it into a propulsion unit for paraspace.
Originally I was going to have paraspace propulsion based UFO disks, a sort of large spinning thing, perhaps attached to the diametric drive ring, or else separate and either at the middle or the end of the ship, but no matter how I drew it, it just didn’t look right.
It seems like UFOs and space opera spaceships are such incompatible tropes that any attempt at synthesis looks ridiculous (well, there’s Star Trek spaceships (saucer on a rocket) and Stargate Atlantis mythology, so maybe it’s not). This is because UFOs are a paranormal, interdimensional, ultraterrestrial phenomenon, possibly some sort of plasma or magnetic field effect when temporarily materialised in realspace, whereas spaceships are a mythological, symbolic representation of modern day things like giant machinery. As I’ve elsewhere explained (on Omni), space opera is just the modern form of epic mythology, and vice-versa. It’s meant to describe this world, only in epic poetic form. Whereas UFOs simply don’t fit with our concept of reason or how the universe works, and in any attempt to explain them rationally is likely to drive you crazy. See for example the works of French astronomer and ufologist Jaques Vallee, specifically Passport to Magonia and Messengers of Deception.
In a sense, but having crazy paraspace universes co-existing with realspace, not just metaphysically but physically, so a ship can transit between the two, I’m “cheating”, in that I’m describing the universe how I’d like it to be in a story, as opposed to how it really is (it may well be that interstellar space is simply too vast to be traversed by physical technology, and this is the reason for Fermi’s Question: where are they?
But that is what story telling is, not so much cheating as creating or rather re-interpreting myths. Other zones of existence then become simply another type of otherworldplace, like other planets, parallel universes, alternate timelines, dreamscapes, and the rest. What makes science fiction, and especially space opera, so cool is precisely its settings and hence the ease it can be used to tell myths, because all myths and archetypes by their very nature require some sort of numinous, imaginal setting; something that is not of this boring, mundane, quotidian world. People who love scifi and fantasy, whether reading it or writing or drawing or otherwise creating it, are those who love and need and crave these other worlds, as an alternative to their everyday stifling boring world.
Which brings us back to the above design. Here I’m incorporating ideas and deckplans I drew up 18 months ago. Since this version of the Alcione is much larger than the original, there’s heaps more space, so the deckplans will only include a small part of the ship.
Originally the Alcione was going to be unarmed, to get away from the repetitive cliches of a lot of military scifi , but I felt she needed some sort of weapons, though I’m thinking of toning it down a bit Make the battle module smaller, or simply a part of another module. That’s why this is called a work in progress.
Science fiction worldbuilding and creative writing works in progress: Freehauler Alcione, is a science fiction space opera,, to be published in installments