This post is intended to open speculation about time travel. As far as I’ve seen, there are three main theories of how time travel works, depending on what you’re watching/reading.
1. Time is a slate–anything can be can be changed! Be very careful, you might prevent your own birth. (ala Back to the Future). Paradoxes are a major problem–if you change antyhing you could prevent yourself from going back which would keep you from going back to prevent yourself from going back–and so on.
2. Time is a tree. You can change things, but all you’ll do is create an alternate timeline. That is by making a change you just force yourself down a different branch. You can’t prevent your birth, but you can send yourself down a branch where you were never born. (ala Back to the Future II, which doesn’t seem to use the same concepts as Back to the Future)
3. Time is written in stone. Whatever happens in the past has already happened, observed events are 100% unchangeable. For me to believe in this one, I feel I also need to believe in a higher power (a fate or a god or what-have-you) to make sure everything is neat and tidy. (ala 12 Monkeys)
To me #1 is unlikely. If this were the way time travel worked, the space-time continuum would have ripped a long time ago, or a long time from now, which amount to the same thing when you’re talking about the space-time continuum.
#3 can only work if there’s a higher power, because something needs to decide what events are “allowed” to happen.
#2 is the most likely in my mind, though it opens the door to another discussion–alternate realities. Each branch of possibility creates new realities that may exist only in potentia. Changing events instantiates these realities.
Nicely enough, The Curse did not manifest itself too strongly this time. My wife and I have been plagued with a particular curse that follows us to events–concerts, hockey games, movies. You know that one guy in the stands that is so annoying you have to assume he’s never been in public before? The next time you see him, look in the seats immediately surrounding him, because we’re guaranteed to be right in front of, behind, or next to him.
This time wasn’t too bad in that regard. true, 5 of the other 10 people in the movie theatre were seated together in the row just behind, and they did laugh uproariously at the most unusual times, pretty much whenever anybody died, but at least they didn’t talk throughout it, and I didn’t hear anybody getting intimate (yup, that happened once during “Eastern Promises”, during Viggo’s nude fight scene and let me tell you, that is the last scene in any movie I would expect anyone to be turned on–it wasn’t that kind of nudity!)
I just saw Push today at the MoA. I went with low expectations, just looking for something to do. I was reasonably satisfied with this one. I think they made good use of the premise, and took it as far as it could go. That’s all I could ask for. Most of all, it provided what the previews had led me to expect. Plenty of action, shiny spec fx, and a relatively good plot. For me this was a great premise. I’ve always been interested in plots about people with extra abilities–X-men being a particular favorite.
The premise is this: In WWII, the Nazis tried to create armies of supersoldiers. They failed, but in the following decades, other governments set up research programs to continue this research. They categorized and trained those with abilities, mostly mentally based. The two main characters are Nick and Cassie. Nick is played by Chris Evans who you may know as Johnny Storm from the 2 recent Fantastic 4 movies. He’s a Mover, a telekinetic (each class of people has a clever little name like this). I wouldn’t say he’s the best actor in the world, but he didn’t turn me off either. Cassie is played by Dakota Fanning. She was reasonably good, though I could’ve done without seeing the preteen in a mini-skirt throughout the whole film. She’s a Watcher, someone who can see glimpses of possible futures. They’re both on the run from Division, the US organization that tries to control these special people: Nick because his father was killed by Division when he was a boy, and Cassie because she wants to rescue her mother from Division where she’s been held captive. They (and everyone else) are looking for Kira, a Pusher. Pushers are the most scary kind, they can make people believe and do whatever they want to. On a random sidenote, Kira looks almost exactly like Kim from Kath and Kim (who’s played by Selma Blair).
Most of the move takes place in Hong Kong, which I thought was particularly cool since I’ve been there a couple of times for business trips.
The main things I didn’t like about this movie:
1. too much preteen Dakota Fanning in a mini-skirt
2. At least twice they used a real fakey solution to a near-death situation: the protagonists are about to be killed, but an enemy Watcher says “no, don’t kill them, that could change the future” so they let them go to fight another day. It made sense in the context of the movie, but it still felt cheap, like the writers had written themselves into a corner and just needed a quick fix to get them out.
3. This requires a spoiler, so if you want to see the money you might not want to read on.
3. About halfway through the movie they realize the enemy Watcher is better than Cassie, so they have to find a way to be totally unpredictable. So Nick writes bunch of instructions for everybody in sealed envelopes, including for himself, and then he has his memory wiped by someone with that ability. Again, it made sense in the context of the movie, but it was rather annoying at times, because NONE of the main characters had a clue what the plan was. They just opened the envelopes and did what they were told to do, and everything worked out in the end.
The rest of the movie:
The whole object of the movie is to find a serum that boosts abilities to a much higher degree. Division wants it so that they can create their own army and keep others from finding the serum’s secret. Cassie wants it so she can use it bargain for her mother. A Hong Kong crime family, with many henchmen with abilities, is the third side.
The fight scene at the end was just awesome! With all three sides of the conflict there, it was very chaotic. With Pushers, Watchers, Bleeders, Movers, etc.. all fighting against each other, deflecting bullets. Kira was really scary in that scene, using her mind manipulation to turn enemies against her and recruit soldiers to protect her.
The ending was relatively happen, with open elements to guess what you will. Nick and Kira ended up together, though I had to wonder how you could ever trust someone who could manipulate your mind to that degree. All in all, I really enjoyed it.
I’ve read over and over again, as I scour the internet and other sources for information that might help me hone my craft as a writer, that it is important to be well read in whatever genre that you intend to write for. So I picked up the August issue of Fantasy and Science Fiction magazine yesterday to get an idea of what they are publishing.
The first story that caught my eye was The Political Prisoner by Charles Coleman Finlay. I must say that I enjoyed it thoroughly. Set in the distant future, this story is focused on the experiences of a seasoned political officer during a revolution that occurs on an unnamed planet that is in the early stages of terraforming.
Finlay’s voice is clear and strong, leaving the reader to enjoy the story while it plays out before them without stumbling over words or poorly crafted sentences. The plot is compelling and thought provoking. I must admit that I was caught off guard at the length of the story, clocking in at about 26k words. Of course this is my own fault; it is clearly labeled an novella at the beginning.
I don’t want to give away too much of the story but the ending is thought provoking as this story of a political prisoner has some parallels with the history of the United States and their treatment of African Americans.
All-in-all this was a great story, with great characters. If no other quality stories existed in the magazine it would have been well worth the $4.50.
“As we both know, I’m here to learn good dialogue. Is this good dialogue, Susan?” Brandon posited quizzically.
“No, no,” Susan said. “You don’t need to say what we both already know. Also, people don’t posit, they say.”
“What?!” Brandon questioned loudly. “But all those ‘said’s will get repetitive! Won’t they, Susan?”
“Actually, no. ‘Said’, unlike most other words, is nearly invisible to the reader, even if its repeated. And try to cut back on your exclamation points, too. You’re going to give yourself a hemhorrage.”
“But I’m upset, Susan!!” Brandon countermanded huffily. “I have to use exclamation points!!!”
Susan shook her head. “No you don’t. If the dialogue’s written well enough, the tension of the words will come through to the reader. If you use too many exclamation points, people will accuse you of trying to inject tension in with punctuation instead of writing it in. And multiple exclamation points at the end of a single sentence is a sign of a mentally unbalanced individual. Ask Terry Pratchett.”
“There’s just so much I don’t know,Susan,” Brandon moped depressingly.
“You can’t ‘mope’ a sentence. Stop trying. Even if you don’t stick to ‘say’, you still can’t stick just any old verb back there. Are you trying to do everything wrong or is it just coincidence?” She put her hand to her head. “I’m sorry. I didn’t mean that. I’m just frustrated. Why do you keep saying my name in every sentence? Real people don’t talk like that. Why are you putting a speaker attribution after every line? There’s only two of us, so a few lines without an attribution won’t be confusing, especially since our manner of speaking is unique from each other. Have you ever heard of beats?”
“I don’t think so, Susan,” Brandon cogitated placatingly.
“They’re actions you insert between lines of dialogue. You can use them instead of saying ‘said’, to show who’s speaking.” Susan sipped her coffee. “And it adds some pauses to the dialogue to give the reader a feel for the intended pace, while giving a bit of characterization at the same time by showing the speakers actions.”
“Now I understand, Susan!!” Brandon roared intricately.
“I don’t think you do.” She sighed. “And could you PLEASE stop using so many -ly adjectives? If I can’t tell how you said something, the dialogue is probably weak and you should work on that instead.”
“Look at me, Susan! I’m dialoguing!!!!” Brandon ejaculated profusely.
The door slammed shut.
“Susan? Susan? Where’d you go?” Brandon queried querulously.