Oblivion Movie Poster

The other day I found myself watching a soccer game. The players were not very good: defenders were constantly out of position, midfielders of the same team were bunching together and stealing the ball from each other, few passes were completed, and those that were often gave the impression of being accidental. Once, the goalie was even caught standing inside the goal when one team took a shot. Fortunately for them, the shot went well wide of the mark, despite the fact that it was taken a mere ten feet from the mouth of the goal.

Notwithstanding the poor level of play, I was enraptured. I cheered, I groaned, I shouted encouragement. I never missed a second of the action. What is more, I had just as eagerly watched the 30-minute practice that had preceded the game. The reason for my enthusiasm was that one of the players was my four-year-old son. There is a lesson there for storytellers of all stripes.

Oblivion is the second opus of director Joseph Kosinski, who also gave us Tron. It is a perfectly average movie on net, with some attributes rising a little above and others sinking a bit below. Of all the changes one might suggest to improve the film, the single most important one would be to populate it with characters we care about. The same thing that turned an hour and fifteen minutes of abject boredom into an engaging experience on a small soccer field in central Ohio would have dramatically improved every single scene of Kosinski’s work.

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Marsbound by Joe Haldeman

Marsbound by Joe Haldeman

Joe Haldeman began a series with the book Marsbound. Like his other books that I have read, it starts quickly, wastes little time with descriptions, treats people mechanistically, with little emotion or soul, but tells an interesting tale. Marsbound is less entertaining than The Forever War and Forever Peace, but it is still a decent read.

The story begins on Earth, where a university student named Carmen Dula and her family are waiting for a taxi. They are on their way to Earth’s space elevator, which over the course of several days will take them up to a spaceship, which in turn will take them to Mars where they will be staying for the next five years. That is, unless something unexpected pops up.

Carmen gets on the wrong side of the bureaucratic leader of the Mars colony before she even arrives. One night, stinging from a punishment meted out to her and feeling rebellious, she goes for an unapproved walk in her Mars suit. While out, she injures herself and cannot get back. On the verge of death, she is visited by a strange creature who saves her…

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John Carter

John CarterThere is a certain charm to the recently released John Carter, helmed by Andrew Stanton. The two leads, Taylor Kitsch’s John Carter and Lynn Collins’s Dejah Thoris, have enough chemistry to draw the audience in; the world of Mars itself is a treat for the eyes; the basic plot is well within the bounds of standard epic adventure but perfectly sound; and many of the situations that the characters find themselves in have real potential, albeit never fully realized. In short, there was a grand story there for the telling, had there been a director capable enough to pull it off. There was not, and consequently a theatergoer is likely to leave feeling frustrated by the large gap between what was and what might have been.

After a useless prologue that actually ruins the later effect when the protagonist appears on Mars for the first time, we are introduced to John Carter, a former officer of the Confederacy and current gold prospector. When the United States army tries to conscript him to fight the Apaches in Arizona, he tells them he owes them nothing and prefers to go about his own business. This defiance of the state should not excite the libertarian too much, however, because just moments before, he was busy abusing the rights of a shop owner, refusing to leave the man’s store when he wouldn’t sell. Carter’s reticence to join and fight, it turns out, is more about his bleak personal cynicism after the deaths of his wife and child than it is about a freedom-friendly moral code.

In the course of his attempt to escape the clutches of the war machine, he stumbles upon a cave where he is ambushed by a strangely dressed man with seemingly magical powers (the reason for the ambush is never made clear, though one cannot help but notice that the plot would have come to a standstill without it). After killing the ambusher, Carter takes a medallion from his cadaver and gets transported to a strange land he eventually learns is the planet Mars. He discovers he has extraordinary new powers with which he amazes some of the creatures he finds there.

Eventually, he meets a woman, a princess, fleeing an arranged marriage that could stop a war between two city-states. She wants to use him and his incredible physical prowess for her ends, which are to save her city-state from destruction without getting married; he wants to use her for his, which are to return to Earth with the help of her esoteric knowledge of his amulet. They form a distrustful alliance and adventure ensues. I’ll leave it to the reader to guess whether or not they fall in love.

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NEWS | Gregory Benford in Reason Magazine on Science Fiction in Light of Humanity’s Future in Space Thumbnail

Wernher von Braun's Vision

There’s an article by science fiction author Gregory Benford in the February issue of Reason Magazine (also available online at I hadn’t realized it, but Benford has written three other articles for Reason (see below for a list of the others).

In the article, Benford briefly discusses the role of Nazi SS officer and rocket scientist Wernher von Braun ((Benford doesn’t call Von Braun a facilitator of mass murder, but does mention that he ran “Adolf Hitler’s V-1 and V-2 programs, which sent more than 10,000 rockets into England in 1944 and 1945.”)) in the American government’s space program, from his popular promotion of his vision of man conquering space (interesting choice of war metaphor) to his running the Apollo program.

Benford discusses Von Braun’s vision for how man will conquer space, a vision that strikes me as impractical and expensive and that still lingers in NASA today. He also highlights the decline of NASA and its “ruinously expensive” nature of the American government’s space shuttle program, which suffered catastrophic failures and kept going long past its planned obsolescence.

Though Benford says that Von Braun’s vision lives on, I’m not so sure of that. If he means Von Braun’s  general vision of man “conquering” space, then yes, that vision is not dead. If he means Von Braun’s more specific vision of how this is to be accomplished, then no, I do not think that vision will live on.

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EDITORIAL | American vs. British Science Fiction Thumbnail

Are there any major differences between American and British science fiction (SF)? If so, what are they and what is the reason for them? What the heck does this have to do with libertarianism?

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