📚 Memory by Lois McMaster Bujold

48/2024 – ⭐️⭐️⭐️⭐️

Recovering from the rather calamitous events of the last book, Miles has to solve an unusual murder mystery while trying to figure out how to deal with his two alternate lives. This one is less action and more introspection, mystery solving, and Barrayaran politics, always with Bujold’s signature wit and incredibly well-rounded, imperfect, and very real characters.

Me holding Memory

📚 My Monster Girlfriend edited by Andrea Purcell and Amanda Lafrenais

46/2024 – ⭐️⭐️⭐️⭐️

The latest in Iron Circus’s series of adult comic anthologies, and a sequel of-sorts to an earlier entry, My Monster Boyfriend. Befitting the theme, some are more horror based, while others are sweet and silly, but all are most definitely NSFW. Quite a few good offerings here, but I think Anderjak’s “Trash Mob Romance” was my favorite (sweet, funny, and what I read as nice ace representation while still fitting the theme of the anthology).

Me holding My Monster Girlfriend

📚 The Captain’s Oath by Christopher L. Bennett

45/2024 – ⭐️⭐️⭐️

Set over the course of a few years, just before and after Kirk takes command of the Enterprise. An interesting take on Kirk, not quite the captain he will become, still somewhat finding his footing. Plus some good pointed commentary on refugees and the assumptions that get made when they arrive in a new place.

Me holding The Captain's Oath

🎥 Under Paris

Under Paris (2024): ⭐️⭐️⭐️

This was a lot of fun. Completely ridiculous, of course, but just the right kind of ridiculousness to be enjoyable. You’ve got the scientist who people don’t believe, the plucky up-and-coming younger rebel, the police officer with a tragic past, short-sighted incompetent city bureaucrats, and the requisite toothy creature and soon-to-be-chomped extras. Extra points for consistent visibility (there were scenes set at night in underwater underground catacombs in murky city river water, and you could still see what was going on) and a better-than-expected end (and some fun backgrounds to the credits, as well). Absolutely worth the time if you’re in the mood for a giant shark movie.

The Under Paris poster, showing a giant shark swimming amongst a group of river swimmers as spectators look on.

Retro News: Gigs Music Theater Closes

A blast from the past — two news reports on the closing of Anchorage’s all-ages music venue Gigs Music Theater, in August of 1998. There’s even a quick shot of me (long-haired, shirtless, and muddy after the ¡TchKung! performance) DJing at the 1:56 mark.

A somewhat low-quality screengrab of a video clip of me DJing in 1998. The shot is from behind me over my right shoulder. I have long curly red hair dyed black at the ends. I'm not wearing a shirt, and I have red streaks of mud on my cheek and shoulder. I have one hand on the tempo control of a Numark CD DJ mixer. There is a rack of CDs to my left.

Thanks to Mark Romick and his daughter for recording these way back then, and then unearthing and uploading them (originally to the Facebook ’90s Anchorage Alternaculture group, then I copied the video to YouTube with Mark’s permission and added subtitles).

Star Trek Discovery Technobabble Time

Okay, now that Discovery is done, I have some questions for the technobabble Trek geeks out there.

Brief background: The plausible tech is a large part of what has always drawn me to Trek. I’m the kid who was buying blueprints and memorizing technical manuals.

And I have to admit, this is one of the areas where Discovery has been a little shaky for me, particularly in the final three seasons after the jump to the far future.

I get that it was a jump from already futuristic tech to really futuristic tech, and it wouldn’t have been very interesting if everything just worked essentially the same way. But so much of it just ends up toeing or actually crossing the line from science fiction to Star Wars-style space fantasy magic that it kept bugging me.

So what I’m hoping for is some good old-fashioned technobabble “but make it plausible” speculation on some of the new tech.

  1. How do the transporters know where people want to go? They just tap the badge and “poof” they’re there, but there is never (that I’m remembering) any sort of direct instruction given to the system. The best I can come up with right now is that the badges must be constantly monitoring and processing every bit of audio (and possibly video? and more?) around so that they can infer from the immediately preceding conversation where the user wants to go and how many other nearby people should be transported with them. And that’s not creepy or a privacy concern at all! ;)

    (Yes, from a real-world storytelling perspective, tap-and-poof is much simpler than constantly having to say “beam me to [here]”; it’s basically the same reason nobody in films or TV says “goodbye” at the end of a phone conversation, and instead both parties just know when they’re done and hang up. But it bothers me!)

  2. What’s the rationale/advantage to ships that consist of multiple pieces floating near each other, presumably held together with force fields? I can see the idea as an extension of Voyager’s nacelle reconfiguration (which, to be honest, I don’t remember if that was ever explained officially or unofficially; did that change the warp bubble shape or something for greater efficiency?). But I’m unsure if the practicality, especially when it comes to critical pieces of the ship like, oh, the engines. Not only is there now no easy way to physically get to those sections of the ship through Jefferies tubes for maintenance or emergency repairs (though tap-and-poof I suppose accounts for that…as long as you’re not having any problems with the transporters, at least, and we all know how reliable they are), but how does the warp propulsion system even work with disconnected nacelles? Since pre- and post-Burn warp technology still used dilithium crystals, I assume the basics are still more or less the same (matter/antimatter streams combined within the dilithium crystal to create the power stream that’s split and sent to the engines to create the warp field bubble, with actual propulsion through both warp and normal space handled by the impulse engine), so how does the post-dilithium power stream get to nacelles that are physically disconnected from the ship?

There may be other bits, but those are the two that have really stood out to me. They just feel too much like the writers/producers saying “if we do this it’s neat and futuristic and cool” without putting much thought into any in-universe rationale. It moves Star Trek from science fiction to space fantasy, and that’s just not quite as interesting for me…but I also believe that we’re a big ol’ bunch’a nerds who have spent decades proving that we can retcon and explain anything if we really want to, so I’m sure these are no exceptions. :)