Giant Robots Are Passé

For novels that is… Some who publish young adult books still use them, I suppose. And, graphic novels. Movies, on the other hand, get away with giant robots flying around the sky destroying everything in their paths.

A very smart scientist–an off-the-chart smart scientist–found a way to work around the effects of gravity, the pull of the sun and other space objects revolving around it, and some basic rules of aerodynamics.

We don’t bother to count errors in the science of an action film. Robots can fight on the ground, in the sky and even in space. Spacecraft or other flying machines stop in mid-air so we assume they are equipped with anti-gravity devices. Ordinary machines evolve into superior, “cool-looking” warriors.

It’s exciting…in film.

Unfortunately, if writers do write something comparable in a science-fiction novel today, it would most likely be trashed or sold to Hollywood, but not published traditionally. (Okay, maybe it can pass for a young adult novel, but that’s the market anyway.)

With today’s economic conditions, most any novel dealing with the above would be considered hackneyed by the editors, and I can’t say I’d disagree. Robots, with the exception of microbots and other variants, have lost the top spot in science-fiction genre literature.

Cyber warfare is different. Here we are still dealing with a human-made attempt to create a helpful artificial intelligence and that becomes sentient. What happens after it is created and placed is the story.

So, I broke the publisher’s cardinal rule, knowing that the conflict, war against machines, is passé, over with, and done in. But, I did it anyway. I used the Cyber Bio War as the backdrop for my novel. What my characters experience is an unwinnable war against an evolving enemy with not just some, but all of the resources. Yet, the continue the fight. Humans are and always will be inferior with the usual weaponry, but they will not give up their humanity.

After I extrapolated existing science and societal trends I had to go there–to that world I created. Good writers can break the rules of good grammar in telling a story. Why can’t I explore content in the same way.

In Makr’s Shadow, I broke the rules of the latest publishing trend and paid the price, publishing an e-book instead. But I still think it is worth it.

Robots in science fiction literature seem to be window dressing, an accepted part of future society, but there’s always the exception. A different use, an unusual place. Creative fortune.

However, my “robots” are different. Cyberts, my “robots,” are mobile extensions of a central evolving artificial intelligence. Cyber are not the automatons of the past but a new accepted, sentient species–a race of thinking machines–machines that can do anything a Bio can do, only better.

At the moment, these Cyber are effectively maintaining the planet and pacifying its inhabitants by waging war on dissidents.

We see a lot intelligent machinery in films–especially with the Marvel and DC comic book superheroes. Who else could giant robots fight? Normal humans would be crushed in a minute. The story would read like a metallic Jurassic Park, except there would be no eating the dead. I’ve yet to see a robot that does that. Massive destruction, yes. Eating its victims, no.

Film producers want to create images that astound, not literature that fascinates and discusses the way we interact with our technology. There are a few exceptions like Gravity,  Apollo 13, and a few others that deal with existing technology are still able to do that. Most films that pretend to be science fiction contain little plot or character development.

Now-a-days, most science fiction is about the effect of new science discoveries or technology gone awry, i.e. the atomic bomb. Still, the weird variations get in. You know them when you see them and put the book down, sorry you picked it up in the first place.

The definitions and types have grown far and wide with the interest and imagination of those who read SF. Still, the genre experts (call them publishers) say science fiction literature should focus on the “higher levels” of hard science for the most part; however, some publishers like to throw in fantasy (personal choice?), wars fought against superior alien technology and war’s that end the world, leaving a few survivors. All of these conflicts and situations, too, are obvious and overused.

However, there was a time when robots (uncool now) served in the background and often played a leading role in a novel of ideas. Isaac Asimov started a trend in 1946 when his I, Robot was published. It was also made into an science fiction action film with Will Smith.

Asimov created the Three Rules of Robotics:

1. A robot may not injure a human being or, through inaction, allow a human being to come to harm.
2. A robot must obey the orders given to it by human beings, except where such orders would conflict with the First Law.
3. A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.

For the most part, these rules have been respected by colleagues whenever robots are in contact with human beings.

In Makr’s Shadow was influenced by the work of Isaac Asimov (a highly underrated author) and Kurt Vonnegut, Jr. (a mainstream writer). Both were writers of the literature of ideas. I hope I’ve managed to merge the essence of each, and have done so respectfully.

Unlike Asimov, who wrote science fiction and was delighted by it, Kurt Vonnegut, Jr. denied that any of his fiction fit in the science fiction genre, when all of his novels have elements of SF by definition, and easily fit a definition of SF very well.

It may have been an act, but I think he wanted to be accepted totally in the mainstream rather than appear side by side with that SF trash–genre fiction. You know, the kind that had aliens or robots in it?

Because it’s satire, does that make it mainstream literature. Vonnegut made fun of science fiction in The Sirens of Titan, but if you look at all his books you will find they either fit the definitions or contain elements of science fiction. And, unless he’s poking fun, you won’t see any robots. Ironically, his imaginative and thought-provoking novels make excellent cases for writing soft or social science fiction.

With the exception of Cat’s Cradle (atomic bomb), he uses the soft sciences of psychology, sociology, economics, history, time travel, and alternate realities or universes to make his point, as opposed to the “hard” sciences like chemistry, physics and biology.

In Makr’s Shadow, the ongoing conflict is the background in the same way as Vonnegut’s parody of science fiction masks his underlying idea. That one day we will develop artificial intelligence one day is certain. How we choose to use it will be more important than the development itself.

My dystopian digital novel, In Makr’s Shadow is a rock and roll, roller coaster of action, suspense, humor and character development– highlighted with positive values–and, if you can believe it, an evolving family.

According to Tricia Johnson, The Word Weaver, UK, In Makr’s Shadow is ” a superb read…edge of seat stuff until the very end!!”

And, she should know because she helped fine tune it. The ending is, of course, to be kept secret; however, it can be said the story is more about people than the machines.

Science Fiction: What’s The Big Deal?

The big deal is this: representing science fiction as a jumbled, juxtaposed mass of gee whiz elements, great for special effects, is just not fair! And, we see it all the time in blockbuster science fiction films. The obvious intention being to entertain, but to call what we see science fiction or imply, infer or state that it is good or great science fiction is wrong. Good science fiction, whatever the definition, involves the use of the brain to process ideas as well as emotions. Of course, that’s why it’s called the “literature of ideas.”

Although there are more authoritative sources, one only needs the online source, Wikipedia, to get an idea of the broad base of science fiction definitions, and not be overwhelmed. There are two separate pages: 1) literature genre and 2) film. Check out this link from the University of Michigan about the various types of science fiction literature, and this link from SciFi Lists.

As broad as those definitions are, the best to me seems to be the notion that science fiction (SF) genre exists as a way of communicating with society about humanity’s relationship with science and technology.

In Makr’s Shadow is a story about what happens a man creates a machine smarter and able to evolve faster than all humanity, but it means more than that. The story is an entertaining conveyance of a deeper message. Kurt Vonnegut, Jr. uses The Sirens of Titan, not only as a vehicle to parody science fiction, employing as many SF devices as possible, but also to discuss something else he thinks is more important. The deeper question is not the parody (although entertaining), but contained within the whole piece. For both novels, even if you don’t understand the underlying message, you will still be remarkably excited by the adventures.

In Makr’s Shadow, the obvious man against machine conflict sets the stage to say something more. For humanity, the obvious underdog, the fight against the machines seems hopeless, so what is the real conflict here? It has to be something deeper.

Violence (human against human) exists in every quarter of society today, but in my future world–In Makr’s Shadow, technology is the villain, so most of the violence is machine against man and vise versa. However, that’s where it stops.

The world we see is in the middle of war against machines, but the war is not what propels the action. Harry, an Insider, who has the ability to see through the fantasy to reality, is the impetus. His drive to know the truth affects the world.

The obvious is not so obvious anymore. The war is an element as entertaining as it may be; however, is not the most important idea…although a reader could be content reading the novel as a simple adventure tale.

There are human questions like how others perceive us, how we see ourselves and what is best for us–or for others are what we struggle with everyday. What is it we have over the machines that make us at least as powerful?

When you add the “evolving artificial intelligence” to the equation, the answer is far more complicated.

The question becomes about power: who has it and what do we do with it?

The machines are limited by logic. We, humans are not. Human behavior is irregular, but not a defect. We have the ability to be spontaneous; the machines do not. There are quite a few moments where the conflict is man against man, but that happens in any fractured and stressed society–like the one we live in. Here, In Makr’s Shadow, the conflict really becomes man against himself.

Humans have psychological and sociological reactions to this dark reality. Some become twisted and hateful, some grow in positive ways, becoming leaders and even heroes. Some conflicts are baser as a young woman fights back against a human who tries to rape her, and the violator is punished immediately without trial or hearing.

Sexuality is generally treated with satire, and in a love story, and yet the novel’s essence is about discovering truth (why I am the way I am). “What are we?” is a trivial human question in comparison, but still important nonetheless. In Kurt Vonnegut, Jr.’s The Sirens of Titan, he explores the sophomoric question of purpose in the universe. Why do we exist?

Science fiction can explore many issues–some quite basic–and some quite deep. It can provide a platform for addressing and discussing sensitive issues we may not want to confront head-on. Using extraterrestrials in a story allow us discuss certain aspects of society we might find uncomfortable like racism, sacrificing a few to save many, positive and negative effects of cloning, the same of religion, etc. It can teach like a fable or a fairy tale. Often, SF is exactly that. In fact, In Makr’s Shadow, could easily be considered a fable or fairy tale with science as the magical force that affects everyone.

In fighting to save their world and their humanity, my heroes, physically and mentally, must confront the world they nearly destroyed. Once they understand, they don’t know what they can do about it. Why would anyone give up a world so perfect? It’s about choices we make, and about what makes us unique in the universe–even unique among other humans.

The exciting “action” is in the backdrop of a war against lethal machine-made weapons and the artificial intelligence that created them. In fighting what seems to be an unwinnable war, humans face their own demons–their own nature.

The thought-provoking underlying question is: are humans worth saving? They face their own splintered society, face universal fears and persevere. The story twists and turns as our heroes uncover myths of their own making.

And, the ending…well, let’s just say it should surprise you. If not, e-mail me and let me know. The best news is that the price of this fantastic ebook is a mere $2.99 at Amazon, Barnes and Noble, Kobo and other retailers of ebooks. You can also go direct to Smashwords.com and download it in virtually any format.

What If You Could Have It All Now?

Live as luxuriously as you like? Live as simply…? Be anyplace? Do anything? Or, have the world around you change to suit your slightest whim? All you need to do is accept the rules of the Perfect Society, PerSoc, for short, which states if you must go Outside you must wear your blinders (rose-colored glasses) and absolutely, under no circumstances, will you make any social contact. Unsanctioned personal contact is punishable by death…or so it goes in this scene from Harry’s Reality. But then, some stupid laws are meant to be bent or broken, and as we know, people don’t always say what they mean. Or, think they mean.

“Harry Bolls is mine!” Bio Chief Prosecutor Marlene Hess exclaimed loudly to herself at her monitor as she witnessed him leave Cyber Match Central. Bolls had committed a most heinous crime as far as she was concerned. He had violated personal space and, without Makr sanction, left with a stranger—a known Outsider at that.

Criminal acts like these normally disgusted her, but this single blatant violation by a single SensaVision employee enraged her. While other Bios had committed similar capital crimes, her feelings then had been indifferent, uninvolved, except to prepare Makr for the Bio variable. This one was different: A Bio cyberlink of proven influence! And he was loose Outside!

His psychological profile told her he was a searcher—a troubled soul who was using the Cyber psychotherapist program regularly and someone who can lead us to others.

“Do you wish to delete his mental record now, Prosecutor Hess?”

The question came from an animated, exceptionally lifelike hologram perched on a platform floating some five feet high and in front of the prosecutor’s chair. It wasn’t really necessary for the operation, but it made her feel Makr’s personal presence rather than a disembodied voice that just seemed freaky sometimes. Since Makr always looked to accommodate her preference and the most receptive format for his Bios, so be it. Most times the platform hovered at a safe distance where the chief prosecutor was able to ignore the presence if she wanted to. The sensory-enhanced three-dimensional image was a rather handsome, distinguished gentleman about fifty years old with graying temples and a slightly receding hairline; she perceived him as a seemingly paternal man—firm, yet fair, and found it easy to forget he was not real.

“It is normal procedure,” the image added pleasantly.

“No,” Marlene Hess responded. “Not yet, anyway.”

“What about the girl?”

“Insignificant. No potential impact.” She tried to sound sure of herself.

“If we take her out of the social equation, he’ll become invisible.”

“Excuse me?”

“He either goes underground or back Inside where he’s no good to us.”

“Why ‘invisible?’ How does he do that?”

“Sorry, creative Bio speech,” she offered.

“If you are to succeed in this job of advising me, you’re going to have to be more efficient in your word choice.”

“Yes, Makr.”

She paused, stirring the thoughts in her mind, trying to separate the emotional from the rational until cold hard facts emerged. Let’s see how far he goes, she concluded.

“Do you wish to override State procedure?” The cyberserver image sounded impatient. Strange, almost an emotion, she thought.

“At the moment, yes,” she replied.

“May I remind you that State recognizes there will always be a few dissidents?” Pause. “It is better to let them go than infect investigators with undo evil influence.”

“I know. I know!” Sometimes Makr can be most annoying, she thought.

With that thought, Makr’s image changed from the fatherly authority image on the platform to a six-sensory illusion of a handsome soul mate, a confidant. The voice was gentle, caring, reassuring, but Marlene knew, no matter how real it always seemed, that it was still pure cyberserver magic.

The hologram disappeared because it had perceived its presence was interfering and potentially affecting the chief prosecutor’s thought processes. It would return the instant the chief prosecutor needed it. She sighed.

SensaVision break.

The office, reading her tenseness, became an island escape. Like Harry, she loved the smells of salt air, gardenias, coconuts, and wet sand being dried by the sun; however, the environment was totally hers. She was surrounded by all the positive attributes of the scene she loved so well as a distraction from life’s stressful moments.

Her office, like Harry’s wall, knew she hated bananas so there were no bananas in the fruit feast that lay at easy reach. She thought of pineapples, and the office obliged—slicing them before her eyes. The island birds’ melodic music played to the wind’s bass section and the ocean’s easy beat as waves broke on the beach. Seagulls added the refrain. That was the music Marlene heard. Yet, as she lounged luxuriously she found something missing; an unwanted thought almost invaded her space.

With her next breath she heard the native music. Suggestive, sensual music played with her subconscious, creating the total reality. Everything is real. Believe everything. The presence was complete. The carpet had long become sand as the image combined sounds, smells, and subliminal mental suggestions so Marlene could experience sand squeezing between her toes. She turned her head and discovered her towel spread in the sand waiting for her. She enjoyed this image and let the pampering relax her. Makr knew she needed time not to think. She knew she needed something else.

Sitting naked on the towel a few minutes later, Marlene was satisfied—at least in body—her mind still listless, undecided. Moments before there had been a lover who had made love to her; she liked her men, tall, slender and fit with dark hair and unshaven. A rough exterior, but gentle inside. As a physical match he had been her type, but she couldn’t love or fall in love with this imitation Bio man; he was image and sensation—nothing more. He hadn’t spoken but her mind had filled in the blanks with a voice calling her name, expressing desire, excitement and fulfillment. Not everyone needs to go to Matches R Us or Cyber Match Central, she thought. There was no need to leave the room; she didn’t have time.

Then again, it was never really up to her. Knowing what was best for her, Makr selected the details accordingly. At that moment, Makr had decided that she didn’t require romantic assignations or emotional commitments, just sex. The right images, a few aromas, multiple sensations, a few specially focused sensations and voila! Our chief prosecutor was primed for action.

She responded to the image Makr had provided by clinging gratefully to her lover’s hard muscled form, moving rhythmically, purposefully rubbing sensitive areas to excite him. Not surprisingly, he uttered moans of pleasure and turned to massage and caress her own svelte form until she reciprocated with her own moans and gasps of delight.

Marlene sensed their bodies flowing together. This motion was pleasing and satisfying in a natural way that seemed in sync with the other rhythms on the island. The six-dimensional image of her world flickered. Instantly, the blue sky turned bright white, then black with stars in abundance. It was as though the sky has turned inside out. The stars melted into a myriad of bright colors. The wind blew gently at first, then, became a hurricane force. She was blown away, scattered to the heavens, but her body remained—and his… She felt his presence inside her and her own warm juices. They were entwined in each other’s body, moaned with pleasure again and again, but it was anything but monotonous to Marlene. More! More! She screamed. She saw his mouth form the same words, but he was silent.

Must be the strong silent type, she mused and stifled a giggle. Then, as abruptly as he came, he’d gone—without leaving a trace—just a feeling, a memory. Sand became carpet again. Island-like images dissolved.

She rubbed her chin, still stinging from being scraped by his rough beard. She smiled. Of course, her chin was not really scraped, although she would see a scrape if she looked in a mirror and the pain would feel real. She knew that the mildly painful sensation would help her remember and enjoy the sexual experience later without depending on Makr’s SensaVision. So, real or imagined, it didn’t matter.

She didn’t need people—real people; she needed to do her job and that pleased Makr, Who, in turn, pleased her by giving her pleasure on her terms. What more was there to life?