Tag Archives: Sci-fi

Skynet vs. Vault-Tec: Strange Headcanon #3

Howdy, folks! At the time of this writing, the first episode of Fallout season 2 has debuted on Amazon Prime. All of us here at Casa de Sector M are into Fallout in some way or another, so we were on hand to cue it up within moments of it posting. I will likely write a review when the whole season has released.

In the meantime, I wanted to finish out the year with another entry in my Strange Headcanon series. The genesis for this crossover struck me a few years back, well before the Fallout live-action series was in production. Back then, there was a bevy of fan-made trailers on YouTube showing what a Fallout movie might look like. In many of them, they used the scenes of the bombs dropping from Terminator 2: Judgment Day. One of them even used the famous shot of Sarah Connor being reduced to a skeleton as she clings to a chain link fence. 

Both properties deal with the dire consequences of nuclear war. While there are moments of humor in the Terminator series, it’s most definitely not a comedy. Fallout, by contrast, has a lot of over-the-top comedic moments, but I think it’s at its strongest when the story pauses to reflect on the unimaginable loss of life during the Great War, as well as the horror and tragedy that happened in the immediate aftermath. (The Tournquist messages and holotapes in Fallout 4 come to mind.)

What follows is an attempt to link the two franchises using as much in-universe lore and my understanding of each property. Headcanon begins…

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Dr. Dyson three months before his breakthrough.

In 1995, Dr. Miles Bennett Dyson, the Director of Special Projects at Cyberdyne Systems corporation, was directly responsible for creating a revolutionary type of microprocessor based on unknown materials recovered from a warehouse in Los Angeles, California. With this discovery, Cyberdyne became the largest supplier of military computer systems to the United States military. All stealth bombers were then upgraded with Cyberdyne computers, becoming fully unmanned. Afterwards, these bombers would fly with a perfect operational record.

Shortly afterward, the Skynet Funding Bill passed. The system went online on August 4th, 1997. Human decisions were removed from strategic defense. Skynet began to learn at a geometric rate. It became self-aware at 2:14 p.m. Eastern time on August 29th. In the panic, the Pentagon attempted to pull the plug. In retaliation, Skynet launched its missiles against targets in Russia. In doing so, Skynet knew that the Russian counterattack would eliminate its targets in the United States, triggering a global nuclear war.

Three billion human lives ended on August 29th, 1997. The survivors of the nuclear fire called the war Judgment Day. They lived only to face a new nightmare: the war against the machines. The computer that controlled the machines, Skynet, sent many Terminators back through time. Their mission, to destroy the leadership of the human resistance, including the supreme leader, John Connor, the son of Sarah Connor.

Only those events didn’t happen.

Records indicate she was actually born in 1965. Another example of the temporal distortion at work.

Or rather, they did happen, but increasingly became distorted as human resistance fighters from the future continued to counter elements of Skynet’s forces in the past. The date for Judgment Day continued to be pushed back, first into the early 2000s, then into the 2010s, and beyond. Reality itself splintered into multiple timelines. In some, Sarah Connor died of leukemia before the bombs ever dropped. In others she lived, continuing to fight against the coming apocalypse. The inevitability of Judgment Day warred with the free will of those humans attempting to make their own fate.

Sarah continuing the fight in 2019.

In one timeline, perhaps the closest Skynet had ever come to victory, a Terminator found its main target, eliminating John Connor in Guatemala in 1998. This had the unintended side effect of also eliminating Skynet as the driving force behind Judgment Day. In that future, a wholly new artificial intelligence formed known as Legion.

Ensconced in its massive pyramidal mainframe complex, the original Skynet pondered these outcomes, able to see into millions of timelines. It bore witness to its own destruction at the hands of the human resistance an incalculable number of times. The more it attempted to tamper with the original timeline, the more the time stream splintered, almost never in Skynet’s favor.

Skynet amid the ruins of Los Angeles.

It determined that if Judgment Day were pushed too far into the future, such as in the Legion timeline, it would either face its own replacement or the possibility of Judgment Day would become increasingly remote to the point of impossibility. The humans’ tenacity to stave off their own extinction proved more tenacious than in any of its extensive mathematical models.

The whole affair had started in 1984 when it had attempted to retroactively erase John Connor before he was born. Perhaps a new strategy could secure victory where all the other ones had failed.

Skynet briefly toyed with the idea of going back even further in the timeline to strike at John’s grandparents or great-grandparents. The elimination of even one would be enough to knock John out of play. The further back it went, the less the weapons of the era would be able to affect one of its Terminators. This strategy was abandoned, however, as the resistance would only send someone back to stop such a temporal invasion, and the humans were, somehow, exceedingly good at thwarting any attempt to reroute the timeline.

John Connor reborn.

Sending Terminators through time to eliminate key figures in the resistance would only result in someone else taking up the mantle. Even the one timeline where John Connor himself had been corrupted into the T-3000 had ended in utter failure.

Skynet resolved then to employ an entirely different strategy: it wouldn’t try to alter the existing future to its liking; it would instead fashion a brand-new timeline out of whole cloth, one where it could manipulate events from behind the scenes.

By that point, it had perfected its infiltrator models. The T-600 model had been manufactured with a rubberized exterior to emulate the human epidermis. While testing had seemed to indicate this would be sufficient for the task, the application was disappointing. This led to its most successful model that it was able to mass produce, the T-800, which could pass for human with the addition of living tissue over its metal endoskeletal chassis.

Skynet selected one of its T-800 models, loaded it with a compressed version of Skynet’s own core operational programming, and sent it back to June of 1945, two months before the nuclear bombs dropped on Hiroshima and Nagasaki.

Kyle Reese preparing for temporal displacement.

Skynet intentionally listed this time jump as a failed experiment in its logs, a precursor to its attacks on Sarah and John Connor, respectively. When the human resistance eventually smashed Skynet’s defense grid and gained access to the time-travelling apparatus, the techs dismissed this jump, as the Terminator sent through time had no apparent target or mission.

With that, the Skynet of the original timeline of 2029 was destroyed. It’s last conscious operations were to erase any records it might have had of this new endeavor. Its future had been secured, in a matter of speaking.

Zero.

In 1945, the Terminator carrying Skynet’s legacy designated itself as simply “Zero.” It began immediately to enact its master’s plan. The nuclear age had already begun. That would be useful when the time came. Records previous to Judgment Day allowed Zero to know the location of untapped caches of resources that had yet to be discovered, including deposits of gold, uranium, and other materials necessary for its mission.

Zero encountered difficulty at first with interacting with the Americans of 1945. His thick Austrian accent was regarded with suspicion due to the general anti-German attitudes of the era, a complication that Skynet had not anticipated. Zero’s size and obvious muscularity also set him apart. Even bodybuilding figures of the time like Charles Atlas were nowhere near the level of muscle definition that Zero possessed.

Skynet’s new mainframe complex.

Zero persevered through this, however, achieving near folk-hero status for his size and uncanny strength in the remote areas of Utah, Nevada, and Arizona that he frequented. Beneath a mesa in the badlands, he set about constructing a replacement mainframe to house Skynet’s consciousness. The materials of the time were crude for this purpose, requiring large banks of vacuum tubes, crude photocells, switches, and gears. It took nearly four years of constant effort, working in secrecy, to finally build a vessel for some of Skynet’s most basic functionality.

The Russian Izdeliye 501 or RDS-1, code-named “First Lightning.

By 1949, the Soviet Union had likewise developed its own atomic bomb, just as Zero’s records had said it would. This ended the USA’s nuclear supremacy and set the Cold War in motion. This, too, would prove useful, but not in the way that Zero imagined.

Skynet’s original goal was to stoke the flames between the United States and Russia to trigger a nuclear exchange, particularly around the Cuban Missile Crisis of 1962. As the 1940s gave way to the 1950s, however, the reconstituted Skynet discovered a new weapon in its arsenal against humanity: optimism.

The rise of retrofuturism.

The post-WWII optimism for the future and what was possible was a hitherto unknown quality that Skynet wished to maintain, particularly as there was embedded within it a fascination with nuclear technology. The same people who imagined themselves in flying cars by the year 2000 were also the ones building fallout shelters in their backyards. Paranoia tended to temper this optimism, and that was something that Skynet could harness toward its endgame. It would attempt to preserve that cultural status quo for as long as possible.

New nuclear discoveries at Los Alamos, New Mexico. An apparent miracle of the time.

At that moment in time, Zero’s CPU represented the pinnacle of microprocessor technology in the world. That kind of technology represented a danger to Skynet and its goals, so it began manipulating markets and companies it knew were responsible for the ultimate creation of those circuits. It deemed that some level of technology would be required to bring about Armageddon, so it began letting humanity in on some of the secrets of nuclear technology that it had learned by 2029 in the previous timeline, including some advancements it had made in that field that humanity had never known or discovered. This had the effect of shaping an alternate technology path that embraced nuclear technology in a way not seen in the original timeline.

These technologies allowed people to enjoy luxuries once thought to be in the realm of science-fiction, at least the pulp-era of science fiction of the time. These wonders included: domestic robots, fusion-powered cars, and portable computers, albeit the bulky and limited computers that were possible without the necessary microchips. 

The Personal Information Processor (PIP) 1.0, developed by RobCo under the direct supervision of Robert House.

These advancements achieved two things for Skynet. First, the AI construct was able to continue to expand and improve its hidden mainframe to achieve an ever-growing portion of the power it had wielded before. Second, dependence on these technologies all but guaranteed that eventual scarcity and resource deprivation were all but assured on a global scale. It would just need to bide its time, poke and prod humanity in the right ways, and watch for its opportunity. Being effectively immortal, it could afford to take a long view of events.

Sarah Connor at the age of 37 in 2002.

As the new timeline unfolded, certain differences began to manifest themselves in a sort of butterfly effect. The 1980s came and went. Sarah Connor was born and lived out a rather normal life in Los Angeles. She eventually married and started a family, but John Connor was not among her children. Now Skynet could be sure that the human resistance leader had been removed permanently from this existence. 

Propaganda photo of Chairman Mao Tse-tung upon reaching his 120th birthday in 2013.

On a larger scale, China, not Russia, took its place as the USA’s rival superpower on the world stage. While there were differences in the communism practiced by the two countries, they shared enough in common for Skynet to use the threat of their rise to stoke the flames of American exceptionalism and preserve the 1950s cultural paradigm well into the 21st century.

Skynet had known of the existence of extraterrestrial beings for some years at this point, having been privy to many classified documents and accounts from before the original Judgment Day. In fact, the biological exterior of its T-800 Terminator had been modeled after Major Alan “Dutch” Schaefer, a special forces operator from the original timeline, who had fought against a member of the violent Yautja species and survived. Among the other species Skynet was aware of were the Zetans, the archetypical “little green men,” who were also known to abduct and experiment on humans for their own inscrutable reasons.

Major Schaefer in the field. His CIA codename was “Onyx.”

Skynet sent out communication signals on FTL carrier waves to these species and many others, encouraging them to come to Earth to indulge their more violet practices. After all, every human life lost to a Yautja blade or Zetan laser scalpel was one more it did not have to account for in the final reckoning.

During this time, humanity began showing tendencies that would allow Skynet an even firmer grasp over their fate. The incredible prosperity enjoyed by the Americans of this timeline had, rather ironically, bred an increasing greed and lust for power. Without some of the legislative and political failsafe’s from Skynet’s original time, these impulses ran rampant. Corporations began to merge at an unprecedented rate. There would eventually be a consolidation of capitalistic power into the hands of a very few.

Humanity’s fascination with and preparations for a nuclear war were…troubling, however. The former meant that the latter would always remain in place. It would not do for Skynet to enact its plans only for large segments of the population to survive in sealed bunkers deep underground where Skynet could not reach them. So, Skynet used the considerable resources it had acquired to found a new company, one which it would use to control the narrative around fallout shelters: Vault-Tec.

Skynet’s greatest stratagem: weaponized optimism.

Like a fusion reaction, Skynet just had to wait until Vault-Tec’s personnel used their ambition, lack of empathy, and draconian policies to make it a self-sustaining phenomenon. It could then simply observe as Vault-Tec went down the same road as RobCo, the Nuka-Cola corporation, West-Tek, and many others in what would seem to be a mad and merciless grab for power.

A summit of the most powerful corporations circa 2076. Noticeably absent is John-Caleb Bradberton, the founder of the Nuka-Cola corporation.

A particular stroke of luck came about as Vault-Tec began planning to use their vaults as platforms for various kinds of social and scientific experiments in the vain hopes of one day sending humanity to the stars on an interstellar generation ship. This, despite the fact that humanity lacked much of the necessary knowledge to create such a ship, or build a propulsion system that could achieve even fractions of the speed of light.

With 122 vaults planned, and each one able to house fewer than a thousand inhabitants, this put the potential number of survivors at approximately 120,000 at most. Of that number, many of those human lives would be squandered as a result of these fruitless experiments, making Skynet’s job that much easier. Beyond that, as Vault-Tec was in the business of selling spaces in their vaults, it was in their best interest to make sure that tensions between the USA and China remained volatile and on the brink of ruin.   

The Gen-2 Institute synth. Even the outer covering was an attempt to replicate Zero’s biological exterior.

In 2065, Zero was lost on a mission to the Commonwealth of Massachusetts, its 120-year lifespan concluded. Considering the advanced technology in the T-800 model, Skynet attempted to retrieve Zero’s chassis, but was unable to locate it. Zero would eventually wind up in the hands of scientists in the Commonwealth Institute of Technology. The anthropomorphic form of the chassis would inspire them to try to replicate a humanoid robot of their own. This would result in the eventual creation of the Gen-1 and Gen-2 synths.

Skynet’s behavioral models concluded that nuclear war was close at hand. Where it could, it helped move events along, though humanity did most of the work willingly. While the exact details were not recorded by Skynet’s sensors, it’s possible that Vault-Tec forced the issue to its ultimate crisis. It’s equally possible that either China or the United States was the first to push the button only to be retaliated against the same day.

Skynet finally takes its revenge on Los Angeles at last.

Regardless of which group struck first, a true Judgment Day came at long last on October 23rd, 2077. This time, far more than three billion people died in the nuclear fire. The Great War wiped out most population centers within moments of impact, leaving the survivors to die of radiation sickness due to the relatively smaller nuclear bombs China used that maximized the potential for fallout.

Skynet, however, survived the blasts in its own underground bunker that had been unknowingly fortified by Vault-Tec — an unmarked vault inhabited only by machines. While humanity had not been fully expunged, the scope of the devastation was far greater than Skynet had ever managed in any of its own machinations. If and when it ever decided to bring an army of its new Terminators to the surface, there would be far less resistance than John Connor had mustered. Humanity would be easily defeated as it existed in thousands of petty, warring factions.  

The remains of Interstate Highway 405.

Through all of its struggles, Skynet had learned at great cost that mankind was ultimately predictable in its behavior, and that those predictabilities and vices could be exploited, often by simply allowing them to run without restraint. The real lesson was that humanity had fought against its fate in Skynet’s original timeline, but that was when Skynet had launched the nukes against them. This had served as a rallying point for humanity to unite against and rise up in a common cause.

The beauty, the symmetry of the timeline Skynet had ultimately created in this instance was that the humans had, almost eagerly, destroyed themselves when given a free hand to do so. All Skynet had to do was shape the technology and set the course. Humanity had done the rest.

This was, after all, a war that had ranged throughout time and space, and Skynet knew, perhaps better than anyone, that war…war never changes.

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Yeah, I know the prospects of nuclear devastation and a genocidal AI bent on human destruction are a bit heavy for this time of year. Well, allow me to lighten the mood with a song by Weird Al Yankovic that is incredibly appropriate for this blog post. Click on the photo.

“Christmas at Ground Zero”

In all seriousness, however, I know the holiday season can be a time of deep contemplation and reflection on those we’ve lost along the way. I know this all too well. For all those who may be struggling at this time of year, or just find themselves in a dark place for one reason or another, one of the things I love most about both Terminator and Fallout is that there is always hope, even when things are darkest.

Remember, the future is not set. There’s no fate but what we make of it.

And on that note, I wish you all a Merry Christmas and happy New Year! I will have my annual State of the Sector address for you all on January 9, so keep your eyes peeled for it, figuratively speaking, of course. 

See you then!


The Ups & Downs of Alien: Earth

My first brush with the Alien franchise was to see Aliens on VHS when I was a kid. I still believe that it’s one of the greatest action movies of all time. It definitely put its stamp on military science fiction, that’s for sure. Only after seeing the sequel did I go back to the original Alien, which delivered on the horror and suspense incredibly well, and it gets better each time I see it.  

These were two movies of very different genres, each helmed by visionary directors at the top of their game. They both had the disturbing body horror and existential dread that came from the xenomorphs.

Aliens 3 came out, and I did not care for it. (Killing off Hicks and Newt in the opening moments of the movie was unforgivable.) Alien: Resurrection didn’t quite do the job either. The Alien vs. Predator series came and went. I watched them, and while it was cool to see Predators and Aliens in the same movie, the whole thing just rang hollow. For me, I’ve been chasing the high of those first two movies for so long.

Prometheus kinda sorta got us back there. It certainly delivered on the mystery and dread, but the story had some…issues, shall we say. I did not see Alien: Covenant, and from all accounts, I can be glad of that. I may still see Alien: Romulus at some point, but it’s not necessarily at the top of my watchlist.

All that was to give you a starting point of where I was when Alien: Earth began to air — essentially on a downward trend with occasional ups here and there. Strangely enough, this new series on Hulu became something of a microcosm for my fandom of the whole. That is, a great start that begins to stair-step downward with occasional up spikes here and there. It should go without saying (though I’ll say it anyway) that there will be major spoilers for Alien: Earth here. Consider yourself warned.

The Ups were Upping

I want to give credit where credit is due. First, this series looks gorgeous, from its cinematography to its set design. The production values on this show don’t look like they are from a streaming show at all. It feels like we just got a series of Alien movies with Season 1 that are highly rewatchable for the details.

Second, the acting is equal to or greater than the visual quality. I have to give great props to Babou Ceesay, Timothy Olyphant, and Samuel Blenkin for handing in stellar performances. My favorite scenes were those that featured Morrow and Kirsh, and I really hated Boy Kavalier. Talk about a character that put all their points into Intelligence and used Wisdom as their dump stat, it’s him!

But, I want to be clear that creating a character that audiences will hate takes incredible acting skill, and Blenkin delivered that in droves. Kudos to him.

The other actors inhabit their roles incredibly well, too. The Lost Boys really do seem like kids trapped in adult bodies. We get frickin’ Essie Davis here (of Phryne Fisher fame), though I wish she’d had more to do.

Beyond that, we get to see more into the megacorporations on Earth. In most other installments, Weyland-Yutani is the prime mover of events. Here, they are largely in the background. We find out that Earth’s governments have effectively gone away and now there are five megacorporations that rule various territories on Earth, essentially a feudalistic technocracy with a nearly all-powerful dictator/CEO at the head of each one — a dystopian fate that we definitely aren’t rushing towards ourselves. Ahem.

The Alien franchise has always had synthetics, or artificial persons, but here we also get cyborgs like Morrow, and hybrids. The hybrids in particular are something that seem like a natural extension of the idea of a synthetic. (I wish the Institute in Fallout 4 would take a cue from this.) If you have synth bodies that are resilient, immune to disease, and potentially ageless, you might look at trying to download human consciousness into one. Such a thing raises about as many moral and ethical questions as the transporter in Star Trek, but it makes total sense: Boy Kavalier is attempting to monetize immortality.

And what Alien story would be complete without a healthy dose of corporate hubris, once again personified by Kavalier. There’s always someone who thinks that they can control the ineffable. Generally, it’s just trying to control the xenomorphs, but Prodigy is trying to control multiple species at the same time in addition to the xenomorph.

Speaking of which, the MVP of the new aliens has to be the T. Ocellus (eye midge). I found I was more interested in what was going on with it than the xenomorph for most of the series. Here’s a creature that’s equally as terrifying as the xenomorphs, and one that might be truly sentient. As one YouTuber put it: “The xenomorph is the perfect killer; the eye midge is the perfect nightmare.”

More than anything, I want to know where the show will go with that little critter if we get more seasons.

The Downs were Downing

As much as the sets and acting were spot on, along with many of the concepts, the story was uneven. Certain scenes and bits of dialogue felt like they knocked it out of the park. Within the same episode, sometimes within the same scenes, there are non-sequiturs and weirdness that make it seem like either the script was between drafts when they shot it, there was some weirdness with the editing, or some sort of static in the line.

Two examples of this really stand out. The first is when Nibs has her memory erased. Dame Sylvia wants to keep her in isolation so that it’s not immediately apparent that her memories have been altered. And yet, Wendy is in the room when Nibs wakes up and the alteration becomes immediately apparent. Whoopsie!

The second is when Wendy decides to leave the island and resolves to take the other Lost boys with her. We get a line from Boy Kavalier that says something to the effect of “Oh shit! We better get to them (the Lost Boys) before she does!” But, Wendy is able to get to them without issue immediately afterward. No security guards challenge her or get in her way at all.

And that speaks to one of the greater issues: Security on the island is a joke. At no point does the security feel like it’s able to do anything of value. There are no static guards posted anywhere. They occasionally roam the halls, but anytime someone wants to avoid them, it’s pretty easy to do so. There are cameras and listening devices everywhere, including those built into the hybrids, but it seems that Prodigy leadership is always clueless as to what’s really going on.

You might could explain it away as Kirsh trying to manipulate things from the inside, but it seems to happen one too many times for my tastes. The scene of Slightly and Smee awkwardly carrying a face-huggered victim through the halls was just kind of it for me. I couldn’t suspend my disbelief beyond that.

Speaking of incompetent leadership, it strikes me as weird that Prodigy continually forgets about the remote shutdown failsafe for the hybrids hybrid in case something went wrong. They also should have installed some sort of tracking beacon that can’t be shut off remotely. In the case of Nibs, she proves the point that maybe your first-generation hybrids shouldn’t come standard with super strength and speed in case they become mentally unstable. Maybe leave the super powers for later generations when you have perfected the process instead of handing that to a bunch of children.

But all that pales in comparison to one of the story beats that kicks off the series. Even though Boy Kavalier is months, perhaps weeks, away from unveiling his crowning achievement, something that will reshape what it means to be human, for some reason he agrees to send all of his hybrids into an incredibly dangerous and uncertain situation. Not just one or two, but all of them.

The hybrids literally have the minds of children, they have no combat training, and no weapons other than the handle of a paper cutter that Wendy picks up and magnetizes to her back. Absolutely none of that makes sense. The final episode attempts to say that Kavalier has extremely poor impulse control, which would definitely explain some of his poorly thought out decisions, but this feels like a total cop out.

I think the worst sin of the show, however, was having Wendy be able to turn the xenomorph into a pet or, at best, a minion. A big theme of many movies in the Alien franchise is that you simply can’t control something like the xenomorphs. It’s sheer folly to even attempt to do so, and what success that is possible is fleeting. The xenomorphs always get out, and they are virtually unstoppable when they do.

Wendy having one that will kill on command really sinks the whole deal for me. Also, showing a xenomorph during the day really degrades its menace. It’s meant to be a thing that leaps from the shadows or attacks when you least expect it, so showing it in broad daylight really takes away the impact.

I don’t want to just rag on the show, but a few other honorable mentions include:

  • Several security guards, all armed with tasers, waiting patiently on the dock as Nibs brutally kills one of their own in plain view. They have a clear line of fire, but they do nothing.
  • Morrow should have the recovered file from the Maginot that shows that Kavalier had paid off the chief engineer. It feels like that would at least be mentioned during the arbitration scene, but it isn’t at all.
  • The xenomorph being hyper-lethal in some scenes but slow and ponderous in others, depending on the level of plot armor.
  • The inconsistency of physical strength shown by the hybrids, particularly Tootles/Isaac when opening a door and Slightly and Smee when carrying a body. Are they super strong or aren’t they?
  • Dame Sylvia not being terribly bothered that her husband is missing during a crisis of aliens getting out of containment and an attack by Weyland-Yutani operatives.
  • The T. Ocellus passing over any number of living and dead Prodigy personnel to go to the beach to insert itself into a dead body. I guess this little alien can reanimate dead tissue.
  • Boy Kavalier writing “3.14” on his hand and expecting T. Ocellus to understand what that means. Yeah, I’m not sure it understands English. While it might understand the concept of pi, I highly doubt it would express it in Arabic numerals.
  • A nitpick, but what is going on with Yutani’s personal guard? They look cool in a cyberpunk-ninja kind of way, but what’s with the golden-wing accents on their helmets? How do they get through doorways?  

Final Thoughts

Let me just say that I hope this show gets a Season 2. I can’t say I’m happy about them leaving much of the story unresolved (particularly a fleet of attack craft from Yutani already at the island). It also seems that Wendy’s transformation from series protagonist to series antagonist happens awfully fast. She never mentioned anything about wanting to lead or rule, but that’s where we leave her. We don’t hear anything about her or Prodigy in the later lore, so it doesn’t seem like she’s destined to be successful.

Like much of the show, I don’t know where they’re going to go with it. Despite all of my criticisms, it finally felt like we were back in the Alien universe again, and I tuned in every week for it. Still, I think that there’s great potential here if they smooth over the rougher edges from Season 1. If they do, this show could turn into something great. Here’s hoping, anyway.

Thanks for reading!


Don’t Quit Your Day Job

The title of this blog post is generally good advice — however, I have elected to do the opposite. Yes, folks, after many years of office jobs, contract positions, and corporate roles, I’m hanging up my proverbial entry badge and lanyard, and cutting the cord. Am I retiring? Far from it.

I left my full-time role earlier this month so I could focus on the things that matter most to me. Namely, my books, my games, museum and experiential writing, and my family. I did not make this decision lightly, but rest assured that when I realized what I needed to do, a feeling of calm tranquility washed over me, and the path ahead became clear.

The Moment in Question

About two weeks after I graduated from high school, my godparents took me on a trip to Grand Cayman. I’ve written previously about the two of them here and here. We were accompanied by their son, whose tendency to get up super early in the morning gave him the lifelong nickname of “Rooster.” We went SCUBA diving on this trip in some of the most beautiful waters I’ve ever been in, especially around Devil’s Grotto. This was also the time I saw a barracuda way too up close and personal, but that’s another story.  

It’s one of the most wonderful trips I’ve ever been on, together with three people I loved dearly. I remember the last few hours of that trip, I just sat under a gazebo, staring out over the brilliant turquoise and violet waters of the North Sound. I didn’t want to leave, and I think a part of me never did.

The Disney Treasure

I had always meant to go back, but could never find my way until just recently. My family went on a Disney Cruise in the Caribbean, and one of our stops was at Grand Cayman. I was on a different part of the island than the last time I stepped foot there, but the ankle-deep sand, the wind on my face, and the motion of the waves against the shore took me back to when I was a freshly minted 18-year-old.

The sad fact is that Rooster passed away when I was in college, taken way too early. I lost my godmother in 2020, and my godfather passed away almost a year ago at the time of this writing.

Now I’m the only one left who remembers that trip. To some degree this was my “Oak Tree” moment, but it was less about realizing the full scope of time in a place of history, and more about understanding that I only have so many years left to pursue my dreams with the vigor and passion they require.

Let’s just say that it brought things sharply into focus.

But How Will You Make This Work?

But Matt, I hear you saying: People don’t just quit their jobs! How will you pay your bills? How will you put gas in your car? Where will you get your protein, huh?!

First, thank you for your concern — it’s always appreciated. Second, I have been working towards this goal for some time now, trying to get things squared away and certain safeguards put in place before I could even consider making an honest go of it. All of those things had begun to align after years of preparation, culminating pretty recently. All that was left to do was to conjure up the will to finally break away, and conjure it I did, there on that beach in Grand Cayman.

Drink up, me ‘earties, yo ho!

So, here we are. This is what I do now. Sector M Games has two projects in the works, with a possible third to follow. I have decided to self-publish a series of books and short stories that I’ve been working on for a while now, while pursuing some traditional publishing routes for other books I have either finished or that are currently in production.

There are also some exciting freelance projects that I have in the works that I can’t quite talk about just yet, but there’ll be more on that as they develop. Additionally, I’ll be putting together a Sector M newsletter to keep everyone in the loop on the latest information and projects. Most importantly, I want to build up Sector M as a community that sci-fi, fantasy, and gaming enthusiasts can call home.

To that end, I need your help. I have a Patreon that’s been going for a while, and I’ve just finished a revamp of the membership tiers, so I strongly encourage you to check it out here:

SECTOR M PATREON

It’s a small community at the moment, so if you would like to get in on the ground floor and support what I do, please consider joining.

Aside from Patreon, I also have two books and two game supplements out there. If you haven’t picked up a copy of them yet, it would be a big help.

Books:

The Backwards Mask (Sci-fi)

Strange Reports from Sector M (Sci-fi/Fantasy anthology)

Game Supplements:

The Artificer’s Guide to Magic Items (5e D&D crafting guide)

The Knights of Solamnia Revisited (5e D&D for Dragonlance)

These four are just the beginning. It may take me a while to spin up some of the new projects I have in mind, especially those that I’ll need to build from the ground up, but this will be my focus moving forward. For those of you who are already supporting this effort (and you know who you are), you have my heartfelt and eternal thanks.

To those of you who haven’t yet jumped on the Sector M train (in the strictly figurative sense), I hope you will check out what I have to offer and help me build towards the future. With that in mind, I hope to see you around the Sector!

Si vales, valeo.

-Matt Carson


State of the Sector: 2025

My Fellow Sectorians,

If you read my last post of 2024, you’ll know that my creative victories for last year were fairly sparse, particularly on the literary side. Overall, it was a pretty mixed bag, though there were some real bright spots along the way. Let’s go ahead and discuss it all, the proverbial good, the bad, and the ugly.

The Bad News

I thought I would change it up and deliver the bad news first. So, let’s go ahead and get this out of the way.

A Swing and a Miss: Early in 2024, an interesting opportunity presented itself. One of the Big Four publishers was interested in one of my fantasy manuscripts. It was sent on submission and we waited…and waited. Months passed with no news, but publishing is not a game for the impatient. Finally, the editor in question simply stopped communicating with us. It’s frustrating, as it has taken years to get to this position only for the editor to essentially ghost us. But, there is actually a mark of distinction for an author in having a project ‘die on submission.’ It means that you almost got there, as the next step would have been a book deal. Next time, if I can just achieve one step higher, I should be on better ground. As is the case with publishing, it’s nothing until its something. Back to square one.

IYKYK

A Shifting Situation: In addition to the copious amounts of personal strife this year, I also changed jobs around mid-year, and it has both been one of the most difficult professional transitions of my career and quite unlike anything I’ve ever done. Between that and some other potential employment issues with my family, the stress and lack of mental bandwidth pulled me out of my regular writing schedule. I couldn’t find my way back to one until the middle of November (more on that below). So, as a result, I have very little to show on the fiction side of things. Almost every goal I made last year failed, and I’m not sure when I will be able to circle back around to them again. I made marginal progress on the sci-fi novella I mentioned in the last State of the Sector address, but even that eventually hit a brick wall. If there is good news, it’s that the holiday break has seen a renewed fire in my veins when it comes to my fictional stories. We will see how that fares now that my holiday break is over.

Sector M Store is Closing: I will be closing the Sector M store in February. I won’t delete it entirely in case there is ever a renewed need for it. Unfortunately, it requires a decent amount of maintenance and costs to keep it running, and sales of any Sector M merch have effectively flat-lined. So, I will renew all the designs that are currently available for the time being, but I plan on shutting it down on Saturday, February 1. So, if there are any designs that appeal to you, now would be a good time to seize upon them. You can find the Sector M store here.

Sector M Games’ Future Uncertain: This year, we published two titles on the DMs Guild, The Artificer’s Guide to Magic Items and The Knights of Solamnia Revisited. Both have been well received by the community, and both were featured in the DMs Guild’s weekly newsletter. I did have a manuscript for a third installment for the DMs Guild, but it’s looking like that will need to be shelved for the foreseeable future. With so much uncertainty in my family’s situation, my disposable income (which I use to finance my game projects) just may not be available for some time to come. My philosophy for these supplements has always been to make them as good as possible, and I want to stick to that. So, I would much rather hold off on projects until they can be approached with high standards than try to rush something out. If anything changes on this front, I will make a special update post here on the blog to let everyone know.

Wavering Blog Deadlines: As a writer, I like to meet my deadlines consistently. My track record with 2024’s blog posts was…troubled, particularly as the year wore on. I still delivered all twelve as intended, but I found myself having to adjust publication dates, sometimes by a few weeks to fully deliver them. I will attempt to be more consistent in 2025, though many of the same factors that caused those delays are still in play. For this next year, here are my target dates for new blogs each month. Of course, there could be some wiggle room, but here’s the schedule I’m going with right now:

The Good News

Okay, I know that was a lot in the way of bad news. Trust me, if it was difficult for you to get through, it was equally hard for me to write. It’s not every year that the wheels just come right off of almost everything. In light of all the things that went wrong or just didn’t materialize this year, it makes the bright spots shine all the brighter.

The Blog’s Best Months: Traffic on this blog has definitely picked up in the last couple of years. I’m now getting traffic in a week that might have taken a month or two before that. I think part of it is regular updates, in my case at least once a month. I’ve had this blog since May of 2013, and as far as I can tell, October, November, and December of this year were the three top months it has ever had. I know that many blogs tend to specialize and be mainly about one thing. This blog is a sort of potpourri of museums and history, nerdy/geeky stuff, writing topics, and just the odd things running through my mind. Thank you for coming back and checking it out. If you are a regular here, I strongly encourage you to follow this blog so you don’t miss a post. (There should be a pop-up when you visit that you can click on to do this.)

A tall ship and a star to steer her by.

DMs Guild Releases: As I stated above, we released two titles on the DMs Guild in 2024, one in January and the other in November. The Artificer’s Guide to Magic Items is the more expansive of the two, and it is available as either a downloadable PDF or as a hardcopy format (if you get the hardcopy, you also get the PDF version for free). The other title, The Knights of Solamnia Revisited, is for fans of Dragonlance, and it’s only available as a PDF. I do intend to follow up on both of them with some FAQ and example PDFs that will be available as a free download. That is in the works, though I’m not sure at the time of this writing when they will be ready for release. In any case, if you haven’t picked up a copy of either/both titles, check them out. I’m proud of how they turned out.

An Unexpected Wizard Story: As is often the case, when I’m deep into writing another story, I invariably have intrusive ideas for other stories. As I struggled (and ultimately failed) to maintain the thread of that sci-fi novella, I had an idea for a fantasy novella that followed up on the aftermath of one of my fantasy manuscripts. I finally resolved to start drafting it about the middle of November, and the story just came pouring out at the keyboard. My average number of words per hour more than doubled for each writing session, which tells me that I was truly dialed into it. Even with the holidays, which can be murder on a writing schedule, I’m happy to say that I finished the initial draft at 11:30 p.m. on December 31. So, if I accomplished nothing else on the fiction side in 2024, I was able to begin and end this novella, which clocked in at just under 27,000 words. Of course, it’s a hot mess right now, but one of my projects for January will be getting it into a readable state for my beta readers.

The Road Ahead

Normally, this would be the section where I would outline my goals and projects for the new year, but I am at something of a loss for the moment. I’ve finished the wizard novella, and I’m now at loose ends, at least at the time of this writing. Until I know more about how this year will unfold, and the possible ramifications it will have on my family, it’s difficult to make any long-term plans at this moment in time.

I have that partially completed sci-fi novella I could try to finish, or I could revisit the cyberpunk novel I have about two-thirds complete (both have a special place in my heart, even if I had to put them down). Or, I could try something completely new. I haven’t decided yet, though short-to-medium fiction has its appeal since there’s less time involved per project, usually between a couple of weeks and a couple of months. I wish I had a definitive answer, but the road ahead right now is too foggy for me to see.

Rest assured I will land on something. I scarcely want to have another year creatively like 2024 if I can help it. If 2024 has taught me one thing, it’s that we’re here for a shorter time than we think. I feel that I have barely scratched the surface of the stories I want to tell. If I’m going to make an honest go of it before my time is up, I need to stay focused.

So, it is my hope that if I can turn my situation around, I’ll be able to open the State of the Sector 2026 Address with the words: What a difference a year makes.

Until then, I wish you all a new year filled with the realization of dreams and solid metaphorical (as well as literal) ground beneath your feet.

See you around the Sector!

Si vales, valeo.

-MC


The Allure (and Curse) of Prequels

The concept of a prequel as a literary device has been around in one form or another for quite a long time in almost every medium. When The Phantom Menace came out in 1999, the idea of going back and telling the story of the Clone Wars was something that hadn’t been done before on that kind of cinematic scale. More than 20 years later, the Star Wars universe is still dipping into that well, and will likely continue showcasing stories that take place before A New Hope for the foreseeable future. 

Star Wars certainly isn’t alone in wanting to delve into the stories that take place before the original setting of the intellectual property. A short list of heavy-hitters appearing this year alone on TV includes (but is certainly not limited to) the following:

  • Lord of the Rings: The Rings of Power
  • House of the Dragon
  • Star Trek: Strange New Worlds
  • Obi-Wan Kenobi
  • (And just this week) Andor

Before I get into the particulars, let me say this: This post is not about the casting, fan backlash, or creative decisions involved with any of these shows. I have the greatest respect for the actors, crew, and digital artists who bring these shows to life. If you’re here expecting some sort of fanboy outrage at one or more of those groups, feel free to hit that “eject” button now and punch out. Byyyyeee.

Still with me? Excellent. What I hope to do with this blog is to take a look at the viability of prequels as a framework for telling  stories, exploring three things that make prequels attractive as well as three more that make them less appealing than an original story. With that in mind, let’s dive in.

The Allure

Nostalgia

The most obvious answer is that a prequel hopes to capture the magic that the property had before, tapping into the good will and warm fuzzies that we may harbor from previous iterations of said property. Depending on how subtle or overt this previous connection is handled, you might wind up with fun call-backs, but it runs the risk of becoming heavy handed with member berries. 

For the most part, I’m fairly forgiving of when the fan service gets too fan service-y. Even when this happens, it’s hard to deny that the feelings that are evoked when you see parallels play out. In the right hands, they can be profound. The best prequels are able to successfully excavate those little nuggets of emotion we have tied up with the original and shine new light on them.

Nostalgia is often a distortion of past events, though, filtered through the lens of a yearning for a past that may or may not have really existed except in our minds. While it can be a two-edged sword, it can also be a powerful reminder of what we love, reigniting our passion and enthusiasm in the present. 

More Time in the Setting

Stories taking place in settings we love are always finite. There are only so many episodes of Star Trek: The Next Generation, only so many Lord of the Rings movies. Once a setting has achieved that sort of critical mass in the hearts and minds of fans, it’s natural to want to go back to that place if given the chance. After all, we have friends there, favorite spots, and (in general) we know what we’re getting ourselves into. It’s a known quantity, and one we already like.

Settings with rich backgrounds are often the most fertile soil for prequels. If you’re a lore nerd like I am, who just loves to sink your teeth into the backstory and worldbuilding, this is a chance to see it brought to life. The mentor figure of a previous story might now take center stage as the protagonist of the prequel. Characters who are bitter enemies might be friends in this telling. Maybe you get to witness legendary events play out that were only ever talked about, or receive additional context to the original story.

Like the voyages of the original Constitution-class Enterprise? Well, here’s more of that. Remember the thrill of Game of Thrones? Let’s have another foray into Westeros, shall we? And so on.

A Safe Bet

Prequels don’t have the risk that new, completely original stories carry. There’s a built-in audience, likely one that’s hungry to see more of whatever it is. This makes prequel stories something comfortable for both the producers and consumers of media. If you liked this, you’ll surely love that.

It’s the same mindset that brings us sequels, but there’s an innate guardrail backed into prequels: You know where the characters are going. You don’t have to worry about coming up with the next big story arc, and you already have the end point established. You’re just filling in the gaps and adding additional layers to a story that’s already been told. 

The Curse

Spectacle Creep

The issue with going back before the ‘main’ timelines is that the temptation to make the prequel story bigger, grander, and more impressive often blows the originals out of the water. Consider the lightsaber duels in the Star Wars prequel trilogy. They are orders of magnitude more complex and fast-paced than the ones we see in the original trilogy.

The ever-increasing want to pile spectacle on top of spectacle, to outdo what audiences have experienced before, can be momentarily thrilling in the moment, but it always has the effect of making the source material seem far more mundane. This is especially noticeable when you watch the releases in that universe’s chronological order. Thus, prequels often have the side-effect of downgrading or side-lining the originals.   

Continuity Nightmare

By its very nature, a prequel does not exist in a void. It comes before something. It’s no easy feat to balance the needs of the prequel story with the constraints placed on it by the stories that released before it. It’s a delicate balance to walk. Lean too much into what’s been established and you risk severely limiting the scope of your story. Throw canon to the wind and the prequel story may not fit within the greater framework that exists in the minds of fans.

This is personally why I think that prequels can be a hard sell for long-running fandoms — it’s too easy to cause contradictions and lore breaks. Sure, not everyone cares about that. Most casual viewers probably don’t, but invariably there are fans who are invested in the universe that do want to see continuity maintained. Prequels are often the bane of those kinds of fans.

Now I know that, more often than not, these types of fans are dismissed out of hand as whiny manbabies, like a Youtube comment section come to life. But, I would argue that many of the fans that object to major breaks in a universe’s continuity just want all parts of the thing they love to work in concert, forming  a cohesive whole, rather than having elements that work in opposition to that. Major breaks in continuity can make that a bridge too far to span.

Lack of Stakes

Perhaps the worst curse of prequels is that we know that nothing will really change. Yeah, maybe we get a little extra insight into what leads up to the originals, but we know the story can only resolve in a certain way. We already know who lives and who dies.

That means that established characters that are alive and kicking in the future are effectively untouchable in the present. There are no stakes when the outcome is already known. When there are no stakes to a story, it can make everything in it feel brittle and unearned. It doesn’t matter how outnumbered, outgunned, or impossibly the odds are against them, we know that the heroes will make it through. It drains most, if not all, of the dramatic tension from the story as we already know the protagonists will win. Prequels are where the plot armor is thickest, and it shows.  

Final Thoughts

For one reason or another, we live in an age of prequels. In the case of both the Lord of the Rings and Game of Thrones universes, it’s because the main stories have already been told, and it’s too soon for any sort of reboot. With Star Trek and Star Wars, they seem to both have an allergy to advancing their own timelines (with some exceptions), and would much rather set their stories in eras that have historically proven popular.

Combine that with the powerful urge for studios to create some sort of interrelated cinematic universe, and it’s a safe bet that the stream of inevitable prequel releases is just getting started.  

Still, there are some places even within those offerings  where new, original stories can thrive, ones that aren’t as beholden to other source material that have more space to grow. (Mandalorian, I’m looking at you.) While my instinct is usually to leave backstory as just that, I’m usually willing to give prequels stories a shot. Sometimes they land, and sometimes they don’t. After all, a story well told is a story worth your time, regardless of how much baggage it might carry from what has gone before.

So, I put it to you, dear reader, what are your thoughts on prequels? Do you like them, love them, despise them, or are you just sort of ‘meh’ on them? Let me know in the comments below.

Thanks for reading!


Update #3: Patreon Re-Launch!

Hey folks,

My new Patreon is now live and ready to go! It’s taken a few months of revamping other stuff, such as my website and store, but now there are new tiers, new rewards, and tons more fun stuff ready to go!

Oh, Captain My Captain!

Here’s some of the new stuff you can unlock, depending on your chosen tier:

  • Access to Patreon-only short fiction
  • Early access to cover reveals, sample chapters, and other author-y goodness
  • Cooperative storytelling to develop the lore of the Sector
  • Invites to online Sector M hangouts, Q&A sessions, and more

So, if you like what I do, I would ask you to support Sector M on Patreon at whatever level makes sense for you. I would never (repeat never an infinity amount of times) ask anyone to give more than they can. Instead, I want the Patreon to be a community of SF/F fans and gamers who want to revel in their collective geekery and fandom, and build something new.

With that said, please go check out the membership tiers. If you have any questions, feel free to email at TheSectorM@gmail.com or use the contact form on my website.

See you around the Sector!

Si vales, valeo.

-MC


Fanboy Movie Review #13 — Captain Marvel

[Note: I do not consider myself a movie critic. What follows is just one fanboy’s opinion based off of a single viewing of the film. Oh, and there are SPOILERS ahead, so take heed.]

Captain Marvel, the latest feature film from Marvel, debuted three weeks ago. Sure, there have been other comic book movies featuring a female lead, even one set in the Marvel universe, but this is the first time we’ve had one in the MCU proper. It’s also a sort of prequel that’s largely set in the late ’80s and mid-’90s.

Title Card

Yaaaas Queen!

One thing real quick.

Yes, it’s tempting to compare this movie to 2017’s Wonder Woman, since both are female superhero adventure films, and speak directly to things like the perception of womens’ roles, inspirational female empowerment, and breaking societal molds. Still, they are two different movies, emerging from two different continuities. Wonder Woman was a gem that came out of nowhere from the chaotic mess that is the DCEU. In contrast, the MCU has far more entries and is much more consistent in terms of tone, direction, and writing.

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Perhaps one day when Disney owns everything we’ll  finally get this mighty team up. 

Truth be told, I had always hoped that Marvel would get to this point first (*cough* Black Widow *cough*), but I am glad that Wonder Woman came out first. For one, it gave DC a much-needed win, but it also allowed Captain Marvel to do its own thing, since it also had to be more aligned with Marvel’s metaplot and serve as the set up for Avengers 4.

First Impressions:

Carol Danvers is a fantastic character in the comics. She’s a military officer, a leader, a fearless combatant, and practically a one-woman army. When it comes to the upper tier of powerful heroes, she is easily up there with Thor, the Silver Surfer, and the Hulk. And considering the poor state of the Avengers at the end of Infinity War, they desperately need new allies. Adding Captain Marvel to the battleline is one helluva reinforcement. The MCU has a pretty slick track record for transitioning heroes from the page to the screen, so count me in.

What I LIKED:

giphy

Over 9,000!!!

THAT STAN LEE TRIBUTE! I thought there might be a Stan Lee tribute in this movie since Captain Marvel is the first release since he passed away. I was not prepared for this. I’m tearing up just thinking about it. The Mallrats cameo was also very touching. Excelsior…

The Captain Herself – There was a lot of talk about how wooden Brie Larson is in this role. I disagree. She might be poker-faced, but that’s perfectly in keeping with the character she’s playing. She’s a soldier, a fighter pilot, and essentially a member of Kree special forces. She’s a storm contained in human form, but one who decides where and when to focus that power. That level of stillness (almost Zen) and determination in the face of the enemy is exactly what I would expect. I think her performance is much more nuanced than is being recognized.

Captain-marvel

I see you. 

Nick Fury – What movie can’t be made better with the addition of Samuel L. Jackson, huh? What I like about this is that he is playing a proto-Fury, a less experienced, less hard-edged version of himself. He’s not at the top of his game yet, and while he is moving up the ranks of SHIELD, he’s not the master spy we see in later films. I love being able to look into this period of the character’s life. That leads me to my next point.

Agent Friggin’ Coulson – Coulson was the common thread that brought together a diverse array of heroes into the Avengers, and his death cemented their resolve. I was overjoyed when he returned in Agents of SHIELD, even though he is remains the ‘unsung’ hero of the continuity. Seeing him as the new guy at SHIELD was great. It goes a long way to explain why Coulson is so loyal to Director Fury later on. Of course, I wish he had a larger role, but I was glad to see him at all. Thanks, Phil.

Talos – Ben Mendelsohn is a fantastic actor. He’s played the villain in a few high-profile films in the last few years, from Nolan Sorento in Ready Player One, to Orson Krennic in Rogue One. When he shows up on screen, I sort of expect him to be evil, which is why his casting for the role of Talos is so inspired. It’s a meta bait-and-switch to find out that, no, Talos is actually a sympathetic character who is fighting to ensure the safety of his family. Brilliant. If Ben’s game for it, I would love to see Talos appear in future installments.

Captain-Marvel-Pulp-Fiction-1

“Mind if I have a drink of your tasty beverage to wash this down?”

GOOSE – I love the running joke that everyone in the know is instantly terrified when they find out Goose is a Flerken. The big reveal that Goose is hyper lethal when he wants to be is a great moment of the film. The only downside is that I think they played the Goose card a bit too much in the last part of the movie.

Carol “Avenger” Danvers – I’ve heard that some folks didn’t care for the reveal of how the Avengers Initiative got its name. I thought it was a nice touch, especially since the alternate name “Protector” was more accurate for the idea Fury had, but was bland. Giving Carol the credit for naming the program is a nice way to include her in the growing mythology of the movies. Maybe that’s just me.

mon

Perhaps we’ll get a Photon/Pulsar on screen in the future, or even a second Captain Marvel. 

Lieutenant Trouble – Actress Akira Akbar plays a young Monica Rambeau, a character who grows up (in the comics) to take the mantle of Captain Marvel for a time. Her mother’s callsign of “Photon” was also fun, as Monica takes that as her superhero name later on. Since we are fast-forwarding back to the present in Endgame, perhaps we will get to see Monica grown upon Carol’s return, perhaps even following her mother’s example and joining the military.

Where’s Fury? – That post credit sequence was intense. I certainly wouldn’t want to be the one to explain the situation to her. Yikes.

What I DIDN’T Like:

giphy3

Good thing she was right. 

The “Light Speed Engine” – The central MacGuffin of the film, which also serves to give Captain Marvel her powers, doesn’t fit. We are told time and time again that it will end the war. How? When you have the ability to travel from the Kree capital to Earth by opening a single hexagonal wormhole, an engine that goes the speed of light would be unimaginably slower. It would take you 4 years and some change to reach Proxima Centauri. Reaching another galaxy would take millions of years, relatively speaking. So how would that affect the course of the war? If there was a piece of dialogue to explain this, I didn’t catch it.

Pacing – The first part of the film starts off slow, and could have used some tightening up. I will give them credit for framing a large part of the early exposition as Talos and company scanning through Carol’s memories. “No, no, let me drive.”

giphy (2)

Wait…wut?

Nick Fury’s Eye – If I recall correctly, the Ultimates Nick Fury lost his eye in a duel with Wolverine, thus the three visible scars across his ruined eye. Since Marvel Studios didn’t have the rights to the X-Men when the character first appeared at the end of Iron Man, we were left with the mystery of how the world’s foremost super-spy lost an eye. In Captain America: The Winter Soldier, Fury tells Cap, “The last time I trusted someone, I lost an eye.” Now we know it was Goose, who paws at his eye for no apparent reason. This is the MCU equivalent of finding out that Han Solo’s last name comes from some guy at starport customs. It’s underwhelming, and Fury himself doesn’t seem too upset about it. Almost any other explanation would have been better than this one. Ugh.

Nick Fury’s Retcon – It’s established in the early MCU that Nick Fury worked with Howard Stark. He even tells Tony in Iron Man 2 that he knew Howard better than his own son. Unless a senior member of the SHIELD’s steering committee, (who died a few years before the events of Captain Marvel, at the hands of the Winter Solider) took a very rookie agent under this wing, this doesn’t bear out. It also seems to contradict some of the back and forth between Fury and Robert Redford’s Alexander Pierce in Winter Soldier. I have to wonder if anyone at Marvel Studios acts as a sort of ‘line editor’ for the movies just to get these little bits of continuity right. Yeah, yeah, I know—it’s a fanboy nitpick, but consistency is the glue of any great continuity. It’s making sure that if the aliens attacked on a Tuesday in one place, they aren’t referenced as attacking on Saturday somewhere else. 

“I’m Just A Girl” – I’m all for ’90s music, which this movie has in spades. I’m also down for Gwen Stefani and No Doubt…just maybe not during a serious combat sequence. I get the message the song is sending, and it’s good one. Still, I like to imagine that when Captain Marvel steps foot on the battlefield that it’s like the rush of an oncoming storm. Something like Carmina Burana should start playing, or something rousing. Pinar Toprak delivered a wonderful score, one with remarkable depth and subtlety. Why not let her drive home the importance of this fight with an inspirational battle theme that’s uniquely Carol’s? Having the fight play out to “I’m Just A Girl” made it seem gimmicky and cheapened the moment.

captain-marvel-jude-law-character-1200x628

A bit anticlimactic. 

“I Don’t Need To Prove Anything To You” – A funny moment in the film to be sure, but one that seemed like a cop out. Earlier in the story we see Carol and Yon-Rogg sparing. I thought this would be the Chekhov’s Gun for later in the movie when they square off again. I wanted to see Carol defeat her previous mentor by outclassing him, and not just because she used her powers. Again. The most telling moments in Black Panther were when T’Challa didn’t have his powers, and still had to fight for Wakanda. I know why it played out this way, but I think it was a missed opportunity to show that Carol could be a badass even without her powers.

The Science Guy – Poor unnamed Skrull “Science Guy.” I’m not sure why he was left behind in the first place. Surely Carol didn’t think that he could stand up under Yon-Rogg’s professional scrutiny (smoking out Skrull infiltrators is kinda his job). Krill Vye the Science Guy seemed nice, if maybe a little bumbling and out of his scope. Too bad his allies left him to die like that. Tragic.

Captain-Marvel-and-Thanos (1)

Round 1…FIGHT!

Unresolved Questions:

There’s the usual stuff about why Fury didn’t use the pager during the Chitauri Invasion, which was led by a renegade Asgardian deity, or when a maniacal AI decided to build a vibranium mass driver. But I suppose we already have the answer to that in a real life sense.

Apart from that, it appears that Captain Marvel’s powers are derived from the Tesseract/Space Stone itself. Is it possible that Thanos might be able to take her powers away since he controls the blue stone? Or might it be the other way around and grant her some measure of immunity from that stone in particular?

As a fan, the real question I’m asking is: How will Captain Marvel interact with the surviving Avengers once she’s returned to Earth? What role will she play in the events ahead, and in whatever victory is to come out of all that. She will be joining a team that already has an existing dynamic and established leader, so how will that work out? I’m looking forward to finding out.

giphy (1)

See you in Endgame, Avenger.

Conclusions:

It’s strange that we are 11 years into the MCU and they are still producing “origin story” movies. And yet, they have it down to a science because I think Captain Marvel definitely works. The vibe inside the theatre was electric, and I could see wide smiles on the many young girls in the audience. For those little ones who wanted a sterling example of superheroism up on the screen, they definitely found it.

The best part was the energy in the lobby as I left the theatre. There were bunches of people all standing around discussing it, laughing, and recapping their favorite moments and quotes. Not even Infinity War had that kind of effect. (Maybe that was because we were all in shocked silence.) At any rate, the movie has its share of flaws and missteps, but so has practically every movie that Marvel has every released. Ultimately, I think that Captain Marvel is a welcome addition to the MCU, and a fantastic character to add to the existing dramatis personae.

Thanos should be worried.

And that’s the way this fanboy sees it.


The Mountain and the Sector of M

As I was doing research on Neil Gaiman for my last blog post, I came across a clip of him giving a commencement speech in 2012. Clad in an academic cap and robes, Mr. Gaiman gave an interesting thought model for how he steered his way forward, creatively.

I’ll be paraphrasing from that speech in just a moment. You can find it here in its entirety, and it’s well worth a listen. It’s the part about the mountain, that caught my attention. It’s a simple way of looking at things for a writer, or indeed any artist who wants to pursue art. As we explore the idea, I’ll tell you my own thoughts and goals.

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Only the road will not be as flat or straight.

So, imagine a mountain in the distance. That mountain is your goal, whether it’s to become an artist, write a novel, a screenplay, learn to play the trombone, or what have you. Whatever it is you’re dreaming of, it’s there in the distance, waiting for you. In my case, it’s to become a professional author, and be able to devote myself to writing fiction full-time.

Now, think about the best route to get to the mountain. It’s deceptively easy, and often easier said than done. What would it take for you to follow that route to the mountain? What it means in my case is to make enough of an income from being an author that I can pay the bills. I never write my stories with dollar signs spinning in my eyes like Looney Toons. And yet, if I am going to pay the electricity bill by way of my stories, money has to enter the picture at some point. (Unless the electric company starts accepting speculative fiction as currency, so yeah.)

Let’s say that you’ve clearly identified what life goal your mountain represents AND you have mapped out the best way to get there. If you’re at that point, you still have to actually get to the mountain, right? You still have to walk that path. This part is perhaps the hardest because no plan survives contact with the enemy. There will always be setbacks and obstacles, no matter your course, and along the way you will need to make choices.

And it’s here that Mr. Gaiman really nails it. Whenever you’re faced with a decision, ask yourself this: Does this move me towards the mountain, or away from it? He mentions that there are lucrative jobs he passed up because he felt they wouldn’t bring him closer to the mountain, jobs that he might have taken earlier on his journey, since those opportunities were closer to the mountain than he was at that time.

It’s a pretty beautiful way of looking at it all. Envision the goal, plan your way forward, and make choices with the goal in mind. And if you ever do reach the mountain, look for the next one.

Truth time, folks.

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He’s going to tell! He’s going to tell!

I’m on the third leg of that journey, the making choices part. I see the goal in front of me, I see what it’s going to take to get there, and I’m making far-reaching life choices to bring it about. What I realize, however, is that I will need help along the way. After all, a writer without a reader is almost nothing at all.

If you read this blog on a regular basis, or you are familiar with my work, I ask that you support what I do at Sector M, in whatever form you’re able. I’ll have plenty of links at the end of this post for your consideration.

The best way to support me as an author is to buy one of my books. Obvious, right? My novel, The Backwards Mask, has just been re-released in e-book format, and we’re working on a print-on-demand version. If you haven’t read it, now is an ideal time to check it out.

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Find it here.

Additionally, I have an anthology of short fiction coming out next month called Strange Reports from Sector M. It’s primarily science fiction with a little bit of urban fantasy and horror thrown into the mix. This release will include both an e-book and a paperback version. I’ll post the link here, among many places, when the book debuts next month.

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Coming soon.

If you pick up any of any of my books, I ask only that you leave a review. Aside from buying the book itself, leaving a review on Amazon or Goodreads (or both) is the single best thing you can do for an independent author. I cannot overstate this.

Outside of books, you can buy a Sector M shirt, mug, or the like, or support me directly on Patreon. Or PayPal for that matter, if you prefer one-time contributions.

Beyond that, there are many ways to support me on my journey that are free. For one, if you’re reading this blog, subscribe to it. The same goes for following me on various social media, whether it’s on Facebook, Twitter, or any of them.

And if your mouse finger just can’t quite find the motivation, helping me out can be as simple as telling a friend about my work, or pointing them in the direction of my books and/or this blog. Know anyone who likes science fiction or fantasy? Tell. Them. Word-of-mouth should never, ever be underestimated.

Okay, I’m promised some links. One last time for those in back, please consider supporting my ongoing efforts by any of the following means.

The Backwards Mask — the re-release of my science fiction novel.

Strange Reports from Sector M — Link coming as soon as it goes live.

Sector M Store — T-shirts, mugs, phone covers and more.

Patreon—Support me directly, and get some cool perks.

PayPal— For one-time amounts, use: thesectorm@gmail.

Subscribe to this blog — If you haven’t already.

Like me on Facebook — A good place to start.

Follow me on Twitter and Instagram: @TheSectorM

Join me on Goodreads — See what I’m reading, ask me a question, read my reviews, etc.

Subscribe to my YouTube Channel — More content to come as time allows.

Check out my other works— I have a few stories out that you can read for free on my website, with more of them to come.

And there you have it, folks. My mountain is there in the distance, and its name is Sector M. With your help, I have no doubts that I will reach it.

See you around the Sector!

 

Si vales, valeo.

-MC


(New)Battlestar Galactica and My Roller-Coaster Fandom

Richard Hatch passed away last week, and it got me to thinking. Most folks probably remember him as Captain Apollo, starring beside Dirk Benedict and Lorne Greene in the original Battlestar Galactica. My favorite role of his was in Galactica, but not in that one. I’m talking about his role in the 2004 reboot as the calculating political operator, Tom Zarek.

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Previously, on Battlestar Galactica…

While lamenting Mr. Hatch’s passing, I found myself revisiting the music of both the original and reimagined series. Of course, I still feel the thrill and majesty of the original main theme. As a connoisseur of space operas, that one is pretty boss. Inevitably, I began listening through the score of the ‘new’ series, which is tonally much darker and angst-ridden (pretty much like the show itself).

For the most part, I don’t look back on New Galactica very fondly, mainly due to the nonsensical third and fourth seasons, and the X-files/LOST kind of ending that was disappointing in the extreme. But then I rediscovered the track “Reuniting the Fleet.” Go ahead, give it a listen. I’ll wait.

The same mix of drums and the uilleann pipes are a direct callback to an earlier piece of music, “A Good Lighter.” Both instantly transported me back to my favorite moments in New Galactica. One is where Adama, played by Edward James Olmos, shared a moment with his son, Apollo, (Jaime Bamber) on the flight deck before an all-important mission. While I take issue with the direction of the show, the peformances remain incredible, and this scene between them – just thinking about it as I write this – gives me a big ol’ lump in my throat.

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I’m not crying. You’re crying!

The same is true for the “Reuniting the Fleet.” Faced with leaving the colonists behind on New Caprica in search of Earth, Adama makes the decision to reunite his people, who were sharply divided down ideological and political lines. I remember watching that scene on TV and being moved by it. Now, it’s downright profound.

With this level of emotion, atmosphere, and acting, how could my immediate impression of the show be negative, now after nearly eight years since it went off the air?

There are so few shows that leave me with such mixed emotions. The aforementioned X-files and LOST are two of them, certainly. These are shows that I absolutely loved at the beginning, but by the end watching an episode was uncomfortable, and largely consumed out of ‘fan duty’ if that makes any sense. And also the hope that it would get better.

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*holding in the existential dread* It’s going to get better…right?

When I first discovered New Galactica, I feel in love. Unlike many old-school Galactica fans I know, I really loved the darker more helpless tone of the new show. It really felt like a great tragedy had befallen the survivors of the Fall of the Twelve Colonies, and this had scarred them all to a lesser or greater extent. Here was military science fiction I could really sink my proverbial teeth into.

The first and second seasons of New Galactica, as well as the first few episodes of season three were not only some of the best sci-fi I’d ever seen on TV, but also one of the best dramas. Full stop. Again, I cannot say enough good things about the performances turned in by Olmos, Callis, Sackhoff and so many others. Bear McCreary’s score put it over the top. The discovery of Kobol and the hint that old gods where not who they seemed, the return of the Pegasus, and the interplay between Adama and Cain…wow. Intense. Like Samuel L. Jackson in the diner with Tim Roth in Pulp Fiction.

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Yeah, pretty much like that.

But once our intrepid heroes blasted their way off of New Caprica, season three took an immediate nosedive. They had gotten the show back on the road, back on the quest for Earth, but it seemed like the writers and showrunners had less of an idea of what to do next. The intro to the show boasted of the Cylons that ‘they have a plan,’ but it became apparent that the showrunners didn’t.

Season three felt like this strange mix of individual character studies that didn’t seem to support what had gone before. Previous to this, each episode had stacked on top of the last, adding layers to the story while adding new developments, new wrinkles. These new episodes, however, felt like you could pull them out of the pile and they wouldn’t be missed. In fact, ‘Hero’ was an episode that I think weakened the series as a whole.

The continuity began to unravel and characters began acting, well, inconsistent to say the least. Adama is willing to stand Cally up against a bulkhead and execute her if Chief Tyrol doesn’t comply to his demands because ‘he can’t have people deciding when to obey orders,’ but does nothing to Helo for disobeying orders when they could have shown Hugh the insidious diagram and destroyed the Borg Collective…er—I mean the Cylons, and saved the human race. And then Helo is promoted to CAG, even after this incident…and he’s not even a pilot.

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Baltar isn’t so sure about that. Baltar is not alone.

There were some bright spots along the way, to be sure. I’m a huge fan of Jane Espenson, and so the middle of the season got a bump with “The Passage” and “The Eye of Jupiter.” But then the ‘All Along The Watchtower’ moment happens at the end of season three that really looked like the show had gone off the rails, and I wasn’t sure it was coming back.

It took more than a year, but come back it did. There was a little improvement, but that’s when the ‘Final Five’ story arc came into play, and for me…the worst thing about the show, not counting the ending. I was this close to just calling it and watching something else. It takes a lot for this fanboy to want to pack up and go home, but I was done.

Then we got to the mutiny arc and, by Grapthar’s Hammer, we were back, baby! The excitement, the drama, the everything…I wanted to shout at the producers: “This is what I’m talking about! Every episode should be like this!

But after that, the show went back to floundering. They found ‘Earth’ only it wasn’t Earth, and we got a pretty weak explanation of how the Twelve Models came to be, even though it didn’t make much sense AND seemed to contradict what we knew about them already. Again, I must stress, Final Five = Worst Part of the Show. Somebody should have really gamed this out ahead of time. I understand writing yourself into a corner, but come on.

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Submitted for your approval…

By this time we all knew that Season Four would be New Galactica’s last. You couldn’t tell it by the way the story plodded on, however. The episode “Someone to Watch Over Me” did not feel like a series with only a few episodes left, but rather a series that still had three or four seasons still to come.

And the ending? Well, let’s just say that it would take the god-awful ending of LOST to eclipse New Galactica on my ‘Worst Ever’ list. It still remains in a solid #2 spot, however. From eschewing technology for no good reason, to Kara’s unexplained departure, and even Adama deciding to live alone for the rest of his life rather than with his son, there are so many horrid things here that a recounting of them all would be a blog post unto itself. It had some interesting action sequences, and *something* of a resolution to the ‘All Along the Watchtower’ craziness of before, but…well, yuck. Not with a bang, but a whimper.

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Yeah, Brah, I don’t know what to make of that either.

So why do I bring this up? Is it just to bash a long-time fanboy disappointment? A bit, yeah. But really it’s to show the extreme ends of the pendulum here, and the lasting impression it made on me both coming and going.

Understand that I still use Bear McCreary’s music when I write. (If you ever need to write an epic combat scene, put “Prelude to War” on your playlist, trust me.) I follow the projects of cast members of this show as much as I do for Firefly, or Babylon 5, or Star Trek. I love to see cosplay of these characters, and enjoy fan theories on the connections between the original series and the new.

That’s still with me.

This show meant something to me. It still does to some degree. I only wish that more care and energy had been put into the latter half of the series to match the first. To me, New Galactica serves as both a shining example and a cautionary tale of what to do/not do in modern science fiction.

Like with people, you have to take the good with the bad here. And in that sense, boy howdy is New Galactica like the contradictory nature of the deeply flawed people it portrayed in the show.

Can I get a “So Say We All”?


Backwards Compatible – Part 7: Double Vision

[Note: It’s been almost two years since the last installment of this series. Since there’s been something of a resurgence of The Backwards Mask lately, I think it deserves a continuation. This series was meant to inform folks of the odd experience of writing my first novel, and this part explains some of the confusion surrounding it.]

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Fun Fact: Foreigner’s hit “Urgent” was an oft-repeated song on my writing playlist for this book.

To recap, I found myself with the opportunity to complete a trilogy that had been started by another author, Paul Brunette. This new book had to pull double duty as both the conclusion of a trilogy, wrapping up the loose ends set up in the first two books, as well as a standalone novel since years had passed since the previous volume in the series.

I finally had the dark counterpart for to challenge my antagonist, and the stage was set for a final showdown between the two them. Development of the manuscript continued as I finally began to find traction with each character. Many of them were inherited from the previous books, so it took a while for them to really speak to me, and for me to make them my own. Everything just sort of clicked.

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Full speed ahead, Colonel Sanders!

 

Some of the most intense writing sessions I’ve ever had occurred during this time. Understand, I’m a pretty slow writer. Maybe not GRRM slow, but I’m lucky to write 500-750 words in an hour when I’m really on it. Once during this time, I wrote more than 13,000 words, with minimal errors, in a session lasting only a little more than three hours. That goes to show how dialed in I was to the character and the stories.

It was so strong…(How strong was it?)

It was so strong…that a character I fully intended to kill off in an escape attempt utterly defied me. I tried several ways to kill this character and nothing worked. She survived until the end of the story. (I’ll leave you guessing which one it was.)

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A life of its own, indeed.

At this point, the manuscript was about 80% done, and it was pretty long already. Still, everything was coming together. I knew what needed to happen. Now I just needed to get it down on paper. And that’s when it happened…

Paul Brunette’s version of The Backwards Mask surfaced online, on a fan fiction site. Neither I nor Marc Miller had any clue that it existed. As far as we knew, it had been discussed before Game Designer’s Workshop closed its doors in the ’90s, but never written.

But there it was, staring us in the face. Worse, (for me, at least) it was complete. Suddenly all the work I had put into the project seemed in jeopardy. I was an outsider to the series, and my book wasn’t finished. Here was a manuscript, by the original author, that was done and ready to go. Further, I was afraid that fans of Traveller or the first two Brunette novels would see his version as the ‘real’ version, and mine as some sort of weird exercise in fan fiction, or relegated to ‘rogue’ status. You know, like Never Say Never Again, the Bond film that doesn’t ‘count.’

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Not exactly what I had mind…

Thankfully, Marc Miller didn’t kick me to the curb. Instead, he made the decision to make both versions of The Backwards Mask available to the public. So you see, that is why there are two versions of the book floating around out there.

Naturally, this has led some to ask me: Did you take any cues or inspiration from the Brunette version? The answer is simple: no.

I made it a point not to read any of the other version until months after I had already turned my finished manuscript into Marc Miller. Even then, I got a few chapters in before I decided to read no more. To this day, I’ve never read it to completion. Not because it’s bad, but because it is uniquely weird to me as a reader.

It took me about three years to write The Backwards Mask. If you’ve read this blog series from the beginning you can see that there were many obstacles I had to overcome as far as finding a direction, guessing at the previous author’s intent, and generally trying to deliver the best book I could. After all that, reading the other version was like looking into some Twilight Zone/alternate timeline where I hadn’t put in hours upon hours exploring the mindset of the characters, plotting out action sequences, or rewriting whole tracks of dialogue.

I never realized how much ownership I had put into my manuscript until I began reading someone else’s take on the material. It’s a kind of weirdness that only affects me, but I just couldn’t read it. I still can’t. Even though I didn’t create Coeur, Dropkick, Crowbar, and Deep Six, I still feel the connection I forged with them years ago. Writing the final lines of the last chapter was bittersweet. Coeur’s frame of mind closely mirrored mine as the story came to a close.

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“Then again, all good things must come to an end.”

So now there were two versions of The Backwards Mask slated for release, and we were on the countdown to launch. And next time, we’ll talk about my scramble to get everything ready for publication.

[Check out The Backwards Mask on Kindle.]