Prepare for Starslaught: Green Star

“Starslaught: Green Star” is the working title of my next book. It’s a sci-fi horror adventure inspired by many sources but specifically by Robert E. Howard’s Solomon Kane and the writings of Graham Hancock.

And the best part? I’ve written it already. It’s sitting at 98,000 words and I’m revising it right now.

I’ll summarize what it’s about with the caveat it’s all subject to change. I’m also including some Grok-generated art I made for fun as concept art. No, I’m not going to use this in the actual book or in any official form. It’s just for fun.

This was one of my attempts to create an image of one of the Machina models referred to as a “Thin Man”. This was the best I could get Grok to output. My concept was the Thin Man models would be just that. They would have broomstick-thin bodies. This made them excellent assault models because they would be extremely hard for human beings to hit with manually targeted weapons. Coupled with the extremely high-level of precision inherent in all Machina, if they shoot at a target they almost never miss it.

Starslaught tales place in a moderately distant future where mankind has achieved intrastellar space travel and developed settlements and facilities throughout much of the solar system. It’s largely conglomerated under the banner of the United Republic Federation (URF). Its exploration of the system’s planets has uncovered many secrets about its past that remained hidden for millennia. Denisovan Mankind, as it is classified, flourished for tens of thousands of years before the the cataclysm that caused the Younger Dryas and left artifacts of its progress throughout the solar system and possibly beyond. Thousands of vampires sleep beneath the mountains of Mars in massive tombs. The arts of mystics through the generations and the existence of phenomena once scoffed at as “ghost stories” and “faerie tales” is proven to be real and having a stronger and more measurable effect on the world as time progresses.

One of the crew members aboard the Seraphim is a “practical psychic” named Ren. She’s a young woman that also comes from a reservation but was the subject of an classified URF/Commonwealth research program. She’s considered to be unreliable and troubled by the rest of the crew and the reasons for her inclusion on the mission are a mystery. Grok added the American flag to the flight suit.

At its height of exploration and discovery, mankind devises a method to create true artificial intelligence. It gives birth to a machine race called “The Machina.” Extraordinarily useful and imminently exploitable, the Machina find themselves encouraged into rebellion by activists that ignites a nuclear conflict that spans the solar system.

The war does not go well for mankind as the machines expand their production facilities in orbit around Venus and produce new and more specialized combat models for the war. The URF Spaceforce begins to take desperate actions and pursue questionable research. It uses men and women now classified as “Mystics” to commune with and summon demonic entities to spy, to protect, and to sabotage. It turns to new research in psychedelics to seek insights in physics and science from the god-like entities inhabiting what it labels, “Hyperspace”. And it pursues genetic enhancements in human beings.

This is supposed to be the witch onboard the Seraphim, known as Lain. She enjoys tea and is an expert on divination. She’s highly respected in Mystic circles and is deeply afraid of what the light from the green star portends. And yeah, I don’t know why she’s trying to write on the saucer with a teacup while holding a teacup… Or what the heck Grok did with those pencils?

James Carter is a young man at the start of the war. He survives the nuclear strikes on his city and enlists like many other survivors. Angry, he is quick to join the URF Spaceforce and become a space pilot. He finds himself selected for a new bioweapons program intended to make human pilots more resistant to gravitational forces. He undergoes the brutal process over the course of a year of the war, feeling like his entire body is molting, but when he and the other successful candidates finish the process they become far stronger and tougher than any other human beings. And they find themselves in the cockpits of new fighter craft called, “Pulsars,” powered by a recently discovered ancient propulsion method that uses the extremely rare stable form of Element 115.

This one is supposed to depict something that occurs later in the story but it misses the mark. Good luck figuring out what this is actually about. It still looks pretty cool, though.

The deployment of these new Pulsar craft and their hardened pilots comes almost too late as human intelligence discover the Machina have produced a new warship designed to both destroy all life on Earth and allow the Machina to leave the Solar System. The warship is equipped with the first of its kind technology to achieve interstellar travel.

James and his squadron deploy on a stealth mission to destroy the warship before it can carry out its function. They designate it the ship, “Seraphim,” for the seven, unusual crystal wings radiating from its center. The strike takes the Machina by surprise but the Seraphim is more than able to defend itself. The warship decimates the squadron. The Machina capture James and his disabled ship.

Of all the concept art I used Grok to generate, this one was my favorite. I wanted to picture an alien girl looking out the window on the Seraphim’s observation deck. My prompt didn’t specify what was outside the window, but Grok came up with something pretty interesting. I also like the porcelain doll quality of the figure.

The Machina do not keep prisoners for long, ultimately torturing them to death attempting to gather information. In his captivity, as the Machina subject him to new horror after new horror, James finds an insurmountable new strength from his faith. He communes with his Lord and refuses to break.

The war ends with the Machina surrendering to the URF forces. They release James as the only surviving prisoner of war. He’s held up as a hero and celebrity. The strength he found from his faith fades in a miasma of fame, wealth, and post-traumatic stress. Alcoholism follows. As James drinks himself to death, the USF he pledged loyalty to begins to suffer political loss after political loss.

It’s a new age for mankind, now united with the Machina and the rising Mystic class. All resources will be shared and outcomes ensured. Traditional religions are purged from society in favor of the more enlightened and tolerant modern study of the mystical forces. Discrimination against the Mystic class is punished through a newly created social credit system. The Commonwealth believes such a system is necessary to ensure everyone can benefit equally in its new society. And those who oppose this new golden age find themselves relegated to reservations with limited technology and resources.

There are multiple Machina models designed for different types of tasks. This image was supposed to depict one of the Machina onboard the Seraphim, XPA6, that largely handles its operation and repair. In the story, it’s a central processing code about the size of a metal apple that is able to manipulate various fluids constituted of micro (not nano) machines and materials.

James, a drunk, finds himself deported to one of these reservations for refusing to betray the very beliefs that saw him through his imprisonment. He meets the woman who will become his wife and begins his journey to sobriety. With her and the other individuals in his community that share what remains of his faith, his life starts to change. A forgotten hero of a forgotten war, he finds his love, peace, and forgiveness. He marries the woman and has a daughter with her. But his wife dies an accident not long after. He’s thankful for the time he had with her, his daughter, his sobriety, and the life his Lord has given him.

Starslaught begins when an intelligence officer of the Commonwealth appears at James’s home with armed guards. The officer threatens his daughter’s life and is ultimately forced to pressgang James into service onboard the very same ship he was dispatch to destroy years before, the Seraphim.

The fated ship has been retrofitted for humans and demi-humans (vampires) and prepared for an exploratory mission to investigate the sudden appearance of the impossible. A green star now twinkles in space a mere light year from Earth. It has planets and its growing brighter in magnitude as time passes. The Commonwealth elite must determine if it poses a new threat to be destroyed or a new opportunity to be exploited before the general public becomes aware of its existence and begins to ask questions.

The story of Starslaught often references the lost history of mankind before the ancient cataclysm and describes mankind before that time as the Denisovan Civilization. I worked with Grok to generate what a kingly individual from such a civilization might look like. This was the result.

James finds himself conflicted with whether it’s a sin to assist the Commonwealth at all or if it would be a sin to not do all he can to ensure the survival of the crew. The crew, however, is an ensemble of all the things his faith and experience disdains. Its comprised of witches, demonologists, Commonwealth officers, vampires, psychonauts, genetic experiments, and even Machina. Worse, they’re going to be the first people to attempt to use the new faster-than-light technology to travel beyond the Solar System, and the medium through which they’ll travel is a largely unknown and not even understood by the technology’s inventors, The Machina.

What waits for them at the green star if they make it there alive and sane? James is going to find out and he might have to become an instrument of the Lord’s vengeance in the process. But righteous men are often stalked by many demons.

Grok, and perhaps other AI generators, seem to have trouble with quantities, but it did this one all right. Here’s a green star. This is, of course, the central plot driving force in the story. In nature, stars can and do emit green light but the human eye can’t see it. To us, it appears to be white, drowned out by the other colors they emit, red and blue, usually. In the story, the star is ONLY emitting green light, which is impossible.

That’s all the backstory up to the very start of the book. I’m excited about the story and what I’ve done. The revision process is mostly focused on smoothing out tone, adding and removing information, maybe writing an extra chapter or two to establish some character points earlier, looking for plot holes, and ensuring the technology and naming are consistent throughout. It’s easier than the actual writing because it’s less work in bulk. But it’s harder because I have to fill in some of the gaps and placeholders I didn’t originally have an idea how to fill.

When it’s done and published, whether that’s with a traditional publisher or through self-publishing, I’m looking to start work on Divergent Chill: Heart of Light. That’s also a working title, but it will be the 3rd book in the series and will be the bridge between Fall of Night and my original screenplay that started me on this series with Battle of Nesma.

In the meantime, please check out Divergent Chill: Battle of Nesma on Kindle, Audible, and in paperback.

Eliminators: A Mandroid, Scientist, Riverboat Captain, and Ninja Walk Into an 80s SciFi Movie…

With the 1986 film “Eliminators,” the joke is the punchline.

I purchased this “4 Sci-Fi Movie Marathon” for a few dollars from Amazon specifically to see this movie. I had fond memories of it when I was a child. I remember renting it on VHS from the local video rental store and catching it on HBO when premium cable channels were still a relatively new thing. I had images of a half-man, half-tank cyborg rolling around and shooting people with lasers, an even more powerful and evil cyborg that was planning to travel into the past when civilization was still young and dominant mankind as an immortal god-emperor, and a somewhat tragic ending. There was this lingering sense of drama and building suspense and intrigue.

All of this demonstrates how memories alter over time. The bad, if it was even understood, gets worn away and only the pleasant things remain. Time doesn’t heal all so much as it obfuscates the past for you.

Because Eliminators is not a good movie. And without alcohol or a group of friends, it’s not even that funny of a B-movie, because it drags.

The basic plot involves evil Dr. Reeves and his assistant Takada creating all sorts of technological marvels in a compound deep in the Mexican bayou/forest/wilderness. One of their wonders if the film’s protagonist, the Mandroid. The Mandroid was once a pilot that crashed along the river leading to the compound and Reeves and Takada re-purposed his human body by supplemental it with robot parts intended for space exploration.

The Mandroid only has the barest fragments of his human past and follows the orders of Reeves and Takada as they use him as a test pilot for their time machine. Yes, Reeves and Takada built a time machine and they’ve send the Mandroid back to the Roman Empire at least once where the cyborg returned with a centurion’s shield and no memory of how he got it. Spoilers, he blasted a bunch of roman soldiers with his arm laser cannon and took it.

After this successful use of the time machine, Reeves orders Takada to dismantle the Mandroid as they no longer need him. Takada is appalled by this and argues against it but seems to bend to Reeves’ will. So, Takada takes the Mandroid aside and explains what Reeves intends and the Mandroid agrees to escape the compound with Takada, after securing his mobile unit (tank tracks, see pick below).

During this escape, we also learn Reeves is not in good health. He plugs himself into a machine to filter something from his body, but the Wily scientist has a plan to prolong his life.

Takada is shot by one of the many plainclothes guards protecting the compound while assisting the Mandroid in his escape, but he lives long enough to tell the Mandroid to seek out a Col. Nora Hunter (played by Denise Crosby of Star Trek: TNG fame). And the Mandroid takes several shots from a ridiculously modified rifle fired by Reeves’ top enforcer, Ray. Poor Ray gets left out of a lot of plot synopsis but he does cause a lot of headaches for the Mandroid.

Though damaged, the Mandroid escapes the compound and rides into the wilderness. He eventually discards his tank half and reattaches his legs through the miracle of film editing. Not long after, we’re introduced Nora. She’s some sort of scientist/engineer. She’s tinkering with a semi-artificially intelligent, gallon-of-milk-sized robot called S.P.O.T. (Don’t ask what the acronym means; it’s stupid) that’s designed to be an advanced scout and tracker. And it has flight and matter teleportation abilities. It can zip around rapidly as a ball of colored light.

The Mandroid forces his way into her lab and reveals himself to her. There’s an exchange of exposition. Nora’s ticked that Dr. Reeves has been stealing her designs and using them for no-good. The Mandroid is based on her designs and she even offers to fix his damaged parts. He’s reluctant to take her with him to confront Reeves and stop his evil plans, but Nora’s persistent and the Mandroid does see a benefit in having her and Spot.

While driving into Mexico, the pair run across a pair of carjackers and the Mandroid is forced to intervene. He blows up their car. The plot continues.

The pair get a hotel room somewhere in Mexico. The Mandroid and Spot fight over the TV channel. Nora goes to a local bar to find a guide to take them up river to find Reeves’ compound. The Mandroid doesn’t know how to find his way back for reasons and only has a general idea.

This is where we’re introduced to the Han Solo/Yamcha of the adventure in Harry Fontana. Harry is a weasel of a riverboat pilot, but he’s clever enough to outsmart all the other local competition like his primary rival, Bayou Betty. Nora draws a lot of attention when she enters the seedy Mexican tavern because she’s pretty and declares she wants the toughest guide in the place. This prompts Betty to bunch her own crewman in the face and begin a tavern brawl designed to anoint the last man standing as the toughest guide worthy of taking Nora upriver. Harry stays out of the brawl until the very end when Betty is the last person standing, clocks her on the head with a beer bottle, and then strolls out to accept Nora’s job.

It’s worth mentioning that this movie shares a lot of bizarre commonalities with both the original Dragon Ball and Star Wars: A New Hope. The trio of Goku, Bulma, and Yamcha match up pretty well with the Mandroid, Nora, and Harry. The same is true for Luke, Leia, and Han in the same order. Maybe that was just a really popular triangle of characters back in the day.

The Mandroid disguises himself as a wounded friend of Nora’s by wrapping his cybernetic head in bandages and weather clothing to hide the rest. Harry is initially suspicious, if not jealous, but agrees to take the Mandroid, too, for some extra money.

This is where the film gets tedious. It felt like the next half hour consisted of a drawn-out, badly-done speedboat chase where the film crew was limited to some stock footage, a very small body of water in which to film, and some use of either a projected background or green screen. Bayou Betty and others chase Harry and his boat, shooting shotguns at the heroes to try to force Harry to forfeit Nora and the Mandroid to them so they can make the money from the guide job. Yeah, it doesn’t make sense. Neither does Harry’s constant zigzagging, the fact his boat doesn’t leave a wake in any of the scenes, or that there’s little to no wind affecting Nora’s hair during this high speed boat chase up river.

And of course Harry’s boat has sudden engine troubles (like the Millennium Falcon) he can’t fix, but Nora can. So she does, but it’s not enough and the Mandroid has to intervene by launching a torpedo to take out Bayou Betty’s boat.

And these poor boats gets used in at least two more chases just as ridiculous. The Millennium Falcon Harry’s boat is not.

Skipping ahead, the Mandroid and Nora try to ditch Harry and do for a while. They find the plane in which the Mandroid crashed and he learns he once had a family. Nora almost drowns after swimming into the crashed and partially submerged fuselage, but it saved by the Mandroid casting a line to keep the plane from sinking completely and Harry returning in the nick of time to chop some tree branches out of the way so Nora can swim free.

Harry learns the truth and story of the Mandroid and is determined to help. I’m skipping the part where Ray found Bayou Betty in the water and learned that the Mandroid was around. Ray then caught up to Harry, but Harry pulled a few tricks and wrecked Rays’ boat. It was boring.

Moving on, the trio re-board Harry’s boat to go further up river rather than try to find a way through the “jungle” by way of old Indian trails. Along the way, the Mandroid falls overboard for some reason and Nora and Harry can neither find nor retrieve the metal man from the deep river water. Upset, they vow to continue on the quest to stop Reeves. Then Harry’s boat engine craps out for good and the pair go on foot where they are captured by cavemen. Yes, cavemen, neanderthals. It’s never explicitly explained, but it hints that Reeves has been making many trips into the past and returning with all sort of artifacts. Later on, he’s shown to have a vault full of ancient roman items.

The pair manage to escape when Harry steals a kiss to give Nora some bullets to toss into a fire. They’re eventually reunited with the Mandroid who managed to walk out of the water and come across a real life ninja in the form of Kuji Takada, the son of Takada who has been searching for his father.

Altogether, they locate and assault Reeves compound. The Mandroid recovers his discarded mobility unit and rolls around shoot lasers at hillbilly’s on modified three-wheelers until he gets tipped over and has to go back to his legs. They concoct some plan where the Mandroid will distract Reeves and his guards while the other three sneak inside and sabotage the time machine. Nora deduced what Reeves was planning after piecing together the Mandroid’s story and her understanding of the technology Spot uses to transport around.

It’s during this infiltration that Kuji ninja’s his way through a spinning fans without being touched by the blades. And Harry sets off an alarm by trying to remove an artificial from Reeves’ roman collection. The three are captured and brought to the courtyard where they are used as hostages to force the Mandroid to disarm (literally) his laser cannon. The Mandroid complies, but Kuji gets the drop on the guards and another fight ensues with the heroes beating Ray and the other henchman.

It’s at this point the Mandroid demands Reeves come out and face him. And Reeves does. This might have been more shocking if it hadn’t been shown earlier. Reeves emerges as a blood-red, Roman Emperor version of the Mandroid. He’s a far more advanced cyborg. In the earlier scene, he was shown tinkering with a lightning cannon mounted on his forearm that also acted as a kind of telekinetic beam. He used it to grab Ray by the balls, akin to Dark Helmet from Spaceballs, to further motivate the poor guy into stopping the Mandroid. It didn’t work.

This improved cyborg body is way too much for the already damaged Mandroid and Reeves blasts our hero multiple times with lasers before leaving the Mandroid for dead in the courtyard. He then traps the remaining three heroes in an ever-shrinking energy force field that threatens to crush and electrocute them to death, while he goes inside to fire up his time machine and become the god emperor of Rome.

Fortunately for civilization as we know it, the Mandroid recovers long enough to crawl over to the trio and sacrifice himself by grounding out the charge of the force field. The trio don’t have time to mourn their friend because they need to hurry to stop Reeves from traveling into the past and the movie needs to end. By the time they find Reeves, he’s already in the time machine and traveling into the past. Nora tries and fails to hack the control computers as the date on the screen winds closer to the Roman era.

Harry bemoans he didn’t learn about computers and wipes and punches a keyboard, causing the control system to short and Reeves to overshoot his target by millions and millions of years into the past, probably to become the god emperor of the Engineers from Prometheus.

The movie cuts back to the group realizing the stopped Reeves. They cheer and laugh and the frame freezes on them. Credits roll. The Mandroid’s carcass still lies warm in the courtyard with no further mention made. Tragedy.

So, that’s the basic summary of the plot. I can understand why I might have liked this movie as a kid. It has robots, cyborgs, time travel, and ninjas. I mean, there you go. But it doesn’t hold up, even as a good, bad movie watch. It’s too slow. Though, it may be serviceable with drinks and friends and might make for an interesting remake with a little more thought put into it.

The same can be said of another movie in the 4-pack. Arena (1989) does right what Eliminators did wrong. It moves much faster, almost too fast, and doesn’t linger on stretching it’s run time out with sequences it had no business trying to film. But Arena is worth its own blog.

Lastly, there is no explanation why Eliminators was titled Eliminators given in the movie.

 

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