In which Paul confronts the Sardaukar, and Stilgar.
In which Paul and Gurney Halleck meet in battle.
Why wasn’t this up last week when I said it would be? Because I’m an irresponsible liar, and a bad person. And I should feel bad. But I don’t. Because I’m a bad person. Thank you.
So, this is just a brief note to catch everyone up.
This is a busy time of year for me: the kids are all starting a new school year at a new school, I’m starting teaching new courses at a new school, and for the past three days, I’ve been at a camp related to the new school, where internet connectivity was spotty at best.
This is why there has been no blog this week, and only weekly updates for the past week or so.
In addition, on Thursday evening, I’ll be traveling to DragonCon. Unfortunately, I’ll be going as a fan rather than as a professional, because I didn’t know I’d be going until the last minute. But I’m looking forward to seeing a lot of fellow writers there. And, who knows, I might even run into a fan or two!
So, the good news is that there WILL BE a William Shakespeare’s Dune on Monday.
The bad news is, there isn’t likely to be anything else until well after DragonCon as I adjust to travel and the craziness that will consume my life.
In which Jessica, Harah, and Alia have a meeting of the minds.
So, I realize it’s a little late to bash on Star Wars, Ep. I, The Phantom Menace, but I have a good excuse; I have three children. So upon discovering that the prequels existed, which they did by the subtle and clever ability of knowing how to count things in a sequence, they asked me if I would please, please PLEASE check out the prequels from the library so they could watch it despite my wife’s and my strong moral position of not having such filth in our house.
These are the struggles facing those of us who dare to parent responsibly and with discipline.
But yes, I caved.
And I am proud that one of the first questions my son asked was pretty much: “So what’s a blockade, and how come the Trade Federation can just do that?”
Which of course, was one of the questions that Lucas should have asked himself before penning this godsawful mess. See, in the opening crawl, we are told that the whole mess with Naboo stemmed from the taxation of “outlying trade routes” being “in dispute.” Which led to the Trade Federation imposing a supposedly “perfectly legal” blockade of Naboo because…
Because why? Because it was Freak-Out Friday? We know that Naboo and the Trade Federation are both member states of this Galactic Republic. I mean, ignoring the fact that a blockade is pretty much always an act of war, and ignoring the fact that I can’t even THINK of a historical precedent for a polity that would legally allow one member state to straight-up blockade another member state, what possible advantage does this confer to the Trade Federation? Senator Palpatine later says that the “taxation” of the trade routes issue began in the Galactic Senate, but never says who was taxing what, or why, or how the Trade Federation blockading Naboo makes sense as a retaliatory measure.
As a side note, I think the only thing that makes remote sense is that somehow, Naboo refused to pay the taxes, and the Trade Federation retaliated with a blockade. And when Chancellor Velorum sent the Jedi to negotiate, Sidious ordered their deaths and the subsequent invasion of Naboo to prolong the crisis. Of course, this is pretty funny when you realize that the whole thing relies on the Senate being just fine with ignoring the invasion of Naboo, AND YET ready to remove the Chancellor for IGNORING the invasion of Naboo, AND THEN replacing him with the Senator from Naboo, who will not ignore the invasion of Naboo.
Now, I suppose one can always say that that’s a hell of a lot of backstory that’s not very interesting, but that ignores the fact that the original Star Wars painted a completely logical picture of the Imperial Government with just a few sentences in passing:
“Holding her is dangerous. If word leaks out, it could generate sympathy for the Rebellion in the Senate.”
“Send a distress signal. Then inform the Senate that all aboard were killed.”
“The Imperial Senate will no longer be of any concern to us. I’ve just received word that the Emperor has dissolved the council permanently. The last remnants of the Old Republic have been swept away.”
“That’s impossible! How will the Emperor maintain control without the bureaucracy?”
“The regional governors will now have direct control… fear will keep the local systems in line. Fear of this battle station.”
In five sentences, we have a complete and coherent picture: The Emperor is consolidating control over the relatively-new Galactic Empire, and using the equivalent of nuclear weapons to do it. He and Vader are keeping the inflammatory arrest of a Senator for treason quiet until the Emperor can dissolve the Senate, and the Death Star is ready to back the power play. All of this is reasonable, and it takes maybe three minutes of dialogue. That’s excellent worldbuilding.
Twenty years later, in its place, we have far more dialogue that gets us exactly nowhere. It’s like he just didn’t care.
In which Paul Muad’Dib becomes a sandrider, and tests a friendship.
I think it’s safe to say that the most popular story I’ve written is “When The Fleet Comes” (which you can buy at the link to the right for only $1.00). It was for months the best-selling short story for Digital Fiction Corporation, and for all I know, still is.
“Where do you get your ideas” is a classic question to writers that has become a cliche, and most of us respond with something like “where don’t you get ideas,” because seriously, they’re everywhere. Contrary to many assumptions, writers never run out of ideas. They just run out of ways to execute them properly, which is a lot harder. But this one, I remember.
So many of my ideas for writing stories seem to come from me being tired of reading the same old plots again. The core of the story — that the Earth is destroyed — is a very old one, going back arguably to religious prophecy. But those stories always seem to end in one of two ways: humanity escapes to a new world and/or achieves revenge on its destroyers, and starting anew as masters of their own fates (When Worlds Collide, Titan, A.E.) or it’s entirely a memento mori tale (On The Beach, I Am Legend).
And yet history is replete with the stories of people whose tribes were almost wiped out, leaving them with no home to go to, no new frontier within their reach. The Native Americans, the Tibetans, the South Vietnamese, and too many others to count were left with the choice to live under an alien dictatorship, or to flee into exile and live with aliens. And they had to go on, and build new lives in cultures that would never be theirs, and preserve parts of themselves to pass on to their children, knowing that it would never be more than parts.
There was no one moment that inspired me to write the story. I just wondered how people from my own heritage might deal with the loss of their entire social and cultural framework. And so I considered Sean, the orphan adopted into alien culture, never really considering “his” people to be his. And I considered Amanda and her father, George, trying to, in their own way, continue the human race on an alien world, and finding their own, flawed answers to the question, what is important? What do we remember? What do we do to survive? What makes us… us? They do it by turning inward, but also by accepting a grim necessity. And I also considered Sean’s alien wife, Ajna, and her well-meaning naivete that hurts him, but nevertheless holds a degree of insight into his pain.
In any case, it seems to have spoken to more people than anything else I’ve ever written, and I think this is one of the things I really value in the SF I choose to read: the challenging of the dichotomies that are so often presented. The cry, “Victory or Death” echoes down through the ages and is a popular theme, but what happens when the first is out of your reach and the second seems unthinkable? If you are one of those who read the story and enjoyed it, I can only say, thank you for showing me that I am not alone in considering these things.
In which Thufir Hawat educates Baron Harkonnen on history and politics.
I was inspired. Sue me.
Sandworms make for the most terrifying heavy assault cavalry the galaxy has ever seen, but there’s no denying they come with disadvantages. That’s why Ix Defense Group (a CHOAM division) has designed the Nigh-Hulud 6000X. Unlike natural sandworms, the Nigh-Hulud-6000x can mount a variety of heavy weapons, while simultaneously allowing your jihadi legions to ride INSIDE its armored surface. The Nigh-Hulud 6000X is fully sealed, making it suitable for combat in multiple planetary ecosystems and atmospheres. Also, unlike organic sandworms, the Nigh-Hulud 6000X doesn’t fly into a killing rage when you mount shield generators on it or your infantry. And finally, the Nigh-Hulud can be disassembled for easy transport on your frigates or Guild Heighliners.
The Nigh-Hulud 6000X: The tactical option for the 103rd century battlefield
In which the Baron Vladimir Harkonnen learns of Feyd’s schemes, and teaches him an unpleasant lesson in the cost of treachery.