Wednesday, June 27, 2012

11 REASONS WHY I HATE STAR TREK: VOYAGER #8

8. A plethora of shuttlecraft from nowhere. Voyager lost a shuttlecraft seemingly with every course correction, so it is reasonable to think Captain Jayneway would be limited to sensors and transporters rather quickly when considering the ship carried eight shuttles. Not a chance! Voyager junked between thirteen and seventeen shuttles in accidents and attacks. Throughout all this destruction only two shuttles were built from the ground up to support Voyager in its missions. I have some possible explanations for the uneven ratio: 1) Jayneway created replacement shuttles from sheer will power; 2) The shuttle bay also serves as a giant replicator; 3) The writers think Star Trek fans are pimple faced idiots.

The shuttlecraft repair crew is a weak explanation as to why Voyager maintained a fully functional shuttle, ready for flight at a moments notice in that the writer's failed to conduct research to match Voyager's crew complement of 150 people. The crew for a single fighter plane is in the area of twenty-five people, including pilots. Lets do the math: Problem 1) 25 X 8 = 200. Problem 2) 150 - 200 = -50 . . . This means no one is left to run the ship, and the shuttle maintenance crew still remains undermanned! The poor bastards should have unionized under the Maquis! I suppose it is possible to manage with a smaller flight deck crew, but only under the assumption the shuttlecraft are used on the rarest of occasions rather than with the frequency seen in Voyager.

The loss of the shuttlecraft is a running joke shared by many fans and detractors of the series. Speculation exists the joke is also shared by the writers. If true, it's a terrible running joke in that it rips the viewer from the tentatively held suspension of reality. A successful running joke works within the structure of a story, like in the case of Morn in Deep Space Nine. We never hear Morn utter a single syllable, but the other characters continually complain he talks to excess. A better example of a running joke is the entire series of Arrest Development.

Voyager's shuttlecraft blunder is nothing less then lazy story telling, a disease that runs rampant throughout all seven seasons.

Reason 1
Reason 2 (Part 1)
Reason 2 (Part 2)
Reason 3
Reason 4 (Part 1)
Reason 4 (Part 2)
Reason 5
Reason 6
Reason 7
Reason 9
Reason 10
Reason 11

Related Links:
The Coffee Nebula: Shuttlecraft Status

Ex Astris Scientia: Voyager Inconsistencies

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Thursday, June 21, 2012

11 REASONS WHY I HATE STAR TREK: VOYAGER #7

7. Voyager boasts ship design brought to you by the production team for Battlefield Earth. That's right! I have no problem comparing the quality of Star Trek: Voyager to Battlefield Earth. After arguing the differences, what it all comes down to is a rotten apple has the same problem as a rotten orange. In the instance of Battlefield Earth, the design team tried too hard to create something we had never seen before on the screen (does not matter if it was based on the book or not), and came up with designs that fail to inspire awe. In Voyager, the problem is the basic root to all the issues of the series--blatant laziness.

Sure, ship design could have been worse. The Original Series with its budget and technological constraints relied upon flashy lights to represent starships on more than one occasion. This light show bled into the first seasons of The Next Generation, but thankfully was abandoned well before Deep Space Nine aired. I must also acknowledge, like with creature design, ship design is a difficult conceptual beast. The best designs incorporate something familiar (saucer section as flying saucer, and engineering section with warp nacelles as space shuttle launch thrusters), tweak it, and present the audience with something it has never seen before, at least in the form seen on screen. Seeing something familiar draws us in while making the design pleasing on some level, even if we don't understand why. Granted, creating something completely foreign can work, but this is a rarity. As with characters, we need to connect with the machinery, and if it does not grab the eye we, reject it. The most frequent response Voyager pulled from me was: "What a lame design!" More often, I simply averted my eyes, dreaming of the long gone day of TOS with its alien vessel light shows, or even TNG's use of the same ships episode after episode (sometimes flying upside down or backwards to give the false appearance of a new ship). Voyager's problem was in attempting to give us something never before seen in Star Trek while refusing to acknowledge one of the most important tenants of design: Familiarity! People crave familiarity--that's why everything looks the same! After all the years of experience behind the design team, I would have expected fewer poopy ships in Voyager's seven year run.

I will cover only a few of the ships for the sake of some form of brevity.

U. S. S. Voyager: From the years of Kirk to the unveiling of the U. S. S. Defiant in Deep Space Nine, Federation ships were bulky. Until then, U. S. S. Reliant was the only ship with a bulging saucer section that was not attached to an engineering section by a thin neck. There is something aesthetically pleasing about the awkward appearance of these ships, but I can understand the desire for a change after thirty years of Star Trek. For some reason, the production design team on Voyager thought the change needed was to trade bulky for stubby. The saucer section is not a saucer, but more like an egg set on a thick neck worthy of a linebacker. The rationalization for Voyager's stubby appearance was the result of a defensive design against the Borg, and this makes sense. This concept was carried over to Jean Luc Picard's Enterprise E, a fine looking ship though it is the second most hated Enterprise with Archer's NX-01 taking the lead. What makes Enterprise E work is the sleek look created by long lines. Janeway's ship began with a great idea, and ended in lousy execution. The failure reaches a lofty pinnacle of crap when looking at the saucer section from below. This view inspires me to think of the ass end of a squid. Ship design should never cause someone to think of any creature's butt. (I suspect I would be making simian jokes if they had decided to go with two saucer sections.)





My problems with Voyager's appearance does not conclude with the saucer section. There is no true need for the warp engines to realign themselves when the ship engages warp speed. I am sure there is an explanation, but I missed it (chances are that is explained in Reason 9.) Whatever the explanation happens to be, it is nothing but technobabble, which translates to unnecessary. (Technobabble: a long standing tradition in Star Trek of speaking technical nonsense with the purpose of making the episodes sound smart. . . ) In all honesty and fairness, I hated the saucer separation of Enterprise D. I suspect some of the women and men among the production crew agree since you never see the Galaxy Class vessels involved in The Dominion War separate the saucer while engaged in battle. A reason existed for the separation. In the Federation's lack of wisdom, they included whole families on a science vessel performing double duty as a warship. The saucer separation was designed to provide escape for noncombatants (you know, children!) Though it does not make sense to put families on a warship, it does make sense to get civilians the hell out of a combat zone. I could grudgingly accept the saucer separation though I loath it (and the reason why it was necessary) with a passion. The realigning of Voyager's warp engines is nothing more than a ploy to give the ship a functioning visual uniqueness, a method to differentiate it from the other ships. Unfortunately, it did not work nearly as well as it did with Picard's Enterprise D (keep that saucer section in place!) and Sisko's U. S. S. Defiant.

I required two full seasons of The Next Generation to warm up to Picard's Enterprise, another admission sure to earn scorn. After seven seasons of Voyager, well I was ecstatic to be performing a Google search to remind myself of the ship's design. This was two days after watching the final episode.

Kazon Ships:
What we see here is the result when you start with a Mon Calamari Cruiser as the base design, add some wings, and give it a goatee. Kazon ships are what I imagine ancient Egyptians constructed if they shifted the focus from building pyramids to space travel. The only missing detail are hieroglyphs of cats. Oh wait! The bow does resemble Anubis. I guess dogs are better than cats? I really hate seeing faces worked into starship designs. To make matters worse, the Kazon ships are not the only time Star Trek has stolen from Star Wars, and that I find terribly sad. (Just because George Lucas . . . borrowed . . . from Gene Roddenberry does not make it okay.) The details surrounding the rock-headed Kazon are painful to contemplate. it is now time to forget about them--until the next all inclusive Star Trek marathon. . .









The Delta Flier: How I imagine the inspiration for the design behind Tom Paris' go cart shuttle craft project is like this: A frustrated artist has been submitting excellent ideas for months on end, all to be rejected with the same statement, "It looks Federation, but it looks too Federation. Call me when you get it right, and we'll do lunch, K?" The poor woman is sitting in her cubical, staring at her computer screen, and nothing is coming. She has already submitted fifty excellent concept designs. So she stares, and stares, and stares. This goes on for a week, a month, longer. The project started in the summer, and now there is a Santa Claus on every street corner, selling maps to the homes of Hollywood stars. Slowly, she is going insane. The twentieth of December rolls around, she has not done her Christmas shopping, is hating herself, her job, and her life. Self mutilation sounds like an excellent idea. So she grabs a pencil, sticks it under her pinky nail, and lifts to feel the exquisite pain as the nail separates from the flesh. Ignoring the blood, she stares at the nail, laughs hysterically, and sketches her detached pinky nail with a pair of warp nacelles.



The following day she gets a call from Rick Berman. "Hey! Love the Delta Flier sketch. I'll send a car for you, and we can talk about it over lunch. By the way, did you spill a strawberry smoothy while you were working?"

The design blunders continue with nearly every episode, including stealing from previous series like Deep Space Nine. I am nearly certain I saw Breen ships with a tan finish appearing in Voyager's sixth season, and continuing to make appearances through season seven. I was unable to dredge up an image, and am forced to refuse claiming this is true with any amount of certainty. I provided a link below under Related Links to highlight some of the ships appearing in Voyager. I admit, some are interesting, but for the most part we are treated to garbage. There are a few ships obviously designed around insects . . . That has never worked out well before. In fact, the only time it did work was a few years later when Joss Whedon attempted to give the world Firefly. Rick Berman, you are no Joss Whedon!

Reason 1
Reason 2 (Part 1)
Reason 2 (Part 2)
Reason 3
Reason 4 (Part 1)
Reason 4 (Part 2)
Reason 5
Reason 6
Reason 8
Reason 9
Reason 10
Reason 11

Related Links:
Ships of Star Trek: Voyager

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Wednesday, June 13, 2012

11 REASONS WHY I HATE STAR TREK: VOYAGER #6

6. Setting course for plot holes and do nothing episodes is a scientific specialty of Star Trek: Voyager. There are one hundred seventy-two episodes of Voyager, resulting in a minimum of one hundred seventy plot holes, or so it seems. But never fear! I will confine myself to the first episode, thereby attacking the whole reason Captain Kathryn Janeway (there is a cumbersome name for you!) sentenced her crew to a seventy-five year return trip to The Alpha Quadrant and Earth.

After going through a rift in space created by some bizarre satellite/alien thing called The Caretaker, the crew of Voyager find themselves in orbit around a settled planet. There are rock headed Kazon on the surface in shanty towns, and Ocampans beneath the bedrock in what appears to be a Logan's Run paradise (minus the murders at age thirty since the Ocampan life span is about the same as your dog.) The Caretaker had brought Voyager to the Delta Quadrant (some how sensing the ship's presence across the universe) with the intention of making babies. That failed. The Caretaker's purpose for mating was because he/it was dying, and feared for the continuation of the Ocampan society, a justifiable fear since the damn satellite had been taking care of its pet dogs for so long they could no longer feed themselves--much like your dog if you locked it in the bathroom while on vacation. A threat of invasion from the Kazon also existed, though I do not know how serious this was since we saw only the one shanty town and the two ships which Voyager and Chakotay's Maquis ship did a fine job of thwarting. The Caretaker's response to the threat was to use its last power to take pot shots at the planet until all the entrances to the Ocampan underground paradise were sealed. The rationalization was this would afford the Ocampans time to learn how to take care of themselves. I'm not sure how being buried alive will cause anyone to become self-sufficient. More likely it will only prolong death until the air runs out. (And if you are thinking their air is supplied by generators: What happens when those generators break down and the puppy-dog Ocampans are unable to repair them? Sadistic!)





Janeway sighted the Prime Directive, the Federation's none interference policy, as her excuse to go along with The Caretaker's plan. I simply think she is sadistic, preferring to see millions of people buried alive over returning her crew home safely. The Caretaker's plan was faulty at best, and Janeway jumping on board rather than reprogramming the satellite to send them home is unjustifiable. There was a better solution. The Caretaker was in possession of a vast library of data the Ocampan's could have benefited from accessing. Just a thought. (I postulate the Prime Directive dictates they had no business in the Delta Quadrant--particularly those sectors claimed by governments other than The Federation, as in the entire quadrant--and were obligated to temporarily seize control of The Caretaker.)

Slightly less obnoxious than plot holes are the, "do nothing" episodes. These are episodes in which nothing matters at the end, typically found in time travel episodes concluding with only one or none of the characters remembering what transpired. This is different, though similar, to hitting the reset button at the end of each episode (a TNG scientific specialty) with the intention of retarding character development and maintain the status quo. Reset episodes have the potential of entertaining the audience, where as the do nothing episode is a complete waste of time as nothing matters because nothing really happened.

The episode Before and After in season three is a perfect example. Kes finds herself in the future with no knowledge of how she got there, and has no grasp of the situation she is thrust into. A decent hook on the surface. Kes spends the episode traveling back in time, and a temporal paradox must be resolved or something or other will come to an end. Eventually the crew of Voyager succeed in saving her butt, yet she is the only one who remembers what happens. And those future moments where the episode begins, when she is older and married to Tom Paris? Yeah, they do not matter either since she leaves the ship at the end of the season. So much for her daughter and grandchild. So much for the death of Captain Janeway in The Year of Hell--dumb, dumb, dummmmb! Nothing in the episode mattered. A complete waste of the viewers time. (Wait a second! Paris made babies with Captain Janeway, and followed that up with making a baby with Kes. I bet B'Elanna Torres is next!)

There are more episodes in Voyager that fit these parameters. You can take my word for it, or watch Voyager for yourself. Should you feel the need to torture yourself, I promise to stand ready to provide comfort. No one should have to go through this alone.

Reason 1
Reason 2 (Part 1)
Reason 2 (Part 2)
Reason 3
Reason 4 (Part 1)
Reason 4 (Part 2)
Reason 5
Reason 7
Reason 8
Reason 9
Reason 10
Reason 11

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Tuesday, June 12, 2012

PROJECTS IN THE PIPELINE

I have my hands in a number of projects at the moment, and the time has come to fill you in on what is happening in this small corner between the freezer and an old China cabinet.

1.
I'm working hard on Tourney of Diplomacy: Book One of the Purity War. When publishing Shadows Beyond the Flames, I had foolishly and naively stated I hoped to release Tourney at some point between July and December 2012. I will be missing the July deadline, and have no doubts a miracle will be in order to achieve the December deadline. A significant portion of the issues is the result of losing more than half of the electronic files for Tourney. There are four electronic copies of the files (I am a back up nut), and the same sections in all of these copies is missing. I suspect this is a result from when I was forced to switch operating systems. Fortunately, I insist on a paper back up as well, bringing the total to one master copy, and four back ups. Rest assured the paper copy is not corrupted--though it was nearly damaged when the utility room flooded. Being forced to rely on the printouts has resulted in retyping entire chapters, and thereby delaying progress. I offer my extreme apologies in this matter. I do not wish to offer a revised date since I am unable to determine when that will be. That was the bad news.

The good is news is R. A. Falcone, who created the cover for the short story The Manual (found in Shadows Beyond the Flames), has agreed to provide the cover art for Tourney. The first concept sketch has been submitted, and I am pleased with the results. I will keep you posted through blogspot, Twitter, and Facebook as to the progress on Tourney.

2.
July 29th 2012 marks the one year anniversary since the publication of Shadows Beyond the Flames. I am currently going through all the wonderful feedback, and making corrections. Thank you to all those who participated in helping me hunt down and kill all the nasty typo vermin. The second edition will be ready to launch within a few weeks surrounding the anniversary date.

3.
Sam of Green Cove, the Twitter fantasy series has not died, though followers may believe otherwise. Sam died a second time, and for this I am truly sorry. I have not abandoned Sam's story. In fact, the work continues. Again, I was being naive, thinking if I wrote two or more installments a day I would be able to keep ahead of the daily tweets, a handy notion when considering sick days and vacation days--not that I am permitted much of either. That did not work out so well. Currently, I am plugging away at Sam's story. I had jumped in thinking I had a nice little tail to tell, and since then have learned it was much more complex than originally imagined. Seems to happen to me rather frequently. When Sam last appeared on Twitter, we were at episode 57. I now have 240 episodes penned, expect another 200 to 250 until completion, and then it is time to revise. Originally I had hoped for a nice and tidy 365 episodes for obvious reasons. A full year to tell the story feels right. I might even push it to eighteen months when Sam is ready for his re-re-relaunch. I will examine a 365 day run for Sam once the final episode has been revised. I am also exploring various platforms for Sam of Green Cove to avoid losing the story among all my other tweets. I will inform you of the ultimate decision as soon as possible. I have learned my lesson with Sam (twice) and will not post new episodes until the entire story in completed. I think that is the only fair solution for those who are a bit angry at my inability to keep up with Sam. For those who have read the first 57 episodes, do not worry! You will not have to read them again. The first 57 will be retweeted the day prior to Sam's re-return. You have waited long enough to travel alongside Sam, and I refuse to make you wait an additional 57 days.

4. I am also working on a super secret squirrel project. I am not permitted at the moment to discuss the details, but will provide updates once I am able to do so.

5. I am madly working on a zombie related short story set in downtown Seattle. Pike Place Zombies will be released on various ebook platforms with a price tag of FREE! The short story is my, "Thank you!" to all the readers of this blog and Shadows Beyond the Flames. Again, I will provide an update as the release date draws closer.

6.
With all theses projects I am still blogging. All I hope to accomplish with these blogs is to entertain. I hope I am succeeding in this endeavor.

As you can see, my hands are typing all over the place, the red pen is scratching and scribbling, and there is quite a bit of muttering as a tricky sentence is reshaped. I am currently on a five week cycle as follows:

Week 1: Tourney of Diplomacy
Week 2: Sam of Green Cove
Week 3: Super Secret Squirrel Project
Week 4: Pike Place Zombies
Week 5: Write and revise as many blogs as I can.

All the work is accomplished when my six month old daughter is asleep, so progress will be slow. (I'm sure those with children understand, and I beg for the understanding of those with child-free homes.) Some of the projects are close to wrapping up, like Pike Place Zombies, and The Super Secret Squirrel Project. This will free up more time for
Tourney and Sam of Green Cove. Again, I apologize for the delays. I'm looking forward to presenting some exciting stories to you in the near future, and learning from your feedback. Check back regularly for updates!

Thank you!

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Friday, June 8, 2012

THANK YOU, MR. BRADBURY!



Like so many fellow readers of Ray Bradbury, I was sad to awaken to the news on the morning of June 6th, 2012, to learn the iconic writer had passed away the previous night. Though I expected this day to come since hearing of his stroke in 1999, I had secretly hoped Mr. Electrico's benediction for Bradbury to "Live forever!" was more than high carnival drama. (Yet, Bradbury will live forever through the novels and short stories he leaves behind.) The blow of the news was softened a bit as I learned of Bradbury's passing in an email from a dear friend. Moments later my wife called from work to ask how I was handling the news. She knows me well. She knows I rarely mourn the passing of a stranger, though I may have enjoyed her/his work. Ray Bradbury is an exception to this rule. Please forgive me as I embark on this self indulgent remembrance.

I first heard Bradbury's name from my older brothers. They had read Fahrenheit 451 as part of a high school literature course. I was smart enough at the time to have the thought: "Well if both of them had to read the Berrybury guy, then I'll most likely have to read him as well. Better figure out what he is all about." So I questioned my oldest brother, learned the name was not Berrybury, but Bradbury, and came away with a magical title swirling around in my mind: Something Wicked This Way Comes. I soon found a copy of the book, and fell in love with how Bradbury terrified me. (I have nightmares from Something Wicked This Way Comes to this day.) I was hooked on Bradbury long before reading the last page.

I quickly jumped into Fahrenheit 451, and again was amazed to find something wonderful happening between the pages. When seeking the third Bradbury to read, I soon realized I was making rapid progress through his more celebrated works, so I shifted to titles rarely found in the articles of accolades. I possessed enough brain power at that time (somewhere in the quagmire of middle school) to realize I had discovered something amazing, and all from eavesdropping on a conversation between my brothers. It was glorious! I read Bradbury after Bradbury--that is, when my nose was not in a western. Soon I realized the goldmine was bound to dry up under my voracious reading. Having not yet learned the value of rereading a book, I set upon a campaign that is still with me. A campaign of Bradbury conservation, as in I allow myself no more than two titles a year. Without this exercise in discipline, I knew I would have read through all the current titles before graduating high school, leaving me to suffer dry spells between the following releases. Agonizing! Unbearable! Knowing there are Bradbury titles waiting to be read provides a touch of soothing during the absences.

Upon entering high school, I soon learned Bradbury was common ground between myself and many of the teachers. A fantastic discovery. My sophomore English teacher, Mrs. Richardson had never read Ray Bradbury, but she was a curious soul. I brought to class my copy of Something Wicked This Way Comes for her to borrow, and I never saw it again. I hope she enjoyed it so much she felt compelled to keep the book. I had Mrs. Richardson again my junior year, thinking the book would be returned. I was not entirely upset when that failed to happen. Every high school has at minimum one teacher who the boys worship. Mrs. Richardson was that teacher. I have since bought a second copy of Something Wicked This Way Comes, and I guard it with a passion.

Fast forward to my senior year, specifically December 4th, 1993, the day Frank Zappa died. I was spending the weekends with my father. Saturday morning I was informed we had an exciting outing planned for the night. I grudgingly agreed, though what I desperately wanted was to enjoy these last few months of teen angst, alone and in my room. We made the drive from Lake Forest, California to Mission Viejo, and I'm thinking: "Dad, I've been to the mission far too many times. Can we just get pizza and go home?" Dad parked the car outside the Mission Viejo library, and now I am thinking: "But what can be so exciting about this small thing?" All these jerkish thoughts are washed away the moment we step through the doors. There is a poster of Ray Bradbury's face with the caption: Special Appearance Tonight. Ray Bradbury Lecture and then the time and date. I happened to have my copy of Fahrenheit 451 in the backpack (I suspect my dad's hand in this.)

The evening was one of those surreal moments when you think you are taking everything in, you are convinced you will remember every last damn detail, and realize two minutes later little to nothing penetrated into long term memory--much like watching the birth of your children. Only the highlights remain. I remember watching Bradbury walking out onto the stage, thinking he was smiling for the only pimply geek in the audience, me. (Remember, I was a teen, so the world revolved around me.) I do not remember a thing about the lecture, to my shame and regret, beyond his discussion of Fahrenheit 451. He told the tale of being unable to sell the book to a publisher as the book was considered too inflammatory for the mass market. Eventually, a man willing to take risks came along, chopped the book into quarters, and published it over the first four issues of his fledgling magazine. This risk taker was Hugh Hefner. So what did I take away from the lecture? Ray Bradbury was in Playboy. I remember my hormonal response whispered in my dad's ear. "That is awesome!" (I have since learned the articles and short stories found in Playboy actually are better than the pictures--ignore my wife's laughing.)

After the lecture, Bradbury sat down at a table in the lobby, and immediately began signing books. The facilitators of the event were allowing him to sign no more than one book per person. Dad being the great fellow that he is picked up a copy of The Halloween Tree so I could have two books signed by Bradbury. As I'm waiting my turn, the librarian informs us there are books on sale directly from Mr. Bradbury. That was when I learned he bought his unsold titles from the publisher when they went out of print. He stored these books in a warehouse rather than let them return to the pulp mill. This also enabled him to offer out of print titles to his fans. I thought, and still do, that this was an amazing and generous effort on his part.

I grabbed peeks of Bradbury from between heads and over shoulders as I waited in line. Living in Southern California, I heard numerous horror stories of people having chance encounters with celebrities, and was understandably nervous, fearing I'd endure a horrendous moment. I observed Mr. Bradbury, and he had a genuine smile on his face. He was shaking hands, taking books, talking, signing, laughing, returning books, and shaking hands once more. Next person. Repeat. I was beyond impressed. Bradbury, at that moment, surpassed being my favorite writer. He became my number one role model.

Eventually I found myself standing face to face with the legend, trying not to squeak in fear under his radiant smile. I handed over Fahrenheit 451, and barely manage to ask: "How old were you when you sold your first story?" He replied, "I was eighteen. Why? Are you a writer?" I sheepishly admitted that I was. At that point, Mr. Bradbury launched into the story of his first sale. I felt important, like I was the star, but I also felt guilty. All the other people had a minute with Mr. Bradbury, and here I am getting a personal story spanning ten or so minutes. Amazing! After Bradbury concluded the story, the wonderful woman behind me tapped me on the shoulder. Here I was, afraid this gray haired woman was going to ask me to stop taking up so much of Bradbury's time, and let others have their chance. Nope. Instead I found her shoving a copy of Zen in the Art of Writing into my hands, saying: "I think you need this more than me." Mr. Bradbury immediately grabbed the book from my hands while showering the woman with praise: "You are an amazing woman. Wonderful. Such a wonderful, generous person. God bless you! Thank you!" Bradbury asked my name, signed the book, and that was the end. I came away with three signed books when I was suppose to have one signature. Truly a magical night brought to you by my dad, Mr. Bradbury, and a mystery woman whom I will never forget. (The story of Mr. Bradbury's first sale can be found in Zen in the Art of Writing.)

I waited to read the inscription in Zen in the Art of Writing until after dad and I returned home. It was an attempt to prolong the magic, to enjoy the greatness of the evening for as long as possible. Mr. Bradbury wrote: Jim, Good luck! Not much, but it worked like a benediction upon an eighteen year old boy. I have cherished that book ever since--it never gets packed in a box when I move, but instead goes in with my luggage. Those simple words--Jim, Good luck!--are ingrained in my mind. They flash through my thoughts multiple times each day, and should I fail to write less than a paragraph a day I feel guilty. As though I have failed to measure up to Mr. Bradbury's faith in an unknown kid, scrawny and covered in pimples.

Ray Bradbury was the first author I met at a book signing. Though I enjoyed all the other writers' lectures and signings I have attended since then, Mr. Bradbury will always outshine them all.

A day of dread and sadness arrived come June 6th, 2012. It was the day we learned Ray Bradbury died on the previous night, June 5th. I knew instantly two things were going to happen in the course of my day. I would find myself in the bookstore, and at home I would be searching through the DVDs. I picked up a second copy of Fahrenheit 451 since my signed paperback is close to falling apart. I decided on a hardback to ensure many years of multiple readings. I waited for my girls to come home, sat them down, and made them watch Disney's weak adaptation of Something Wicked This Way Comes. They loved it. For years I have attempted to get my girls to read Bradbury, and with no success. Perhaps that will now change.

Later that night, as I was getting ready for bed, my thoughts were on Mr. Bradbury. I do not write fan letters since I have nothing to say the writers have not already heard, but last night I began to regret the decision. I wanted to thank Bradbury for that magical evening all those years ago in Mission Viejo. I wanted to tell him I'm working hard at writing. Most of all, I wanted to thank him for being who he was, a generous heart, an amazing writer, and an inspiration. So I will say it here:

Thank you for all the joy, Mr. Bradbury.


Fahrenheit 451


The Halloween Tree








August 22, 1920 - June 5, 2012

Wednesday, June 6, 2012

11 REASONS WHY I HATE STAR TREK: VOYAGER #5

5. Voyager is The Cheese Factory of outer space. Star Trek is no stranger to cheesiness. This dates back to The Original Series, culminating in the third season (also known as the turd season) with the episode Plato's Stepchildren, in which we find Spock dancing with Captain Kirk. Each spin-off series since has found it necessary to include a surreal episode filled with cheese. This generally takes the form of a mad carnival intended to bring Alice in Wonderland to a modern audience. The result, however, lies somewhere within the neighborhood of Tim Burton's failure. Over the top acting combined with weak riddles and slightly macabre carnival costumes does not make for good television. What it does is annoy the viewer to fits of vomiting.

I was unable to remain in my seat when I first viewed Voyager's attempt at the surreal, The Thaw. I left the episode playing for no other reason than I cannot turn off Star Trek once I have hit the play button (I'm seeking professional help in this matter.) Yet, I am unable to be entirely miffed with The Thaw as it provides me with forty-five minutes in which I can do chores rather than warm the couch cushions. Honestly, I'd rather do just about anything than watch this episode, like, oh I don't know, pick up dog poop? (My oldest asked if I'd rather pick up dog poop with my bare hands than rewatch The Thaw, to which my answer is, "YES! Absolutely!")




This episode is seconded only by another Voyager blunder, Threshold, in which Janeway and Paris "evolve" into catfish looking salamanders due to a faster than warp experiment. "Evolve" was the writers' word of choice. Most folks with a high school education would recognize this as devolution, but according to Voyager, regressing to a more primitive life form is evolution. Semantics aside, the fact that Lizard Paris is into cougars, and dug Lizard Janeway's tail so much. . . well let me simply state they had babies on a swampy planet in a steamy way. After recovering, Janeway and Paris left their immature offspring to fend for themselves on the planet. Perhaps they were ashamed of what led to the making of those babies? Regardless as to whether or not they wanted to legitimize their children by doing the proper thing (now that I think about it, perhaps abandoning the lizard babies was the proper thing), the episode leaves the thought in the viewers head that Paris is into older women. Does this mean he has mother issues?

Even Brannon Braga, the writer of Threshold, has nothing kind to say concerning the episode. He sums it up best with a concise critique: "Out of a hundred and some episodes, you're gonna have some stinkers! Unfortunately, that was a royal, steaming stinker."

I could go on, but The Thaw and Threshold do so well in portraying the cheese factory of Star Trek: Voyager. This series alone is capable of constructing a space station with enough fire power to destroy an entire planet, and with cheddar alone.



Yum!

Reason 1
Reason 2 (Part 1)
Reason 2 (Part 2)
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Reason 4 (Part 1)
Reason 4 (Part 2)
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Related Links:
The Agony Booth recaps Star Trek: Voyager, Threshold
Kirk and Spock cutting a rug

Author Links:
Shadows Beyond the Flames
J. M. Tresaugue Books
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