Pixel Scroll 2/9/26 Oh, Hey Pixel, You’re Pubbing Your Ish. I’m Scrolling Your Contents Page Daily

(1) ON THE FRONT. Alex Shvartsman has given readers The Best of All Possible Planets cover reveal!

This book is a space opera take on Candide written as a series of Futurama episodes. Coming July 28, 2026 in hardcover, trade paperback, mass market paperback, and audiobook formats!

(2) ELIZABETH BEAR RECOMMENDS SFF. The Friends of the Ashland Public Library (MA) are sponsoring a February 11 Zoom event: “Virtual: SciFi Book Recommendations with Author Elizabeth Bear”. Register directly on Zoom HERE.

Love SciFi but not sure what to read next? Join bestselling author, Elizabeth Bear, quarterly for 30 minutes of pure book recommendations – the best of Science Fiction books out there (out there – see what we did there? :)! We’re sure you’ll find something to like from Bear’s many enthusiastic reviews.

You can sign up for one session or for all!

Elizabeth Bear was born on the same day as Frodo and Bilbo Baggins, but in a different year.

She is the Hugo, Sturgeon, Locus, and Astounding Award winning author of dozens of novels; over a hundred short stories; and a number of essays, nonfiction, and opinion pieces for markets as diverse as Popular Mechanics and The Washington Post.

She lives in the Happy Valley of Massachusetts with her spouse, writer Scott Lynch….

(3) BETTER THAN EXPECTED. “Federal Funding for Libraries Prevails” reports American Libraries Magazine.

After the threats to federal library funding in the past year, the fiscal year (FY) 2026 appropriations bills signed by President Trump on February 3 included an increase in federal funding for libraries.

Less than a year ago, an executive order threatened to dismantle the Institute of Museum and Library Services (IMLS), the only source of federal funding dedicated to libraries. Then, the White House proposed just enough funding in FY2026 to shut down the agency for good.

Thanks to advocates, IMLS still exists today. Library grants are intact. And, rejecting the administration’s call to eliminate IMLS, Congress just passed a $1.4 million increase for library programs run by IMLS through the Library Services and Technology Act (LSTA), bringing LSTA funding to $212.5 million for FY2026. Congress also provided level funding of $30 million for the school library–focused Innovative Approaches to Literacy (IAL) program.

These library wins are not the result of good luck. In the worst climate in recent memory, libraries succeeded because advocates showed up. In response to ALA’s calls to action, advocates sent emails, made phone calls, and invited elected officials to visit their libraries. And that advocacy produced results that are more than line items on a spreadsheet: They include young people learning to read, research, and write; job seekers finding work; workers filing taxes online; veterans accessing benefits; seniors attending telehealth appointments; and communities thriving…

(4) LIBBY BOOK AWARDS. [Item by Ersatz Culture.] OverDrive has announced the nominees for the 2026 Libby Book Awards, which are crowdsourced from librarians and library staff.  The winners will be announced on March 3. There are 21 categories – the complete list is at the link. Here are the finalists in the categories devoted to works of genre interest.

Best Fantasy  

  • Alchemised by SenLinYu 
  • Bury Our Bones in the Midnight Soil by V.E. Schwab 
  • Katabasis by R.F. Kuang 
  • The Strength of the Few by James Islington 
  • Water Moon by Samantha by Sotto Yambao 

Best Romantasy   

  • Onyx Storm by Rebecca Yarros 
  • Shield of Sparrows by Devney Perry 
  • Son of the Morning by Akwaeke Emezi 
  • The Isle in the Silver Sea by Tasha Suri 
  • The Knight and The Moth by Rachel Gillig 

Best Science Fiction   

  • All That We See or Seem by Ken Liu  
  • Death of the Author by Nnedi Okorafor 
  • Saltcrop by Yume Kitasei 
  • Slow Gods by Claire North 
  • What We Can Know by Ian McEwan 

Best Horror   

  • Bat Eater and Other Names for Cora Zeng by Kylie Lee Baker 
  • The Bewitching by Silvia Moreno-Garcia 
  • The Buffalo Hunter Hunter by Stephen Graham Jones 
  • When the Wolf Comes Home by Nat Cassidy 
  • You Weren’t Meant to Be Human by Andrew Joseph White 

Best Comic/Graphic Novel   

  • Absolute Wonder Woman: Volume 1 by Kelly Thompson, Hayden Sherman, Mattia De Iulis 
  • Black Arms to Hold You Up by Ben Passmore 
  • Cannon by Lee Lai 
  • Spent by Alison Bechdel 
  • The Once and Future Riot by Joe Sacco 

If you’re curious, here is the list of last year’s winners, where Kaliane Bradley’s The Ministry of Time topped the Best Science Fiction and Best Debut categories.

(5) FREE READ. Congratulations to Filer Rob Thornton whose short story “Dark Was the Night, Cold Was the Ground” has been published at Antipodean SF.

The blind musician waited in the heat and listened to the automatic fan turn gently in the brand-new Houston hotel room. His penknife was held loosely against the fretboard, and he could feel that his guitar was perfectly positioned next to the microphone.

The label man stepped behind him, then turned off the fan. As soon as the label man tapped him gently on the shoulder, he would begin…

(6) 19TH CENTURY SF CONFERENCE CFP. The Incredible Nineteenth Century: Science Fiction, Fantasy, and Fairy Tale journal will be hosting its fourth annual conference via Zoom on May 1-2. This conference is completely free. James Hamby, Editor, says:

We will be accepting proposals for presentations through April 4th. To submit a proposal or to register to attend, please fill out the form found here: 
here.

We accept presentations covering any aspect of science fiction, fantasy, or fairy tale in the Long Nineteenth Century (spanning from the late eighteenth century through World War I) from any part of the world as well as reinterpretations of the nineteenth century in contemporary literature and media.

Our keynote speaker will be Renee Fox from the University of California, Santa Cruz. She is the Jordan-Stern Presidential Chair for Dickens and Nineteenth-Century Studies, Co-director of the Dickens Project, and Co-direct of of the Center for Monster Studies. Her Recent monograph, The Necromantics: Reanimation, the Historical Imagination, and Victorian British and Irish Literature looks at the ways monster stories/poems by writers like Mary Shelley, Robert Browning, and Bram Stoker reflect changing ideas about the form and function of history across the nineteenth century.

If you’d like to find out more about the journal, you can read Vol. 3 No. 2 (2025) of The Incredible Nineteenth Century journal at the link.

(7) CAT DOES NOT SLEEP IN THIS SFF. “Dungeon Crawler Carl review: Why the delightfully odd books have sold millions” explains Laura Miller in Slate.

If you’ve asked for a book recommendation lately, chances are you’ve been buttonholed by some goggle-eyed person babbling about boxer shorts, dungeon levels, and a tiara-wearing Persian show cat named Princess Donut. These are the Dungeon Crawler Carl fans, devotees of a series of seven novels written by Matt Dinniman (with the eighth to publish in May), and their ranks appear to be growing exponentially. The series has been optioned for a TV adaptation by NBCUniversal and sold more than 6 million copies, and the New York Times has marveled over the “gonzo” enthusiasm of fans who show up to Dinniman’s public appearances dressed as everything from a well-armed Jesus to a fanged, severed sex-doll head. But what exactly, you may still be wondering, are these books really like?…

Matt Dinniman at the 2025 AuthorCon in Williamsburg, Virginia, holding a plush of Princess Donut.

(8) YEAR OF THE HORSE’S…UHH. People tells us “Why Draco Malfoy Is a 2026 Chinese New Year Good Luck Symbol”.

Draco Malfoy’s reputation has officially entered its redemption era — and this time, it’s happening halfway around the world.

As the Chinese New Year 2026 approaches on Feb. 17, the Harry Potter character has emerged as an unlikely seasonal mascot across parts of China. 

On social media platforms, users have been sharing photos of red, square-shaped New Year decorations featuring Draco’s unmistakable blond hair and smirk — displayed proudly on front doors, refrigerators and walls….

… The decorations mirror traditional Chinese New Year imagery, which often features bold red backgrounds and symbols meant to invite luck and prosperity into the home. In this case, however, the familiar motifs are paired with the face of the former Slytherin troublemaker from the wizarding franchise….

…So how did Draco Malfoy become a symbol of good fortune?

According to a report by Rolling Stone Philippines, the answer lies in language. Draco Malfoy’s Chinese name is written as “马尔福” (mǎ ěr fú). The final character, “福” (fú), translates to “fortune” or “blessing” — a word deeply associated with Chinese New Year traditions.

Even more fitting, the first character, “马” (mǎ), means “horse.” Together, the characters echo the phrase “马来福” (mǎ lái fú), a common New Year expression welcoming prosperity — particularly relevant as celebrations approach the Year of the Horse….

(9) TODAY’S BIRTHDAY.

[Written by Cat Eldridge.]

February 9, 1928 — Frank Frazetta. (Died 2010.)

Artist whose illustrations showed up damn near everywhere from album covers to book covers and posters. Among the covers he painted were Tarzan and the Lost EmpireConan the Adventurer (L. Sprague de Camp stories in that setting) and Tarzan at the Earth’s Core. He did overly muscular barbarians very well! Oh, and he also helped Harvey Kurtzman and Will Elder on three stories of the bawdy parody strip Little Annie Fanny in Playboy. Just saying.

In the early 1980s, Frazetta worked with Bakshi on the feature Fire and Ice. He provided the poster for it as he did for Mad Monster Party? and The Fearless Vampire Killers, or Pardon Me, But Your Teeth Are in My Neck, two other genre films.

He was inducted into both Will Eisner Comic Book Hall of Fame and the Jack Kirby Hall of Fame.

(10) COMICS SECTION.

  • Bizarro remembers Snow White’s first seven roommates. 
  • Bliss lost control of the remote. 
  • Junk Drawer learns there’s been a shift in the market. 
  • Savage Chickens knows the horrifying update. 
  • Tom Gauld knows someone’s about to have a rocky ride.

My latest cartoon for @theguardian.com books

Tom Gauld (@tomgauld.bsky.social) 2026-02-09T14:53:58.411Z

(11) I’M MORE INTERESTED IN THE RING OF AGES THAN THE AGE OF RINGS[1], OR, HOW OLD IS THAT T-REX IN THE WINDOW? [Item by Daniel Dern.] [1] Via (Inherit the Wind) (in the first 10 seconds)

NPR tells about a scientist who is “Searching for dinosaur secrets in crocodile bones”.

Until now, estimating how old a dinosaur was when it died has been a fairly simple process — just count up the growth rings in its fossilized bones.

“We always thought that those rings were formed annually,” says Anusuya Chinsamy-Turan, a paleobiologist at the University of Cape Town in South Africa. In other words, much like tree rings, the idea was that roughly one ring was laid down each year.

“And then you can plot that and you can work out the growth rate of the dinosaur,” explains Chinsamy-Turan. “And that’s what all of us were doing — me included.” For example, this technique suggested that it took 20-some years for a T. rex hatchling to grow into a fully grown adult, she says.

But this approach may overestimate dinosaur ages. In a study published in the journal Scientific Reports, Chinsamy-Turan and her colleague, biologist Maria Eugenia Pereyra, looked at the growth rings in several young Nile crocodiles — a modern relative of dinosaurs. In some of the bones, the two researchers found more growth rings than they were expecting….

(12) GEE, WHAT BIG TEETH YOU… (CHOMP!) “Netflix Drops Trailer for ‘The Dinosaurs’ Documentary Series” and Animation World Network sets the frame.

Netflix is taking us way, way back in time in its all-new four-part documentary series, The Dinosaurs, which premieres March 6, 2026. They just dropped a trailer and great image set.

The show examines dinosaur evolution and extinction across hundreds of millions of years, using large-scale CG environments and creature animation informed by the latest expert paleontological research. The project reunites executive producer Steven Spielberg with the creative team behind Life on Our Planet.

The series is narrated by Morgan Freeman and showrun by Dan Tapster, Keith Scholey, and Alastair Fothergill, with Nick Shoolingin-Jordan serving as series director. Executive producers also include Scholey, Darryl Frank, and Justin Falvey. It’s produced by Silverback Films in association with Amblin Documentaries.

Industrial Light & Magic (ILM) provides the visual effects and animation for the show, continuing its collaboration with Silverback Films and Amblin; the studio combines digital creature animation, environmental reconstruction, and atmospheric effects to visualize long-extinct species and ecosystems that no longer exist….

(13) TREK INCLUDED IN NBC 100TH PROMO. “Watch: NBC Remembers ‘Star Trek’ As Part Of Their 100th Anniversary Celebration Campaign” reports TrekMovie.com.

…NBC’s centennial festivities have already begun and will run from now to December, looking back on the “myriad of moments in our history that transformed culture.” This includes the first two “A Century Together” promos which first appeared on NBC and Peacock yesterday for the 2026 Winter Olympics Opening Ceremony….

…The promos include elements of Star Trek. The campaign will also be part of the Super Bowl on Sunday, which is being broadcast by NBC (and streaming on Peacock)….

(14) MORE TRAILER PARK. And still catching up with genre trailers shown during the Super Bowl…

Hollywood has a monster problem. Minions & Monsters is only in theaters July 1.

And this isn’t a trailer, it just cannibalizes the movie in an amusing way.

[Thanks to SF Concatenation’s Jonathan Cowie, Mark Roth-Whitworth, Kathy Sullivan, Ersatz Culture, Rob Thornton, Alex Shvartsman, Andrew (not Werdna), Steven French, Mike Kennedy, Andrew Porter, John King Tarpinian, and Cat Eldridge for some of these stories. Title credit belongs to File 770 contributing editor of the day Patrick McGuire.]

Never Mind the News – File 770’s Best Feature Articles of 2025

Was the year too heavy, deep, and real? Yes, but it was also rich in creativity, humor, and shared adventures. It’s a gift and privilege for me to be continually allowed to publish so many entertaining posts. Thanks to all of you who contributed!


COLUMNS

CHRIS BARKLEY

Chris Barkley with his 2023 Hugo. Photo by Juli Marr.

MICHAEL SWANWICK

Let’s celebrate The Universe Box‘s February 3rd release by Tachyon Press! I have opened the universe box that is my life, and will be sharing a piece of it every Monday.


FEATURES

STEVE VERTLIEB

Ray and Diana Harryhausen with Steve Vertlieb in 1990.

TERESA PESCHEL

Teresa with the owner of Vortex Books, Brian Keene

JAMES BACON

TAMMY COXEN

DARIN BRISKMAN AND BRUCE FARR

CORA BUHLERT

ERIN UNDERWOOD

INGVAR

OLAV ROKNE

DANIEL DERN

GARY WESTFAHL

LEE WEINSTEIN

ARENDSE LUND

CHRIS BARKLEY

Left to Right: Meredith Lyons, Shawntelle Madison, Andrea Hairston, Mary Robinette Kowal

CAT ELDRIDGE

  • What’s Your Favorite Tolkien? – “Yes, It’s the Birthday of J.R.R. Tolkien. So I asked a lot of folks that I knew what their favorite works by him were.”

ERSATZ CULTURE

ARTHUR LIU & FENG ZHANG

ROB THORNTON

DANN TODD

JOHN HERTZ

DENISE DUTTON

JUSTIN T. O’CONOR SLOANE

RICH LYNCH

On the road to the centerline

BRICK BARRIENTOS

BEN JASON

DAVE DOERING

PÁDRAIG Ó MÉALÓID

IAN RANDAL STROCK

MIKE GLYER


BOOK REVIEWS

PAUL WEIMER

WARNER HOLME

LIS CAREY

MICHAELE JORDAN

GARY WHITEHOUSE

JOHN HERTZ

DANIEL DERN

CAT ELDRIDGE

VALENTIN D. IVANOV

JENNIFER STEVENSON

JONATHAN COWIE

GREY WALKER


MOVIE AND TV REVIEWS

JONATHAN COWIE

GARY WHITEHOUSE

STEVE VERTLIEB

DANIEL DERN

N.

CHARON DUNN

MIRANDA BARRIENTOS

JAMES BACON


TOY REVIEWS

FOLKMANIS

FUNKO POP


CATS SLEEP ON SFF


OBITUARIES

[Date of publication]


Pixel Scroll 11/19/25 ELIZA, Where The Devil Are My Pixels?

(1) STARGATE REOPENING. Variety reports “New ‘Stargate’ TV Series Ordered at Amazon”.

Amazon is officially moving forward with a new “Stargate” TV series, Variety has learned.

The new project hails from Martin Gero, who began his career in the original “Stargate” TV franchise. Exact plot details for the series are being kept under wraps. The series will be produced by Amazon MGM Studios and air on Prime Video.

“Twenty years ago, my first real job in television was as a Story Editor on ‘Stargate: Atlantis,’” Gero said. “I spent five years at the franchise working across all three series, ‘Stargate’ taught me everything about making television — it’s written into my DNA. I’m beyond thrilled that Amazon MGM Studios has entrusted me with guiding this incredible franchise into its next phase. For those who’ve kept the gate active through conventions, rewatches, and unwavering faith — this one’s for you. And for those that are new to our world — I promise you’re in for something extraordinary.”

This news has given people an excuse to reminisce with John Scalzi, who consulted on the franchise’s previous iteration, Stargate Universe.

IN FACT one of my consistent notes early on in SGU was "every bullet you fire is one you don't have for later," because the conceit of the show was they were entirely cut off from supply restock. Likewise, fewer people died over the series run because of me, but a lot more got survivably injured.

John Scalzi (@scalzi.com) 2025-11-19T18:07:44.433Z

(2) CONGRATULATIONS. Rob Thornton, a frequent File 770 contributor (including yesterday’s “Freakflag Guitar Technology: Way Huge’s Atreides Analog Weirding Module”) received some great news:

I am happy and proud to announce that my story “Dark Was The Night, Cold Was The Ground” has been accepted by Ion Newcombe for Issue 328 of AntipodeanSF, which will celebrate its 28th anniversary of publication.

(3) FBI LOOKED AT VINGE. Reason Magazine has the story — “Declassified FBI file reveals surveillance of author Vernor Vinge”.

… Despite his clear libertarian leanings, the FBI worried about Vinge’s association
with socialists. His recently declassified file shows he was investigated for alleged “contact with Karl Amatneek,” a computer engineer involved in TecNICA, an organization that sent technologically skilled volunteers to aid Nicaragua during the socialist Sandinista revolution….

…A teletype message from January 1983 says the relationship between Vinge and Amatneek “has not yet been established,” requesting more time to investigate. Ironically, Vinge had already mocked the incompetence of the surveillance state in True Names, describing a federal agent confidently insisting the government could catch any lone troublemaker if it devoted enough resources. Pollack, the character being questioned, knew better. “He had snooped on enough secret memos to realize that the Feds really believed it, but it was very far from true.”

Vinge foresaw a world where individuals could outmatch governments. That made him a target of the very state machinery he critiqued.

(4) THE ROOM WHERE IT (SOMETIMES) HAPPENS. Curbed New York tells us “The Novelists Are Fighting at the Center for Fiction”.

Around four on a recent Thursday afternoon, the second floor of the Center for Fiction buzzed with a near-silent hum of productivity. Light streamed through the floor-to-ceiling windows as writers hunched over their laptops. A giant mural of Toni Morrison smiled in the stairwell. A lost-and-found table bore more forgotten water bottles than an Ultimate Frisbee tournament. But all was not well at the literary nonprofit: Sometimes, especially on weekday mornings, there aren’t enough desks. “Everybody is complaining,” says a current member, a novelist. And there was more trouble on the horizon: “It’s going to get worse when it’s too cold to use the outdoor terrace.”

Originally known as the Mercantile Library, the Center was founded in 1820, decades before the city’s public-library system, backed by the businessmen of Manhattan’s growing merchant class who wanted to keep their employees “away from the rumshop and the billiard room.” Membership has two tiers: General members pay $180 a year for access to several bright, airy, bookshelf-lined rooms on the second floor of the BKSK-designed space. But for $250 a month, 100 or so Writers Studio members can secure access to a separate, even brighter and airier space with individual desks. (This is significantly more expensive than, say, bringing a laptop to a coffee shop but significantly cheaper than the WeWork on Dean Street, which is comparatively charmless and where one might have to share a kitchen with unsavory AI-start-up types.) All desks and table space exist on a first-come, first-served basis, which, when they’re all full, has led to about as much aggression as the average writer can muster — piercing glares, raised eyebrows, and uncharitable speculation: “A lot of whispering about who’s really a writer and who’s just a ‘creative’ doing Zoom calls,” says a former member who left the Center over the apparent overcrowding….

(5) RATIONAL ACTORS AND EVERYONE ELSE. J. D. Harlock advises writers about “Verisimilitude in Speculative International Relations with Game Theory” at SFWA’s Planetside.

Game theory is the study of strategic decision-making when outcomes depend on a player’s actions and the actions of others involved. Analyzing interactions between political actors using game theory allows us to theorize why specific actions are taken. As an academic with a master’s degree in International Relations (IR), it’s helped me conceptualize fictional scenarios through theoretical modeling. In this article, I’ll share one approach for creators to use game theory to build believable political tensions, strategic standoffs, and high-stakes diplomacy in their speculative IR stories….

(6) GOODNIGHT MOONS. [Item by Jim Janney.] This has been around, apparently, since 2011 but it was new to me: “Goodnight Dune”.

“In a great green room, tucked away in bed, a young bunny gazes upon the two remaining moons of Arrakis…”

This book is inspired by Frank Herbert’s 1965 science fiction novel Dune. Many of the visual motifs come from the 1984 David Lynch movie adaptation of Dune, and drawn in the style of Margaret Wise Brown / Clement Hurd’s classic children’s book Goodnight Moon. Originally created in 2011, (finally) updated in 2021.

(7) TODAY’S BIRTHDAY.

[Written by Cat Eldridge.]

November 19, 1911 — Mary Elizabeth Counselman. (Died 1995.) 

Writer of genre short stories and poetry. “The Three Marked Pennies” which she wrote while she was in her teens published in Weird Tales in 1934 is considered one of the three most popular stories in all of that zine’s history.

There’s but a smattering of her at the usual suspects but she did get published— Masters of Horrors, Vol. Three, Mary Elizabeth Counselman: Hostess of Horror and Fantasy collects seventeen of her short stories and it’s readily available, and The Face of Fear and Other Poems collected much of her poetry.  It was published by Eidolon Press in an edition of 325 copies, so good luck on finding a copy. (Died 1995.)

Mary Elizabeth Counselman

(8) COMICS SECTION.

(9) BLACK PANTHER AT 60. This February, Marvel Comics proudly pays tribute to one of its most groundbreaking super heroes in Black Panther Anniversary Special #1. The one-shot celebrates 60 years of T’Challa and Wakanda with brand-new, stories from a lineup of fan-favorite writers, artists, and those who have helped define Black Panther’s legacy, including writer Christopher Priest.

 Here are some of the stories fans can look forward to: 

  • Writer Evan Narcisse (WakandaSam Wilson: Captain America) and artist George Jeanty (Star Wars: Mace Windu) bring back former Black Panther, Kasper Cole! In this framing story, join Cole as he searches for Wakanda’s exiled king, learning about some of T’Challa’s never-before-told adventures in the process.
  • Cole also pays a visit to the former Queen of Wakanda in a tale by acclaimed Storm writer Murewa Ayodele and rising star artist Eder Messias (Sam Wilson: Captain America). Listen in as Storm shares an intimate memory from her time by T’Challa’s side, when their love was powerful enough to overcome any threat against them!
  • Cody Ziglar (Miles Morales: Spider-Man) joins forces with veteran Black Panther artist Alitha E. Martinez for a Black Panther/Blue Marvel team-up! Dr. Adam Brashear recounts their time together in the Ultimates, and reveals what T’Challa taught him about strength and leadership!
  • Superstar writer Christopher Priest returns to his groundbreaking Black Panther with a surprising encounter T’Challa had with Magneto, set during the time the Master of Magnetism ruled his own African nation, Genosha.

 Black Panther’s 60th anniversary coincides with an exciting new status quo for the character. The king of Wakanda is currently trying to unite his kingdom—both on Earth and in the stars—in Black Panther: Intergalactic, a four-issue limited series by Victor La Valle and Stefano Nesi debuting next month. [Based on a press release.]

(10) AI, AI, OH! [Item by Steven French.] It’s everywhere! Keza Macdonald looks at the intrusion of AI into gaming in the latest “Pushing Buttons” newsletter in the Guardian: “How generative AI in Arc Raiders started a scrap over the gaming industry’s future”.

Arc Raiders is, by all accounts, a late game-of-the-year contender. Dropped into a multiplayer world overrun with hostile drones and military robots, every human player is at the mercy of the machines – and each other. Can you trust the other raider you’ve spotted on your way back to humanity’s safe haven underground, or will they shoot you and take everything you’ve just scavenged? Perhaps surprisingly, humanity is (mostly) choosing to band together, according to most people I’ve talked to about this game.

In a review for Gamespot, Mark Delaney paints a beguiling picture of Arc Raiders’s potential for generating war stories, and highlights its surprisingly hopeful tone as the thing that elevates it above similar multiplayer extraction shooters: “We can all kill each other in Arc Raiders. The fact that most of us are choosing instead to lend a helping hand, if not a sign that humanity will be all right in the real world, at the very least makes for one of the best multiplayer games I’ve ever played.”

But, but, but, but … There is a small irony to Arc’s depiction of humanity united against the machines. The game uses AI-generated text-to-speech voices, trained on real actors. (The game also uses machine learning to improve the behaviour and animation of its robot enemies, a different type of “AI”, which video games have been using for ever.) Games writer Rick Lane found this to be so ethically compromising that he couldn’t look past it. “For Arc Raiders to ride the wave of human sociability all the way to the bank, while also being so contemptuous of the thing that makes us social animals – carving up human voices and reassembling them like a digital Victor Frankenstein – demonstrates a lack of artistic integrity that I find impossible to ignore,” he wrote for Eurogamer….

(11) DON’T. LOOK. NOW. [Item by Mark Roth-Whitworth.] So, effectively we could be inside a tin-can universe. Alternativesly, as I’ve endorsed since my teens, it could be a *four* dimensional torus… “Cosmic Paradox Reveals the Awful Consequence of an Observer-Free Universe” at Quanta Magazine.

Tinkering at their desks with the mathematics of quantum space and time, physicists have discovered a puzzling conundrum. The arcane rules of quantum theory and gravity let them imagine many different kinds of universes in precise detail, enabling powerful thought experiments that in recent years have addressed long-standing mysteries swirling around black holes.

But when a group of researchers examined a universe intriguingly like our own in 2019, they found a paradox: The theoretical universe seemed to admit only a single possible state. It appeared so simple that its contents could be described without conveying even a single bit of data, not even a choice of a zero or a one. This result clashed with the fact that this type of universe should be capable of hosting black holes, stars, planets — and people. Yet all those rich details were nowhere to be seen…

(12) THAT UFO? “Comet C/2025 K1 (ATLAS) breaks apart in incredible telescope photos” – see them at Space.com.

A comet discovered earlier this year continues to break apart after its close brush with the sun this month.

Astronomer Gianluca Masi of the Virtual Telescope Project captured breathtaking imagery of solar system comet C/2025 K1 (ATLAS) as its central icy core, or nucleus, appears to have broken into multiple pieces after being warmed by the sun. The comet made its closest approach to the sun on Oct. 8, and astronomers captured images following the solar flyby that appear to show it dramatically breaking apart.

These most recent images seem to confirm that, as multiple distinct fragments can be seen. The images appear to show “three fragments of the original nucleus and possibly a fourth one,” Masi wrote in a statement accompanying the images.

(13) TRAILER PARK. ‘”Project Hail Mary’ Second Trailer: Ryan Gosling in Space” at IndieWire.

…An official synopsis for the film reads: “Science teacher Ryland Grace (Gosling) wakes up on a spaceship light years from home with no recollection of who he is or how he got there. As his memory returns, he begins to uncover his mission: solve the riddle of the mysterious substance causing the sun to die out. He must call on his scientific knowledge and unorthodox ideas to save everything on Earth from extinction… but an unexpected friendship means he may not have to do it alone.”…

[Thanks to Kathy Sullivan Mike Kennedy, Andrew Porter, Gary McGath, Jim Janney, John King Tarpinian, Chris Barkley, Cat Eldridge, SF Concatenation’s Jonathan Cowie, Mark Roth-Whitworth, and Steven French for some of these stories. Title credit belongs to File 770 contributing editor of the day Daniel Dern.]

Freakflag Guitar Technology: Way Huge’s Atreides Analog Weirding Module

Written by RL Thornton of Freakflag

Believe it or not, the Way Huge Atreides Analog Weirding Module is an actual electric guitar pedal, thanks to innovative electronics wizard Jeorge Tripps and the Jim Dunlop Company. Guitar pedals sit on the floor between the guitar and the amplifier. They’re stomp-boxes: you hit the switch with your foot, and they shape the signal — boosting it, clipping it, delaying it, filtering it, or throwing it through controlled chaos. One pedal is “spice”; a chain of them is a recipe. Some pedals create fuzz, distortion, overdrive (distortion’s mild cousin), chorus, reverb, delay, phaser, and flanger. But the Weirding Module is much more. It’s part synthesizer, part artifact, part fever dream.  As Jim Dunlop Company put it:

Jim Dunlop: A beginning is the time for taking the most delicate care—that the balances are correct.

Fear is the TONE killer! You are about to enter a world where the unexpected, the unknown, and the unbelievable meet. Take a spectacular journey through the wonders of space and the mysteries of time. From the boundaries of the incredible to the borders of the implausible.

The Sleeper has awakened! The Way Huge Atreides Analog Weirding Module offers a kaleidoscope of organic synth-like tones—this consciousness-awakening device produces a monophonic effect with many layers that can be manipulated as needed through dynamic playing technique and adjustment of each of its several sliders.

This unique guitar pedal began with Frank Herbert’s legendary 1965 novel Dune and the late director David Lynch, who decided to produce the first Dune movie in 1981 even though Wikipedia stated that he had “had not read the book, was not familiar with the story, or even been interested in science fiction.”

When Lynch was working on the movie, he knew that the Atreides used the mental technology of the female-oriented Bene Gesserit to give their warlike desert allies an edge against the evil Harkonnen and the Emperor’s Sardaukar killers. But how could Lynch bring the Gesserit technology to the screen? Lynch knew that the Bene Gesserit “witches” were expert manipulators of sound, so he came up with “weirding modules” that used sound as a weapon, and Lynch ended up with this approach:

As you can see, inspirations can be found anywhere, and electric guitar pedal designer Jeorge Tripps obviously saw more in Lynch’s “weirding module” than anyone thought.

Jeorge Tripps (from his conversation with JHS Pedals’ Josh Scott):  It really was inspired by the 1980 Electro Harmonix Mini Synthesizer Keyboard, which was used by Van Halen on the last tune on Fair Warning, “One Foot Out the Door.” It’s something that I’ve always been a fan of. I’ve always loved those things. They literally are made of plastic and cardboard — I’m not joking. They made them for one year, from 1980-1981. That’s what inspired it. I was just like, “Oh my God, this is so cool. I want my guitar to sound like that”.

You can make it sound different and do different things according to how you play. You can’t just hand the Atreides to somebody that just plays their stuff [without experimenting]. If you jump on it and automatically start playing Stevie Ray Vaughan, it’s going to sound like crap. Just utter garbage. But if you plug into it, and [play around] to find out what [the settings] do, you’re going to experiment and go, ‘Oh, wow.’

However, the best way to understand the Atreides guitar pedal is to hear it in action. Go and click on the pedal demos and have a blast. It’s one of those rare cases where a prop from SF cinema inspires a real piece of musical technology — a “weirding module” you can actually stomp on.

Atreides Guitar Pedal Demos

 

Pixel Scroll 10/31/25 Pixel Is In The File Of The Bescroller

(1) LACON V PROGRAM PARTICIPANT UPDATE. The 2026 Worldcon circulated a newsletter to members today stating that their “Program Participant Main Survey” is coming out in November. Those who have completed the Initial Interest Survey will be notified by email when the full survey is ready. A word to the wise, as they say….

(2) TAFF’S CHANGING OF THE GUARD. [Item by David Langford.] In Taffluorescence! #10, Sandra Bond steps down as European TAFF administrator, Mikołaj Kowalewski takes over and offers a first foretaste of his trip report, and both discuss the big question of whether the 2026 eastbound TAFF race should run to Eastercon in the UK (April) or Eurocon in Berlin (July). What does fandom think? “Let’s have this public discussion.”

(3) SHELFIES.  Shelfies, edited by Lavie Tidhar and Jared Shurin, “Takes a unique peek each week into one of our contributors’ weird and wonderful bookshelves.” A recent entry was “Shelfies #60: Kim Newman”. Photo at the link.

I collect editions of Dracula.

My first was an Arrow paperback, bought (and read) in 1971. When I extended my Anno Dracula series of novels with a comic Anno Dracula 1895: Seven Days in Mayhem, I asked artist Paul McCaffrey to homage the cover of that Arrow edition… a woman in a Victorian dress looking startled, as a taloned hand is laid on her shoulder. The model on the cover looks a bit like a young Queen Victoria, so that may even have been where I first had the idea of writing Anno Dracula, in which – among other things – Count Dracula becomes the Queen’s second husband….

(4) ANTHROPIC SETTLEMENT NEWS. Victoria Strauss has an update at Writer Beware: “The Anthropic Class Action Settlement: What You Need to Know Right Now”. This is one of several key pieces of information in the post:

…The master list of eligible works is available at the official settlement website. There’s a lookup function that allows you to search on your name, your work’s title, the publisher, or the ISBN/ASIN to find out if any of your writings are included.

If your work is eligible, you’ll need to file a claim. Official notices will be going out to claimants in the coming weeks, but if you’ve confirmed that your work is on the master list, you don’t need to wait to receive it. For sole legal owners, there’s a short claim form that can be submitted online. A longer form, which you’ll need to use if there are rightsholders besides yourself or you want to challenge the default income split, can be downloaded and submitted by postal mail.

The Authors Guild has an excellent step-by-step guide to filling out claim forms, and Writer Beware’s sponsor, SFWA, will soon post a claim form FAQ to its Anthropic resource. The settlement website’s own FAQ.is also very helpful. Claims aren’t due until March 23, 2026, so you have plenty of time to file.

If, on the other hand, you want to opt out of the settlement, and thus preserve your ability to separately sue Anthropic, you must do so by January 7, 2026….

You may be wondering why, if the pirate databases included seven million works, fewer than 500,000 are actually part of the settlement. Or why, if you found your work in the LibGen database, it doesn’t appear on the settlement’s master list.

The master list includes only works that meet the class definition: works with ISBNs or ASINs whose copyright registrations were made before Anthropic’s downloads and within five years of publication. Per the settlement website FAQ, most works in the pirate databases did not meet these requirements. About 40% were duplicates. Other files were corrupted or empty, or were added after the cutoff date of August 2022 (the date of Anthropic’s final PiLiMi downloads), or had registrations made later than five years post-pub. And millions of works didn’t have a copyright registration at all.

Although worldwide copyright law ensures that creators have copyright ownership the instant they fix the work in tangible form, the United States is unique in making the extra step of registration with the US Copyright Office a pre-requisite for defending copyright in court….

(5) EATING THE FANTASTIC. Scott Edelman invites listeners to brunch on blueberry pancakes with Natalia Theodoridou in Episode 267 of the Eating the Fantastic podcast.

Natalia Theodoridou

Theodoridou’s debut novel, Sour Cherry, was released earlier this year by Tin House (in North America) and Wildfire (in the UK and the Commonwealth). He’s a five-time Nebula Awards nominee, and shared an award earlier this year in the category of game writing for A Death in Hyperspace. He won a Nebula Award for short story in 2018 for “The Birding: A Fairy Tale,” published in Strange Horizons.

He’s also the winner of Moniack Mhor’s 2022 Emerging Writer Award. Additional fiction has appeared in ClarkesworldApexUncannyPsychopompkhōréōBeneath Ceaseless Skies, and numerous others. He is also a Clarion West Graduate (class of 2018) and holds a PhD in Media & Cultural Studies from SOAS University of London.

We discussed what it felt like attending Clarion the same year he was nominated for a World Fantasy Award, how Karen Joy Fowler’s advice changed the texture of his descriptions, what he needs to know before beginning to write a short story, whether he’s as confident in the writing process as his voice seems to me on the page, why the fact readers won’t need to know anything about Bluebeard to enjoy his Bluebeard-inspired novel is a tragedy, the question to which that novel itself must stand as the only possible answer, why it’s so important for readers to be able to sit with ambiguity and uncertainty, the reason we’ve yet to see a short story collection from him, and much more.

(6) PULLMAN Q&A. From BBC’s program The Interview: “Sir Philip Pullman: fantasy can be unsatisfactory”.

“A lot of the fantasy that I have read is unsatisfactory for me because it’s not interested in psychology, it’s not interested how people think or feel”

Katie Razzall speaks to renowned British author Sir Philip Pullman as he publishes his latest, and final book in the series, The Rose Field.

He’s best-known for writing the award-winning ‘His Dark Materials’ – a series of novels beloved by children and adults alike all over the world. The books follow the adventures of the two main characters – Lyra and Will – across a series of parallel universes, where Pullman blends magical storytelling with physics, philosophy and theology.

Pullman was a part-time English lecturer when the first instalment in the series was published thirty years ago. Tens of millions of copies have been sold across multiple continents, and the stories have been translated into 40 languages.

The commercial and critical success spawned a follow-up series, The Book of Dust, which came out nearly a decade ago. The 79-year-old has now picked up his pen to publish this latest and final instalment.

Although loved all over the world, the stories have also attracted controversy for their criticism of religion. Pullman, who once described himself as a ‘Church of England atheist’, is outspoken on a number of modern-day issues – such as politics, free speech, and indeed faith – with his views regularly influencing his writing.

(7) PAUL KANTNER’S SF NOVEL. [Item by Rob Thornton.] (Following up a recent post about Paul Kantner/Jefferson Starship – “Grok Around The Clock: The First Musical Hugo Nomination”.)

Jay Babcock, once the editor of underground music & culture magazine Arthur who currently has a Substack newsletter called LANDLINE, has information about Paul Kantner’s ’70s/’80s 530-page science fiction novel “PERRO”.

In 2003 he talked about its publication here… “The Wheel Turns, an Interview with Paul Kantner” at Jambands.

But as far as I could tell, it was released as an extra feature on a self-released CDR reissue of his P.E.R.R.O. album, which no one seems to own… “Paul Kantner – PERRO – CDr (Album, Reissue, Remastered), [r13045080]”.

And it seems to have been available at one point as a print-on-demand thing… Planet Earth Rock and Roll [Internet Archive.]

There’s a preview, with scans of the entire first “chapter” available here…. Planet Earth Rock and Roll Orchestra [Internet Archive.]

(8) TODAY’S BIRTHDAY.

[Written by Paul Weimer.]

October 31, 1959Neal Stephenson, 66.

By Paul Weimer: One of the true giants of our field today, and that’s not just because he writes doorstoppers that can be used as weapons. Neal Stephenson’s works have, ever since I picked up The Diamond Age (I would go back and read Snow Crash later) and saw his power as a cyberpunk writer who, in the middle of this novel, explained the fundamental basis for computer systems almost as a lengthy aside. Stephenson’s rich detail and backgrounding of stuff helped me get through the truly large historical baroque novels which were often quite funny. 

I’ve learned that trying to listen to Stephenson in audio is a commitment I just can’t make, unless I intend a multiweek road trip to plow through one. He remains a physical copy (for defense against zombies) and ebook only author for me. His Seveneves, for example, my current favorite of his works, is 31 hours in audio.  I do have a copy…for perhaps when I am trapped and cannot read and need something to distract me.  The sheer scale and breath of Seveneves is perhaps his biggest in terms of time frame in the novel, and is thus for me, the definitive Stephenson experience. One day I will reread it…but that day is not going to be today…nor will it be in just a day. 

I haven’t yet picked up his new historical series starting with Polostan, but I must indeed find time with it. Given his painstaking detail in the Baroque cycle and elsewhere, I have high hopes for his take on the years running up to the first atomic blast.

Neal Stephenson

(9) COMICS SECTION.

  • Wumo gets a zero-gravity scare.
  • Tom Gauld posits a Halloween physics discovery:

A halloween cartoon for @newscientist.com

Tom Gauld (@tomgauld.bsky.social) 2025-10-31T11:27:27.457Z
  • And a Halloween book lovers joke:

A halloween books cartoon for @theguardian.com

Tom Gauld (@tomgauld.bsky.social) 2025-10-30T15:02:50.092Z

(10) HORROR GAMES. [Item by Steven French.] What makes a scary video game truly scary? Here are some different answers: “Inside the secret psychology of horror games – and why we can’t help pushing play” in the Guardian.

The sound came first. In a San Francisco Bart train tunnel, Don Veca took his recorder and captured a train’s metallic roar – “like demons in agony, beautifully ugly,” he remembers. That recording became one of the most chilling sounds in 2008’s Dead Space.

“We dropped that screeching, industrial noise at full volume right after the vacuum silence – creating one of the game’s most jarring sonic contrasts,” Veca, who made horror history as the audio director for the Dead Space games, recalls. “Our game designer hated it – but the boss loved it. Over time, it’s become iconic.”

Now, almost two decades after Dead Space first terrified players into clutching their controllers, horror game designers around the world still chase that same feeling. So, how do they keep on finding new ways to scare gamers – and what makes us keep pushing start on the horror?…

(11) YES, WE’RE REAL. [Item by Mark Roth-Whitworth.] Mathematical proof debunks the idea that the universe is a computer simulation. “Mathematical proof debunks the idea that the universe is a computer simulation” at Phys.org.

…Modern physics has moved far beyond Newton’s tangible “stuff” bouncing around in space. Einstein’s theory of relativity replaced Newtonian mechanics. Quantum mechanics transformed our understanding again. Today’s cutting-edge theory—quantum gravity—suggests that even space and time aren’t fundamental. They emerge from something deeper: pure information.

This information exists in what physicists call a Platonic realm—a mathematical foundation more real than the physical universe we experience. It’s from this realm that space and time themselves emerge.

Here’s where it gets interesting. The team demonstrated that even this information-based foundation cannot fully describe reality using computation alone. They used powerful mathematical theorems—including Gödel’s incompleteness theorem—to prove that a complete and consistent description of everything requires what they call “non-algorithmic understanding.”

Think of it this way. A computer follows recipes, step by step, no matter how complex. But some truths can only be grasped through non-algorithmic understanding—understanding that doesn’t follow from any sequence of logical steps. These “Gödelian truths” are real, yet impossible to prove through computation….

(12) FAR SIDE OF THE MOON. [Item by SF Concatenation’s Jonathan Cowie.] In a recent Nature: “Surprise meteorite debris uncovered on Moon’s far side”. The rare samples, uncovered by China’s Chang’e-6 mission, might help to reveal secrets of how the Solar System evolved.

Sifting through the first-ever rock samples collected from the far side of the Moon, scientists in China have unearthed a surprise: fragments of a rare type of meteorite that could help to piece together the Solar System’s history. The debris — scooped up by China’s Chang’e-6 mission and returned to Earth in June last year — resembles material from asteroids that carry dust pre-dating the Solar System. Studying the chemical composition of this debris could help to trace how asteroids seeded planetary bodies such as Earth and the Moon with volatile compounds, including water. “The Chang’e-6 mission has a list of major questions to answer, but this wasn’t even on that list,” says Yuqi Qian, an Earth and planetary scientist at the University of Hong Kong, who was not involved in analysing the fragments. “It’s such an unexpected and important finding.”

The authors reported their discovery earlier this week in the Proceedings of the National Academy of Sciences

(13) TRON ANALYSIS. Erin Underwood asks “TRON: ARES, Movie Review – A Bold Reboot or a Broken Franchise?”

Is Tron: Ares being written off as another failed Disney franchise or is it a bold decision to give the franchise a new start without doing a hard reboot? Some people say it might be the smartest sci-fi film Disney has made in years. Others say it’s an utter failure. Or is it something in between? Check out my review for a look at the visuals, the AI technology, and the story itself.

[Thanks to Steven French, Kathy Sullivan, Mike Kennedy, Rob Thornton, David Langford, Scott Edelman, Paul Weimer, Andrew Porter, John King Tarpinian, Chris Barkley, Cat Eldridge, SF Concatenation’s Jonathan Cowie, and Mark Roth-Whitworth for some of these stories. Title credit belongs to File 770 contributing editor of the day Brian Z.]

Grok Around The Clock: The First Musical Hugo Nomination

Album cover of Blows Against the Empire by Paul Kantner and Jefferson Starship.

Written by RL Thornton of Freakflag

Once upon a time, the most important science fiction convention of 1971 (Noreascon I) considered an unlikely slate of candidates for the Best Dramatic Presentation Hugo. For the first time, there were audio recordings in a category best known for movies—a comedy album from Firesign Theater and a science fiction-themed rock album called Blows Against The Empire, which was created by Paul Kantner and his newly formed group Jefferson Starship.

There was significant controversy over whether Blows belonged in the category. Tony Lewis, the Hugo administrator in 1971, discussed the issue on this website:

Lewis: I ruled that Jefferson Starship’s Blows Against The Empire was eligible. Some people disagreed because it was a record (remember them) and thus not been performed on tv, film, or radio. I told them it had been played publicly. Another argument was that it was just singing with brief narrative threads to connect them; well, that’s Grand Opera also.

This inclusion may have been too much, because the majority of Hugo voters chose not to present an award in the Best Dramatic Presentation category in the first round of voting, even though Blows Against The Empire garnered the most votes out of the actual nominees. From some views, this result was not a surprise because fans had frequently voted for “No Award” before in Best Dramatic Presentation. Last year, the television coverage of Apollo 11 had won. But with that many votes, a strikingly different nominee like Blows must have had significant support among fandom.

And as you might guess, Blows is not just another album. Let’s start with Paul Kantner. Here he is discussing the origins of Empire with journalist Steve Silberman in 2005. Unfortunately, this interview was not published until 2019 by Jambase.com.

Beginnings

Silberman: How did a guy who went to Catholic military school get into science fiction?

Kantner: (in a heavy German accent) Yah, gut! I was really short in second grade, and all the science fiction books were on the lowest bottom shelf, while heretic books were probably under the carpet…science fiction is very good escapist literature, particularly if you’re in a Catholic military boarding school and you’re not the type who belongs there.

Silberman: I was wondering if science fiction was one of the things that turned you into a bohemian.

Kantner: Saved my fucking life, starting in the second grade, and then going on through all the classics, Asimov and Heinlein and things like that. On career day in high school, I had “bank robber” and “suicide” on my list of possible future job prospects. Science fiction provided an alternate path forward.

Eventually, Kantner dropped out of college and became part of the San Francisco music scene, which was just beginning to become the center of the hippie explosion of the late 60s.

Silberman: When did you start hanging out in the Haight-Ashbury?

Kantner: We didn’t get to San Francisco till about ‘64 maybe. We were influenced by Robert Heinlein’s description of communal life in Stranger In A Strange Land and tried to live it out in a practical way. Whoever needed money took it from the group money bowl and whoever had money put it in, group meals, that sort of thing.

After forming the band Jefferson Airplane with co-founder Marty Balin in 1965 in San Francisco, they were very successful with Kantner playing a key songwriting role in albums such as After Bathing At Baxters and Crown Of Creation. Unfortunately, accounts from the period depict Kantner as brusque and focused only on his own works.

Origins

By 1970, “hippie” wasn’t just a style. It was a science fiction–influenced ecosystem: music, politics, acid trips, communes, protests, free love, fanzines, utopian blueprints — all crashing together in the Bay Area like a psychedelic Big Bang with Stranger In A Strange Land presiding. The San Francisco scene was its ground zero, and its musicians were its high priests. Everyone played on each other’s albums, shared band members, dropped in unannounced for jams.

And many hippie musicians who became legends (Crosby, Jerry Garcia, Phil Lesh) were also fans. In Lesh’s autobiography, he and Garcia compared the mind-melting jams of the Grateful Dead to the telepathic consensus from Theodore Sturgeon’s More Than Human and Crosby has consistently pushed science fiction (though he bent towards Baen later in his life). Science fiction showed up as a theme across many other hippie-oriented artists from the era such as the Byrds, Neil Young, and of course Jimi Hendrix.

And Kantner wove references to science fiction in his songs, as the online music zine Perfect Sound Forever mentions in their remembrance of him:

PSF: Kantner was nothing if not a full-out science fiction freak. From the ever-present weight of Robert A. Heinlein on his songs and lyrics…to adapting elements of John Wyndham’s The Chrysalids for the lyrics of “Crown of Creation,” he articulated in his music the bright-eyed wonder and mysticism of SF (Sci-Fi in its golden-era contraction, not the locale) that so enraptured his age group.

Conception and Birth

Jefferson Airplane was beginning to split in 1970 and Balin eventually left in April 1971. As tensions within the band rose, Kantner decided to record an album inspired by Heinlein’s “Methuselah’s Children.” Out of respect, Kantner contacted Heinlein for permission to use the ideas in the story. Kantner was particularly interested in hippies hijacking a starship and founding their own society elsewhere.

Kantner: When I was making Blows Against The Empire, I wrote a letter to Heinlein asking permission to use some of his words and concepts. He wrote me back saying, “My God, this is staggering! You people have been ripping off my words and ideas for 30 or 40 years, and you’re the first person who ever had the decency to ask for permission.” Then he said, “P.S. Oh by the way, my gardener says he went to high school with Marty Balin. He sends his best.” That was cute.

When Kantner got ready to write and record the album that became Blows Against The Empire, he recruited a group called the Planet Earth Rock & Roll Orchestra (PERRO) with much of the Airplane along with Jerry Garcia, David Crosby, Bill Kreutzman and others. Available sources are a little uncertain whether PERRO was created during Crosby’s solo album If I Could Only Remember My Name or during Blows. Like many albums created during the late ‘60s and early ‘70s, Blows was very much a hippie process—musicians being spontaneous, impulsive, and trusting in their instincts more than anything. Planning happened on the spur of the moment with very little introspection.

[Click for larger images.]

Silberman: The thing about Blows Against The Empire is that it’s not only one of your best albums, it’s one of the best recordings by Jerry Garcia, David Crosby, and many other musicians. Everyone was at a career peak when they recorded it.

Kantner: Oh God, yeah. Garcia played lovely, didn’t he? And it was almost all accidental…We went to a place called Pacific High Studios, which was in back of the old Carousel Ballroom, Fillmore West, with a couple of Grateful Dead engineers, Bob Matthews and Betty Cantor and eventually Bill Sawyer. And really just went in to do a demo. It was one take, the whole thing. I don’t know that we even rehearsed beforehand. I had a couple of good licks and figured we’d give those to the band and say, “Let’s expand on this,” because our band was great on expanding.

From my impression, the songs on Blows are fine listens with plenty of good performances from the musicians but the lyrics are much more enthusiastic than substantial. The starship does make guest appearances on “Hijack,” “Home,” “Starship,” and “X-M” (possibly a reference to the low-budget SF movie Rocketship X-M, which ironically competed with Heinlein’s Destination Moon).

Reactions

When Blows Against The Empire made its debut, many fans supported it. An example of this support was in the fanzine Granfalloon’s 1971 article Jefferson Starship: The Woodstock Nation in Outer Space:

David Emerson: Play the record and all doubts are dispelled. This is an SF rock album…Incredible, you say. Unheard-of. No, I assure you, it has been heard before. In fact, Kantner’s album could have almost have been predicted on the basis of previous instances of SF rock.

Emerson then goes on to talk about the influence on SF on Kantner and cites other appearances of SF in rock music by the Byrds (an adaptation of Clarke’s The Sentinel, a story which inspired 2001: A Space Odyssey), Pink Floyd, and many others, including Crosby, Stills and Nash’s “Wooden Ships.”

Emerson: Hopefully, this will not be the last such major effort to bring SF into rock music…and with “rock operas” being all the rage, we might end up with a cross between Star Trek and Hair, or a rock version of Aniara. Now that a precedent has been set, the sky is the limit.

A more skeptical version of this reaction is in the fanzine Starling, where author Angus Taylor interviews “Sgt. Pepper” about the music of the day in 1971:

Taylor: While the songs may be good music to hum to yourself on the way to Far Centaurus, they are a little short on specific planning…. Kantner and company string together a lot of pretty phrases about outer space, but how much do they contribute to an understanding of the processes involved? On the other hand, I must say the album has some of the nicest SF lyrics I’ve heard and the more I listen to the music, the more I like it.

Back in 1971, current File 770 correspondent Jeff Smith was even more critical of Blows in his article for Beabohema:

Smith: Many people seem to like it so much and I am not quite as enamored of it. This, particularly the second half, is the special Science Fiction Jefferson Airplane album, except that half the Airplane is missing and lots of other people have joined in. The album is a mess, any way you look at it. A beautiful mess, sometimes, but always a mess. You can’t just turn thirteen (approx.) musicians loose on an album; someone has to control things. Kantner seems to be too lax. Everyone sits around playing what he damn well wants to play and there may be ten minutes of coherent/cohesive music on the entire album…Threatening to leave is not a “blow against the empire” by any means.

Blows Against the Empire is a bad album, but a lot of enjoyment can come from it if you want to.

Judgement Time

As we know, when all the votes were tallied, “no award in this category” ended up with the most votes in the first round. Typically, most current sources attribute the No Award in Dramatic Presentation to a weak slate of finalists.

When I looked into the nature of fandom in 1970, I thought about the petition that showed a sharp division between Astounding/pro-war fans and New World/anti-war fans (see Alex Cox’s American Science Fiction Writers and the Vietnam War). Some Hugo voters may not have been the type to favor the presence of hippies in the genre and as we saw above, many didn’t believe that albums belonged in the Best Dramatic Presentation category at all. Finally, I have to concede if you judge it next to any reasonable written SF story, Blows has no storytelling structure and does not really explore any ideas. Since Blows is not a written work, perhaps a more permissive audience could use a different set of criteria. It’s an open question. But in the end, the concerns overwhelmed the support for Blows at Noreascon I.

A Fannish Door Opens

David Emerson’s guess about the future of music at the Hugos was correct. Blows Against the Empire may have been the first musical work ever nominated for a Hugo Award, but it was not the last. The rock opera Phantom of the Paradise was nominated as a film for the 1975 Hugos. In 2003, the Best Dramatic Presentation category was divided into Long Form and Short Form, giving fans more flexibility to recognize creative crossovers. Eventually, Short Form nominations were won through the Afrofuturist visions of Janelle Monáe in 2019 (Dirty Computer) and experimental rap group Clipping, whose works were nominated in both 2017 (Splendor and Misery) and 2018 (song The Deep).

After The Deep received its nomination in 2018, author Rivers Solomon expanded the piece into a 2019 novella written in collaboration with the group — proof that the influence now flows both ways, from music into fiction as well as the reverse. Even now, Clipping’s latest album Dead Channel Sky takes its title from the opening line of Neuromancer, and in the latest issue of music magazine The Wire, producer Kinlaw cites Keith Roberts’ Pavane as a key influence on his new album Faith Elsewhere. The dialogue between speculative fiction and music hasn’t faded — it’s only deepened.

Postlude

The Planet Earth Rock and Roll Orchestra didn’t end with Blows. Many of the same musicians — Garcia, Crosby, Slick, Nash, Kreutzmann, and others — regrouped with Kantner and Slick for the follow-up albums Sunfighter (1971), Baron von Tollbooth and the Chrome Nun (1973), and later Slick’s solo project Manhole (1974).

Eventually Kantner later revisited that time with the 1983 project The Planet Earth Rock And Roll Orchestra. Though it was heavily influenced by the music of the 1980s (especially the synth-meets-rock sound of ZZ Top’s Eliminator), it was, in its way, a coda to the long dream that began with Blows Against The Empire. All these albums carried the same communal spirit: open-ended sessions, shared authorship, and the belief that music could still gesture toward another world.

References

Thanks to Mike Glyer for helping me navigate the fannish past and retrieve precious recollections from the zines in Fanac.

Additional thanks to Jason Gregory for providing additional insight into the Best Dramatic Presentation category.

Fanac

Other References

Clipping

The Hugo Awards

Janelle Monáe

Pixel Scroll 9/18/25 Hot Buttered Pixels On The Filer Rock

(1) TOLD IT ON THE MOUNTAIN. Writer and musical historian RL Thornton was inspired by Manly Wade Wellman’s Silver John tales to track down YouTube videos of many of the songs referenced in those stories: “Dreaming in the Appalachian Pines with Wellman’s ‘John The Balladeer’” at Freakflag.

One of the great recent rediscoveries has been the stories of World Fantasy Award winner Manly Wade Wellman. In particular, his magical stories of high Appalachian wanderer and silver-stringed guitarist John have been republished by Valancourt Press in an anthology called “John The Balladeer” and in a larger complete two-volume set by Haffner Press (h/t to Michael Dirda of the Washington Post).

As Wellman’s dialect-laden prose slowly pulled me into his fantastic world of deep magic, my inner music geek started to wonder if all the songs in the Silver John stories were real. I knew that In The Pines had become notorious due to Nirvana’s stunning live acoustic take

(aka Where Did You Sleep Last Night), but what about the rest? Well, a little bit of YouTube diving reveals that Wellman knew his stuff!

So here are YouTube clips of the songs that are mentioned in Wellman Silver John’s adventures, In most cases, each song’s YouTube link is accompanied by the lyrics from the story and the performer’s name…

(2) GAMING’S VERBAL ARTEFACTS. [Item by Steven French.] The Guardian’s Keith Stuart wonders why certain lines of video game dialogue are more memorable than others in this week’s “Pushing Buttons” newsletter: “Why random lines of video game dialogue get stuck in our heads”.

Some snippets of video game dialogue, like classic movie quotes, are immediately recognisable to a swathe of fans. From Street Fighter’s “hadouken!” to Call of Duty’s “remember, no Russian” to BioShock’s “would you kindly?”, there are phrases so creepy, clever or cool they have slipped imperceptibly into the gaming lexicon, ensuring that whenever they’re memed on social media, almost everyone gets the reference.

But there are also odd little phrases, sometimes from obscure games, that stick with us for seemingly no reason. I recall most of the vocal barks from the second world war strategy game Commandos: Behind Enemy Lines, even though I haven’t played it for 20 years. Why is it that I’ll lose my headphones, wallet and phone on a daily basis, but I have absolute recall when it comes to the utterances of burly soldier Samuel Brooklyn? Why am I doomed to “Finally, some action”, “Consider it done, boss” and the immortal “okey dokey” echoing through my head? What is wrong with me?

Fortunately, when I posted about this on Bluesky, I discovered I was not alone. Hundreds of gamers got back to me about the random game dialogue lodged in their own heads. Some were lesser-known quotes from famous titles: comic book writer Kieron Gillen is haunted by the line “I’ve not seen such bravery” from Gauntlet, while video game academic Kat Brewster wrote that she thinks about the game’s “ah, sustenance!” line all the time. Matthew Castle, of the gaming podcast The Back Page, simply cannot forget the way Beedle says thank you in The Legend of Zelda: The Wind Waker. Game designer and artist Anna Hollinrake cannot escape the voice of the random Pokémon trainer who said: “Whether hot to trot or cool cat not, chill at my papa’s shop.” “It runs around in my head again and again,” she said. “Drives me mad.”

(3) SPRUCING UP MOVIE THEATERS. “Cinema Owners Invested $1.5 Billion On Upgrades Over Past Year” reports Deadline.

Exhibitors in North American laid out over $1.5 billion in 12 months to build or upgrade theaters including $920 million from the eight largest chains, according to a report by Cinema United (formerly NATO).

A year ago, the trade group heralded a pledge by the largest circuits to invest more than $2.2 billion to modernize and upgrade theaters of all sizes over three years. The update today sees the industry making good on the spend and likely to meet that goal as they evolve alongside a shifting industry that is skewing younger and where audiences are seeking premium entertainment experiences.

Cinema United represents nearly 64,000 screens worldwide and its Cinema Investment Report highlights the depth and breadth of investment as well as community impact. Theater owners are spending into an accelerating box office, which is good….

(4) FIGHTING BOOK BANNERS. Publishers Weekly has updates about eight selected book banning cases at the link: “Books on Trial: 8 Freedom to Read Cases to Watch”.

Book banning legislation chills speech, encourages teachers and librarians to soft censor, and demonizes content by LGBTQ+ and BIPOC authors. With accusations of obscenity, pornography, and material that’s harmful to minors, book banners aim to intimidate educators and librarians, who know their constitutional rights yet fear the wrath of conservative parents and politicians.

If the current political climate emboldens censors to target material perceived to be about “gender ideology” and critical race theory, it also rallies anti-censorship forces, which are drafting freedom-to-read legislation and taking lawmakers to court. PW looked at a few of the many federal and state legal cases shaping American’s right to read.

(5) REDFORD’S GENRE CLASSIC. The New York Times remembers when “‘The Twilight Zone’ Gave a Glimpse of Robert Redford’s Gifts”. (Behind a paywall.)

Long before Robert Redford played Bob Woodward, Jay Gatsby, Jeremiah Johnson or the Sundance Kid, he was Death. In a memorable 1962 episode of “The Twilight Zone” — often cited as one of the anthology’s best — the blond, handsome actor, still in his early 20s, played the most charming, calming emissary of the afterlife imaginable, assigned to escort a wary old lady into the great beyond.

That episode, titled “Nothing in the Dark” (streaming on Paramount+), was also the beginning of the end of Redford’s brief but prolific TV career. Watching him now as Mr. Death, it’s easy to see how he became one of the most beloved movie stars of the late 20th century. His presence is uncanny. He looks like he belongs somewhere else — on a bigger screen, perhaps.

We hear Redford before we see him in “Nothing in the Dark.” As the episode opens, the lady, Wanda Dunn (Gladys Cooper), is cowering in the basement apartment of a tenement building, avoiding any visitors because she knows her date with Death is past due. Then she hears a gunshot, and a young, nonthreatening voice from outside asks for help. She opens the door a crack and sees a policeman on his back in the snow.

Our first glimpse of Redford as the policeman is the same as Wanda’s. He looks small and helpless. He also seems, well … nice. Sunny, even. The very opposite of doom.

“Nothing in the Dark” was written by the frequent “Twilight Zone” contributor George Clayton Johnson, whose work on the show was highly compatible with the vision of its creator, Rod Serling, who liked to tell stories about frightened, ordinary people confronting their own weaknesses. (Death appears as a person in multiple “Twilight Zone” episodes.) To that end, another series regular, the director Lamont Johnson — no relation to George — goes deep into Wanda’s mind by exploring the cluttered, shadowy space where she has dwelled for too long, avoiding the light….

…The episode’s big twist comes after the introduction of its third character: an aggressive man (R.G. Armstrong) who barges in and seems like everything Wanda dreads. This man turns out to be a building contractor there to warn her that her home is about to be demolished. He too is reassuring in his way, explaining that sometimes society has to tear down the old to make way for the new. Times change and generations shift. Why, even Death looks young and spry nowadays….

(6) REMEMBER ARTHUR “TWO SHEDS” JACKSON? “Ipswich man’s tropical steampunk shed wins Shed of the Year award” reports the BBC. At the link, photos of the outside and inside.

A man who built what he describes as a “tropical steampunk shed” said it had not yet sunk in that he won a national award for it.

Ash Robertson, 42, from Ipswich, built his shed when he was in need of somewhere to work from, and when he and his wife welcomed their second child.

His shed, which includes elements of tiki beach bars, was nominated as a finalist in the cabin/summerhouse category at the Shed of the Year awards.

Mr Robertson, who built his shed almost entirely from second-hand items, said he never believed he would win an award for his design.

(7) PLANET OF THE APES BAR. [Item by SF Concatenation’s Jonathan Cowie.] Hanging out at the bar is popular at cons, but drinking alcohol is not uniquely enjoyed by the human species.  This is, in fact, old news.  What is new is that researchers have found out just how much booze chimps consume through eating rotten fruit. Chimpanzees typically eat ~4.5 kilograms of fruit per day, corresponding to an estimated ethanol ingestion of 14 grams (±9), or the equivalent of 1.4 (±0.9) standard drinks by international standards. That is almost a 330ml bottle of beer a day…. Research here.

(8) MEMORY LANE.

[Written by Cat Eldridge.]

September 18, 1964The Addams Family series

The Addams Family series premiered on ABC fifty-one years ago this evening. I unreservedly loved that series which I didn’t rewatch until earlier this year after nearly twenty years of not watching it. It has held up remarkably well, and I do mean remarkably well. So well that even Suck Fairy which I watched it with had to admit that she liked it. 

The Los Angeles Times obituary of David Levy explained how he came to create the series: “The idea for the series came to Levy when he was strolling with a friend down New York’s 5th Avenue and passed a display of Addams’ books. One, ‘Homebodies,’ showed the entire group of Addams characters in a family portrait on the cover. Levy was stopped in his tracks by the sight and told his friend: ‘There’s a hit series!’”

Now let’s talk about the characters here. Who wasn’t perfect? Be it John Astin as Gomez Addams or Carolyn Jones as his wife Morticia, they played their roles perfectly. And no, I’m certainly not forgetting Wednesday, their child. (Surely the name comes from the English folk poem, Wednesday’s child is full of woe), Uncle Fester or Thing. Not to mention Lurch played oh-so-well by Ted Cassidy. 

It had pets, presaging to a great extent what Lio comic series would have. Aristotle was Pugsley’s pet octopus and Fang was his pet jaguar. Addams Family had a lion called Kitty Kat, and they had piranhas, Tristan and Isolde. Zelda was their vulture. Morticia had a very large carnivorous plant named Cleopatra and Wednesday has a pet tarantula by the name of Homer.

It didn’t last nearly as long as I thought did — just two seasons totaling sixty-four episodes shot in glorious black and white. 

Halloween with the New Addams Family aired eleven years after the series went off the air with new characters added in. Seven years after the series was cancelled, the animated version of The Addams Family aired for sixteen episodes. It’s notable for a young Jodie Foster voicing Pugsley Addams. Only Jackie Coogan and Ted Cassidy returned in voice acting roles.

Gold Key Comics produced a comic book series in connection with the show, but it only lasted three issues. No idea why it had such a short run as I feared it would’ve had a longer one given how popular the show was.

It has a perfect a hundred percent rating among audience reviewers at Rotten Tomatoes. That’s right, a perfect score. 

It streams on Amazon. 

(9) COMICS SECTION.

(10) ALAN MOORE ON RADIO 4. [Item by SF Concatenation’s Jonathan Cowie.] Alan Moore was on last night BBC Radio 4 arts programme Front Row. In it he discusses what he got right in predicting the future, what he got wrong, and why the glut of comic book superhero films is a sign of an infantalised society…  And he talks about his new book…

Alan Moore, creator of V for Vendetta and Watchmen on his new novel, The Great When.

You can access it here. Alan Moore is on in the last 15 minutes.

(11) FOR YOUR INFORMATION. Steven Johnson emailed what would have been a new comment on File 770’s 2013 post “Expain This, Scoffers” but for the fact that comments have been closed on that post for about a dozen years. Waste not, want not – I’m publishing it in today’s Scroll instead.

Searching for information on Jean Young, I wound up at the “explain-this-scoffers” page on File770 and realized it did not mention that the Jean Young “amateur geologist” was the member of the Geological Society of America, with an MS in Geology, who also has an entry in Fancyclopedia 3.

Though late in life she made her living working for the Post Office, she was also an ad hoc or honorary curator of geology at Luther college in Iowa.  Old fanzine correspondence mentions asks whether she has “read any good rocks lately” (somewhere in the Fanac collection.)

She did connect with Robert Lichtman and had at least one LoC in TrapDoor as Jean Young. From news accounts, I gather she died in 2007.

Apparently she was memorialized at a Zen ceremony in Iowa. I will try to find the rest of her basic life data and update her Fancyclopedia entry.

Anyhow, I would have commented on that old entry, but I gather that comments are closed, which certainly makes sense for blog management.

Her discovery of that meteor crater certainly rates a mention somewhere in fannish history, even if it does not rate with her drawings or her preference for fmz over fanzines as the name for the thing that connects so many of  us.

(12) ASTRONOMICAL RARITY. [Item by Steven French.] Einstein crosses are neat to begin with but this discovery is extra-cool! (The researchers also make a point of emphasizing the importance of international collaboration and, on the US side, Federal funding.) “Astronomers discover rare Einstein cross with a fifth image, revealing hidden dark matter” at Phys.org.

When Rutgers theoretical astrophysicist Charles Keeton first saw an unusual picture shared by his colleague, he was intrigued.

“Have you ever seen an Einstein Cross with an image in the middle?” his colleague Andrew Baker asked, referring to a rarely seen cosmic configuration.

Keeton hadn’t. The implications were enormous.

“I said, well, that’s not supposed to happen,” said Keeton, the Vice Provost for Experiential Learning at Rutgers University–New Brunswick. “You can’t get a fifth image in the center unless something unusual is going on with the mass that’s bending the light.”

An “Einstein Cross” is a rarely seen cosmic configuration, in which the light from a distant galaxy is bent by the gravity of galaxies in front of it, creating four images. But the extra image in this Einstein Cross pointed to “something unusual,” which turned out to be a massive, hidden halo of dark matter. The existence of this invisible structure could only be inferred through careful computer modeling and analysis.

The discovery, made by an international team that includes Keeton, Baker and Rutgers graduate student Lana Eid, has now been published in The Astrophysical Journal.

(13) THAT’S BAD. [Item by Mark Roth-Whitworth.]“Two ‘Flying Cars’ Collide During Air Show Rehearsal in China” reports Gizmodo.

Two “flying cars” collided on Tuesday during an air show rehearsal in China, injuring one of the pilots, according to a report from CNN.

The incident happened at the Changchun Air Show in Jilin, China, where two XPeng AeroHT aircraft collided midair, forcing one of them to the ground. The other vehicle was able to land safely, according to Electrek, and the cause of the crash is under investigation.

The company told CNN that the crash was the result of “insufficient spacing” and one of the flying vehicles “sustained fuselage damage and caught fire upon landing.” The condition of the injured pilot is unknown and XPeng didn’t immediately respond to questions emailed Wednesday.

Videos posted to social media appear to show one of the vehicles on fire as emergency crews work to put out the blaze….

How many years have I been saying no flying cars, until your flying car insurance pays to have installed on my house a computer-controlled, radar-guided anti-aircraft gun to shoot down drunks, kids, and people who “lose control of their vehicle” before they crash into my second floor bedroom?

(14) DATA POINT. An interior decoration hint from Reddit five years ago. “My girlfriend wasn’t happy I filled in her new picture frame”.

(15) EXOPONENTIAL. [Item by Mark Roth-Whitworth.] Space.com reports:“We’ve officially found 6,000 exoplanets, NASA says: ‘We’re entering the next great chapter of exploration’” (assuming their budget’s not cut).

It might sound hard to believe, but NASA’s exoplanet count just reached 6,000 — and that’s with only about 30 years of hunting worlds beyond our solar system. In fact, only three years ago, that figure was at 5,000. At least at face value, the rate of discovery appears to be exponential — which is good, because, theoretically, there should be billions more worlds out there for us to locate.

“We’re entering the next great chapter of exploration — worlds beyond our imagination,” a narrator says in a NASA video about the milestone. “To look for planets that could support life, to find our cosmic neighbors and to remind us the universe still holds worlds waiting to be found.”

The news was announced on Wednesday (Sept. 17), which is serendipitously close to the anniversary of when scientists confirmed the existence of the first exoplanet around a sun-like star: 51 Pegasi b. Discovered on Oct. 6, 1995 by astronomers Michel Mayor and Didier Queloz, 51 Pegasi b is a gas giant 0.64 times as massive as Jupiter that sits approximately 50 light-years from where you’re sitting. (To be clear, the very first exoplanet discovery fell in 1992, but that one was around a spinning neutron star, or pulsar. And pulsars are pretty wild. 51 Pegasi b was the first more “normal” exoplanet to be identified.) The right thing to do would be to end this paragraph with the 6,000 exoplanet discovery counterpart to 51 Pegasi b, but that’s unfortunately not possible….

(16) REPURPOSED RADIO TELESCOPE ATTACKED. “Ukraine destroys giant radio telescope used by Russian military”Space.com has the story.

A giant radio telescope in Crimea used in the past to support missions to Mars and Venus and attempt to contact alien civilizations has been destroyed in a drone attack.

Ukrainian defense forces took down the 230-foot (70 meters) antenna dish to prevent Russian forces from using it to guide attacks on its territory. The RT-70 radio telescope has been under Russian control since the annexation of the Crimean peninsula in 2014. According to Defense Express, Russians carried out major upgrades to the 5,000 metric ton structure to use it for military communications.

The telescope reportedly served as an antenna for the GLONASS satellite navigation system, Russia’s alternative to the American GPS. Reportedly, the use of the RT-70 radio antenna increased the accuracy of GLONASS by around 30%.

(17) A JOKE? [Item by Cliff.] An astrophysicist talks about Dyson spheres…

….. At quite some length

[Thanks to Andrew Porter, John King Tarpinian, Chris Barkley, Cliff, Steven Johnson, JJ, Cat Eldridge, SF Concatenation’s Jonathan Cowie, Mark Roth-Whitworth, Steven French, Kathy Sullivan, and Mike Kennedy for some of these stories. Title credit belongs to File 770 contributing editor of the day Mark Roth-Whitworth.]

Jimi Hendrix, Science Fiction Fan

Hendrix reading a Penguin Science Fiction Omnibus
Jimi Hendrix reading a Penguin Science Fiction Omnibus

Written by RL Thornton of Freakflag

“What I like to do is write a lot of mythical scenes, like the history of the wars on Neptune and the reason Saturn’s rings are there. You can write your own mythology.”  Jimi Hendrix

“He rarely had time off, but when he did, he read science-fiction books.” Charles Cross, Hendrix biographer

Jimi Hendrix was a fan. It’s true. 

How biographies like Stone Free and Room Full Of Mirrors manage to sidestep the visionary guitar legend’s interior world is beyond belief. But an entire wave of evidence has emerged during the internet era to prove that the music and the sound world of James Marshall Hendrix, who died of drug-related causes in 1970, was inspired by the novels that inspire all of us.

Beginnings: Meet “Buster” Hendrix

When Jimi Hendrix was a child, everybody in his Seattle neighborhood knew him as “Buster.” While biographer Charles Cross contends that his nickname was from the cartoon character Buster Brown, other writers such as Jason Heller claim that the nickname came from “Buster” Crabbe of Flash Gordon fame. 

And Cross does tell the story of young Jimi, who loved science fiction and doodled spaceships in class, and both Jimi and his brother Leo experiencing a UFO incident. But for some reason, Cross misses the importance of Jimi’s interior life.

Growing His Fandom: Jimi and Chas Chandler

So what evidence do we really have for Jimi’s fandom? It becomes evident when former Animals member Chas Chandler becomes Hendrix’s manager and brings him across the ocean to become a star in England. It turns out that Chandler and Hendrix bonded over science fiction. The guitarist had the pick of Chandler’s extensive collection.

Hendrix was said to be a big fan of George R. Stewart’s Earth Abides. Philip Jose Farmer’s Night of Light and its mind-bending reality fields supposedly inspired him to write Purple Haze. And as one fan to another, these obscure picks are pretty good evidence that Jimi had been reading for some time. 

Other SF-related books or stories favored by Hendrix:

  • “Gulf” by Robert Heinlein
  • “Lot” by Ward Moore (F&SF, May 1953)
  • Penguin Science Fiction Omnibus (edited by Brian Aldiss)
  • The Tibetan Book Of The Dead
  • The Urantia Book

Jimi As Slan: Exploding The Mind Through Sound

One puzzle that many rock historians have wondered about is how Jimi Hendrix suddenly introduced us to a remarkable world of sound all at once. As JHS Pedals’ Josh Scott said in his YouTube documentary The Technology Of Jimi Hendrix: “Every move Jimi’s making lines up with a significant technological creation in guitar—it’s wild!”

Given Jimi’s background as a science fiction fan, I think he was on a quest to combine his extraordinary skill with advancements in sonic technology to explore the mind through your ears. It was no mistake that Jimi was discovering the first fuzz guitar pedals on his own then combined his talents with sonic wizard (and fellow SF fan) Roger Mayer.

“Both Jimi and I had synaesthesia, where we would see colors in sound,” Mayer also told Music Radar in 2017. “We found that fascinating. It’s a useful ability as a sound designer. I was very interested in new sounds for guitars. We would talk about the vision of the sound. For instance: ‘This sounds like what you see when you hold two mirrors in front of each other.’ And that notion became the Octavia pedal.”

And when Hendrix began to reshape what rock could sound like—layering feedback, dissonance, new sonic textures, and strange alien voices—he wasn’t trying to sound “psychedelic.” It was to sound otherworldly. Because that’s where he’d always been looking.

Axis Rising: Science Fiction as Sound and Statement

Jimi Hendrix didn’t just flirt with science fiction—he built a whole album around it. Axis: Bold As Love is, in Hendrix’s own words, “science fiction rock ’n’ roll.” And it opens like a radio drama from another galaxy.

The first track, “EXP,” begins not with music but with a mock radio interview. Experience drummer Mitch Mitchell, who plays the straight man interviewer, chats with Jimi as “Paul Caruso” about UFO sightings—before Hendrix’s voice begins warping and distorting, transforming into that of a saucer-being, complete with panned echoes, fuzz bursts, and a departure into cosmic noise.

“You can’t believe everything you see and hear… CAN YOU?”

“Now excuse me, I must be on my way.”

It’s tongue-in-cheek, yes—but it’s also a blueprint. Hendrix wanted to tear down the wall between Earth and imagination, between human and alien, between rock and pure sci-fi theater.

That spirit flows through the rest of the album. In “Up from the Skies,” Hendrix sings from the perspective of a disappointed alien visitor, one who once loved Earth and has returned to find it broken, confused, and violent. His voice floats through a gently swinging jazz-rock groove, curious but concerned.

“I just want to talk to you… I won’t do you no harm.”

Behind the scenes, Hendrix was working closely with Mayer. Mayer’s experimental circuitry helped Hendrix forge entirely new tones—sounds that had never existed before. Mayer later recalled:

“The sounds of [Axis] could be thought of as bunch of disks floating in space in front of you, like flying saucers with sounds coming from them and they’re moving around. ‘Castles Made of Sand’ was partly inspired by some of the books we were reading, like Dune by Frank Herbert. It’s a science fiction kind of fantasy, but really down to earth in a way. Jimi was very good at depicting imagery that people could relate to, but with a bit of a cosmic twist to it, you know?”

Even songs that feel grounded—like the aching beauty of “Little Wing” or the dreamy heartbreak of “Castles Made of Sand”—are laced with speculative wonder. Hendrix paints emotional truths using mythic, surreal, and cosmic brushes. The sky is always open. The stars are always listening.

When you listen to Axis, it wasn’t just a concept album—it was a cosmic transmission, a collection of sci-fi stories hidden in blues and feedback. With Mayer’s alien tones and Hendrix’s interstellar vision, it became a document of someone who wasn’t content with reality as-is. He had to build new ones.

From what I see, Hendrix didn’t see science fiction as “genre.” He saw it as spiritual architecture—a way of imagining new states of being, new worlds, new freedoms. Whether he was reading Penguin anthologies or trading paperbacks with Chas Chandler, Hendrix treated science fiction as a language of transformation—and he translated it through feedback and fire.

The Lost Opera: Black Gold and Afrofuturist Echoes

Before Space Is the Place hit screens, before Parliament’s Mothership Connection landed, before the term Afrofuturism entered the cultural lexicon—Jimi Hendrix was already sketching star maps in sound. And nowhere is that more clear than in his lost science fiction rock opera, Black Gold.

Written and demoed in 1970, Black Gold was a sprawling concept album built around a central figure: a cosmic drifter, part mystic, part outcast—a mirror of Hendrix himself. The fragments Hendrix left behind include lyrics and ideas filled with temporal shifts, alien visions, and metaphysical riddles. He recorded it solo, voice and guitar, a private message from deep space that the world never fully received.

The Black Gold tapes vanished after his death, only to re-emerge decades later in a collector’s hands. Despite rumors, retrospectives, and archival interest, it remains unreleased in full, suspended like a ghost satellite in Hendrix’s mythos.

But even in fragments, it’s clear: Hendrix was aiming beyond the charts. He was imagining a narrative arc, a world unto itself—Black identity transfigured through sonic myth.

And even without Black Gold, his body of work hums with Afrofuturist resonance. Songs like “Up from the Skies,” “Third Stone from the Sun,” and “1983…” aren’t just psychedelic—they’re visionary. They deal in alienation, rebirth, otherness, transformation. They speak from a place where the Black experience meets the universal unknown.

He didn’t write essays. He wrote waveforms.

He made the alien familiar—and the familiar alien.

Artists like George Clinton, Janelle Monáe, Shabaka Hutchings, and Moor Mother continue that trajectory. Hendrix didn’t invent Afrofuturism, and Sun Ra had already taken flight—but Jimi built his own vessel.

He joined the constellation.

The Signal Still Travels: Hendrix Beyond the Stars

Jimi Hendrix’s life burned bright and fast. But his ideas—his frequencies—are still traveling.

He was more than a guitarist, more than a songwriter. He was a cosmic cartographer, drawing psychic maps across the fretboard, turning fuzz and feedback into new ways of thinking. Science fiction wasn’t a pose or a metaphor—it was a worldview, one that let him see past the boundaries of race, genre, and gravity.

He found companionship in other sci-fi fans. He filled his shelves with strange books. He wrote alien voices into his music, flew his studio into the sun, and tried—right up to the end—to leave behind something bigger than a career.

That’s why Hendrix matters in the story of speculative fiction.

Not because he called himself a futurist.

But because he acted like one.

His journey—from Buster the Flash Gordon kid, to cosmic narrator, to the lost voice behind Black Gold—isn’t just a footnote in rock history. It’s a secret chapter in science fiction history, too.

A Poem: For Buster, Who Dreamed in Stars

He was Buster once,
not yet the comet streaking across sound,
but a boy with a head full of silver ships
and Saturn’s whispered secrets.

In the shadow of city streetlamps,
he looked up and imagined
worlds that no blues guitar could yet shape,
but would, in time.

Before the flames,
before the wah-wah wails of war on Neptune,
he carried galaxies in his pockets—
tiny constellations stitched into denim.

They called him Buster,
but he was always reaching—
past fretboards, past fear,
into the wide silence between stars.

And when he played,
myth became melody,
and all the universe leaned in
to listen.


References

YouTube:

World Wide Web:

Biographies:

  • Room Full of Mirrors by Charles Cross
  • Stone Free: Jimi Hendrix in London by Jas Obrecht

Research and additional text supplied by the Freakflag Tag Team.

AI Tag Team: Dune vs. Popular Music

ChatGPT does a deep dive on musical tributes to Frank Herbert’s classic (with some help). [Reprinted from Freakflag with permission.]

By Rob Thornton.

INTRODUCTION: We have seen a lot of controversy around Large Language Models (aka “AI”), If you are not familiar with them, these software tools are trained by us to act on their own, learn and grow, and handle many tasks. Despite their power, the current consequences of AI—AI companies are devouring information without permission, the tools return false information and creating deepfakes of people, becoming intelligent death machines for the military).

But as a fan of speculative fiction, I had to see what was what. So in my time with OpenAI’s ChatGPT, I asked them to search for music that was related to Dune with a little human assistance.

Freakflag: Tell us about the intersection between Dune and popular music.

Absolutely! ♥ Frank Herbert’s Dune has had a surprising influence on pop music, inspiring everything from psychedelic rock to electronic music to hip-hop. Here’s a deep dive into how Dune has shaped music across genres:

1. 1970s: Psych, Prog, and Early Space Rock

♦ David Matthews – Dune (1977) → A jazz-funk fusion album directly inspired by the novel. Think spacey, cinematic grooves with a touch of Blaxploitation cool.

♦ Tangerine Dream → While not explicitly referencing Dune, their synth-heavy, atmospheric music—like Phaedra (1974) and Zeit (1972)—feels like the perfect soundtrack for Arrakis.

♦ Zed – Vision of Dune (1979) → An obscure French electronic/synth album that’s essentially a Dune-themed Berlin School synth journey.

♦ Klaus Schulze – Dune (1979) → A massive 30-minute ambient track from the Tangerine Dream alum, evoking Arrakis’ vast, endless deserts.

2. 1980s: Synths, New Wave, and the Lynch Film

♦ Iron Maiden – To Tame a Land (1983) → An epic heavy metal song originally titled Dune, but Herbert refused to grant permission for the name! So, they changed it to To Tame a Land. The lyrics retell Paul Atreides’ journey with soaring guitars and galloping rhythms.

♦ Brian Eno – Prophecy Theme (1984) → The best-known piece of music from David Lynch’s Dune soundtrack. Eno’s ethereal synth washes capture the mystical tone of the Bene Gesserit prophecies.

♦ Toto – Dune Soundtrack (1984) → Yes, the same Toto that did Africa! They scored the entire Dune film with epic orchestration and dramatic synths. Their sweeping, sci-fi symphonic pieces still hold up today.

3. 1990s: Dune & Hip-Hop?

♦ Wu-Tang Clan & Afrofuturist Influence → While Dune isn’t a primary reference, Wu-Tang’s love of mystical, philosophical storytelling echoes Dune’s epic worldbuilding.

→ Killah Priest’s “B.I.B.L.E.” (1995)* references Dune with lines like “Reading books on Isaac Asimov and Dune”—a nod to sci-fi’s impact on hip-hop lyricism.

♦ Sleep – Dopesmoker (2003) → This legendary stoner doom metal album is essentially a Dune story in slow-motion. Spacey, repetitive, heavy-as-sandstorm riffs tell the journey of a weed priest across the desert—basically Paul Atreides meets doom metal.

4. 2000s–Present: Electronic, Metal, and Experimental

♦ Hans Zimmer – Dune Soundtrack (2021) → Zimmer reinvented the sound of sci-fi epics, using unearthly vocal tones, throat singing, and massive drum patterns to capture the raw, spiritual feel of Dune’s world.

♦ Kendrick Lamar – DNA. (2017) → No direct Dune reference, but Kendrick samples dialogue from Dune (1984) in live performances—tying Dune’s themes of destiny, prophecy, and power into his own storytelling.

Final Thoughts: Why Dune Inspires Music

⊗ Dune’s themes of fate, power, rebellion, and mysticism resonate across genres, from metal to electronic to hip-hop.

∇ Arrakis itself is an environment that lends itself to soundscapes—whether desert psychedelia, ambient textures, or thunderous metal.

Freakflag: Two of your items did not contain any Dune items so I deleted them. You missed a few things:

There was a minimal wave band called Bene Gesserit.

The 2010 Grimes album Giedi Primes was a Dune concept album.

Richard Pinhas has an album called Chronolyse with many Dune-related tracks.

in the 90s, a techno project called Eon did a track called Mindkiller, which used the “Fear is the mindkiller” chant.”

Great additions! ♥ You’re absolutely right—those are key Dune-inspired musical moments:

♦ Richard Pinhas – Chronolyse (1978) French electronic composer Richard Pinhas—known for his work in Heldon—crafted Chronolyse as a tribute to Frank Herbert’s Dune, filtering the saga through fractal synth loops and hypnotic minimalism.

♦ Bene Gesserit (1981–1990s) → A Belgian minimal wave/synth duo taking their name from Dune’s secretive sisterhood. Their music was quirky, experimental, and otherworldly, much like the Bene Gesserit themselves.

♦ Grimes – Geidi Primes (2010) Before she became a pop experimentalist, Grimes crafted this lo-fi, dreamlike debut—a hazy, otherworldly take on the universe of Dune. Named after the Harkonnen homeworld, Geidi Primes blends ethereal synths, ghostly vocals, and off-kilter beats into a soundscape that feels like a distant radio transmission from Arrakis.

♦ Eon – Mindkiller (1990) → A classic UK techno track built around the Dune quote “Fear is the mindkiller.” A perfect example of how Dune’s philosophy found its way into rave culture and electronic music.


If you would like to dive even deeper into Dune-related music, check out the Dune wiki at:

https://dune.fandom.com/wiki/Music_inspired_by_Dune

Pixel Scroll 2/6/25 I Know It’s Only Pixel Scroll, But I Like It

(1) RADIO FREE BRADBURY. Phil Nichols’ new Bradbury 100 podcast tunes into “Ray Bradbury on Radio: SUSPENSE”.

This time, I look at the early years of Ray’s professional career, which saw him not only mastering the craft of short story writing and putting together his first book, but branching out into media – in particular, getting his stories and scripts onto national radio shows such as CBS’s Suspense.

Over a span of a dozen years, Suspense produced no fewer than eleven shows based on Bradbury stories, with some of the stories being produced multiple times. I argue that this early media presence – which included a number of stories previously unpublished – helped cement Bradbury’s growing popularity and reputation.

The direct link is here: “Episode 61 – Ray Bradbury and Radio’s SUSPENSE!” at SoundCloud.

(2) FUTURE TENSE. ASU Center for Science and the Imagination’s “Future Tense Fiction” story for January 2025 is “The Funniest Centaur Alive”, by Gregory Mone—a story about standup comedy, AI, and the ethics of human enhancement.

The response essay “The AI House of Mirrors” is by computer scientist Suresh Venkatasubramanian.

I spend my days thinking about collisions between tech—especially artificial intelligence—and society. There was a time when I could separate out that part of my day as work, but in 2025, such a division is no longer possible. Rather than simply think through these collisions, I now also live them, in nearly every corner of my life. AI is unescapable: I go to the grocery store and the radio is talking about the technology’s use in some sector or another. I go to get a haircut and we discuss smart mirrors that could show you virtual hairstyles to choose from. My child’s school insists on deploying some rather questionable software that claims to use AI to detect concerning behaviors or online communications and wants my consent to use it….

(3) AT THE HALF CENTURY. LA Review of Books introduces Jonathan Bolton’s review of The Dispossessed: 50th Anniversary Edition saying he “thoughtfully reads Ursula K. Le Guin’s ‘The Dispossessed’ within and against the grain of a half century of criticism”. “To Touch the Dust of Anarres”.

… Among political novelists, Le Guin stood out for her ability to blend different kinds of politics. She was fascinated by the grand politics of class and revolution—her novels are full of parliamentary factions, court intrigue, diplomats, spies, and rebels. As the Thuvian ambassador tells Shevek, “You have got to understand the powers behind the individuals.” But as a feminist and skilled imaginer of everyday life, she also had a sensitive eye for the mundane power struggles of “the personal is political.” Nor did she ignore the cruel paradoxes and structural violence of imperialism, playing out in both colony and metropole. Through it all, she maintained a keen sense of the pure force of ideas to move back and forth among these three political worlds. The Dispossessed is a running political conversation—full of intrigue and drama, to be sure—in which Shevek is forced to test and develop his anarchist ideals against a range of friendly and hostile interlocutors on both Anarres and Urras. These varied conversations leave no political idea unchallenged, even as Shevek preserves his ever-evolving anarchist ideals….

(4) BLACK HERITAGE IN HORROR. The Horror Writers Association has launched a month-long series: “Black Heritage in Horror Month 2025: An Interview with Jamal Hodge”.

What inspired you to start writing?

Pain, uncertainty, and hope. Honestly, I was a naive child, filled with joy at the thought of meeting another face. But when homelessness found my family in the South Bronx, I quickly learned that people weren’t always safe. Being exposed to ‘American history’ in school further revealed what it meant to be Black in this country, a trauma, in my view, that demands mental health support, like counseling, in schools. These harsh realities made me dream of a better world. I found that place within the pages of books, the ink of a pen, and the boundless depths of my own imagination.

What drew you to the horror genre?

Hope, survival, and truth. To me, horror encapsulates all of these. It transforms fear into something useful, something empowering, and even fun. Horror and fantasy were my first loves for precisely that reason: they validated our right to be scared, acknowledging that evil exists and that we live in a dangerous world. But they also illuminated our power to face terror head-on, to survive. That resonated with me.

(5) GROUP STATEMENT OPPOSING ANTI-TRANS EXECUTIVE ORDER. “Literary Organizations Release Joint Statement Decrying Anti-Trans Executive Order”Publishers Weekly has the full text – read it at the link. Not sure how the 54 signing organizations were recruited, but neither the Authors Guild, HWA, nor SFWA is among them.

Following the release of an executive order signed by President Donald Trump on January 20, which asserts that his administration will implement “language and policies that recognize women are biologically female, and men are biologically male,” a large number of major organizations in the book business and literary world released a statement decrying the move. Among them are the American Booksellers Association, Audio Publishers Association, Comic Book Legal Defense fund, EveryLibrary, Independent Book Publishers Association, IngramSpark, National Book Critics Circle, PEN America, PubWest, Society of Children’s Book Writers and Illustrators, and many more.

The statement says in part:

…Trans, nonbinary, and intersex experience is vastly underrepresented in literature but disproportionately targeted by bans. During the 2022-2023 school year, 30% of books banned included LGBTQIA+ characters or themes. Such censorship robs us of perspectives that enrich the American story. Though the executive order in question tries to paint LGBTQIA+ people and allies as bullies enforcing their perspective on others through “legal and other socially coercive means,” that’s exactly what the order itself does, just as book-banning pressure groups have done since 2020 in school boards and libraries around the country. The fate of trans, intersex, and nonbinary people is not a political ideology, it’s a matter of human rights, civil rights, and freedom of expression. Government erosion of those rights should concern all Americans, regardless of their investment in LGBTQIA+ literature specifically.

This executive order is censorship, pure and simple, and it has no place in a free society. It must be rescinded or stayed as soon as possible, and at the latest, before the earliest implementation deadline, February 19, 2025….

(6) ELLIOTT SHARP Q&A. Interviewer Rob Thornton reaches back 25 years to share – “Archival Interview (2000): Elliott Sharp on Sci-Fi, Spoken Words, and Sound”.

In 2000, I did an email interview with Sharp about his work with Seeing Eye Theater, why he’s a science fiction fan, and how his approach to music has been shaped by science fiction.

There are many authors who read for Seeing Eye Theater. Did you choose to work with Murphy, Goonan, Womack & Shepard or did Seeing Eye Theater introduce you to them?

I had met the producer, Tony Daniel, through Ellen Datlow, Jack Womack, and Lucius Shepard when doing a performance. He told me that he had followed my work. the next step was easy. I’ve followed sci-fi since I first began to read and had been a longtime fan of Jack. Pat, and Lucius.

We’ve performed together on a number of occasions and I had included all of them reading in a compilation of one-minute pieces called State of the Union. Tony, as producer, makes the choices. I certainly offer feedback. I did become a fan of Kathy Ann Goonan’s after working with her on a Seeing Ear Theater production….

There’s a whole library of “Seeing Eye Theater (Radio)” episodes available at YouTube.

(7) SATURN ON THE BLOCK. A forthcoming episode of Antiques Roadshow will feature “1986 Leonard Nimoy Saturn Life Career Award”. I’m thinking, come on, it’s a Saturn Award, what can that be worth? Well, it seems that having Leonard Nimoy’s name on it raises it well above the value of the average bowling trophy. The figure is named in this clip.

(8) DAVID EDWARD BYRD (1941-2025). Deadline reports: “David Edward Byrd Dead: Artist Behind Iconic Rock And Broadway Posters”. Here’s a brief excerpt from the obituary, with his best-known genre work bolded.

…For some devotees, though, Byrd left his most indelible impression on Broadway, designing some of theater’s most influential and best-remembered posters and logos. He created the gorgeously garish and grisly poster for The Little Shop of Horrors, a more muted 1971 poster for Jesus Christ Superstar combining cathedral art and rock imagery, and that same year, the iconic poster for Follies, the Stephen Sondheim-James Goldman musical about a reunion of aging showgirls.

In the 1980s, Byrd worked as Art Director for Van Halen and designed posters for Los Angeles theaters including The Mark Taper Forum and The Ahmanson Theatre.

While his work might best be remembered by folks of a certain age, at least one set of his illustrations is well-known to a younger generation: He designed the richly colorful covers for the first three Harry Potter books.

In 2023, Byrd published his autobiography Poster Child: The Psychedelic Art & Technicolor Life of David Edward Byrd, chock full of the poster art that has delighted untold numbers of observers….

(9) TODAY’S BIRTHDAY.

[Written by Paul Weimer.]

February 6, 1922Patrick Macnee. (Died 2015.)

By Paul Weimer: “There are those who believe that life here began out there. Far across the universe, with tribes of humans…some believe there may be brothers of man who yet now fight to survive…”

My first encounter with the work of the formidable Patrick Macnee was, improbably, in Battlestar Galactica.  His voice is the unmistakable one in the opening credits to the 1978 series. In addition, he also showed up in a two part episode as “Count Iblis”, who was, as far as I can figure, a fallen angel or the outright devil himself.  And also he showed up at least once as the Imperious Leader, the head of the Cylons. That striking British baritone voice of his served him well and was unmistakable. 

It would be years, though, before I encountered The Avengers and his role in that, proper. In fact, I had somehow missed the existence of The Avengers for years, and didn’t know it existed or that I might like it. It was the Amber Diceless Roleplaying Community that clued me in. A particular GM and player in that community had a penchant for playing characters who were versions of John Steed himself. The first couple of games I played with him in it, I didn’t quite get who he was “supposed to be”. I finally got a chance between games, to actually ask him about the character — I was embarrassed because it seemed I was the only one who wasn’t “in on it”.  And so he told me, and urged me to see The Avengers for myself. 

And then I finally saw the series itself on VHS tape. While there were several partners (Diana Rigg’s Mrs Peel being just the most prominent), the anchor of that relationship was McNee’s stalwart John Steed. I immediately finally saw what my fellow roleplayer was doing. And why he would model his character and his very con appearance (complete with a bowler hat and an umbrella, although he preferred white to black. It all clicked. The stalwart, competent and implacable and unflappable gentleman that Macnee portrays is tailor made for borrowing as a character template, or just a fashion template. What a fascinating character! An excellent spy, cultured, intelligent, and always prepared. And a perfect gentleman who wasn’t above some very above board wordplay with his associates. I think that Macnee so created and inhabited the role is a reason why attempts to reboot the character in media have gone from horrible (sorry, Ralph Fiennes) to forgettable (the Big Finish audio dramas). 

Macnee also shows up in series and roles ever since, from Columbo to Sherlock Holmes to an episode of the series Frasier where he plays a psychiatrist. 

A class act, throughout his acting career. He died in 2015. Requiescat in pace.

Patrick Macnee

(10) COMICS SECTION.

(11) ON A ROLL. The New York Times tells readers about a game involving “Intergalactic Shantytowns Where Dice Dictate Your Future” (behind a paywall.)

The dice roll is the fundamental engine of numerous games. In a board game, it might determine what type of resources you receive or how far you can move. In tabletop role-playing games, it might determine whether an action is successful. When you swing your sword at an ogre, does it land a fatal blow? Or does your blade accidentally glance off a nearby statue and clatter uselessly to the ground? The dice decide.

Although video games often use similar systems to decide the outcome of a player’s actions, the dice roll itself — the machinery of chance — is typically concealed.

“The idea with video games is they’re supposed to be this warm bath of immersion that you disappear into,” said Gareth Damian Martin, whose new game Citizen Sleeper 2: Starward Vector subverts convention by placing the dice center stage.

The dice in Citizen Sleeper 2, which releases for PCs and consoles on Friday, can be spent on actions within a cyberpunk future where mercenaries, scavengers and outcasts eke out a hardscrabble living on the margins of a galaxy ruled by rival corporations. The higher the number of an assigned die, the greater the chance that the player will successfully work shifts in an intergalactic kelp bar, sell scrap engine components down at the shipyards or overthrow a corporation as part of a labor revolution.

“The process of abstracting things to dice gives an incredible flexibility to storytelling,” said Damian Martin, who uses they/them pronouns. “The game inherently supports you and creates drama from any situation.”…

(12) TANGLED UP IN BLUE. Deadline introduces “’Smurfs’ Trailer: First Footage Of Rihanna’s Smurfette”.

…The synopsis: When Papa Smurf (John Goodman) is mysteriously taken by evil wizards, Razamel and Gargamel, Smurfette (Rihanna) leads the Smurfs on a mission into the real world to save him. With the help of new friends, the Smurfs must discover what defines their destiny to save the universe….

(13) NOT WITH A BANG. [Item by Steven French.] It’ll be interesting to see whether AI can describe the end of the universe before it brings about the end of the world: “AI to revolutionise fundamental physics and ‘could show how universe will end’”.

Advanced artificial intelligence is to revolutionise fundamental physics and could open a window on to the fate of the universe, according to Cern’s next director general.

Prof Mark Thomson, the British physicist who will assume leadership of Cern on 1 January 2026, says machine learning is paving the way for advances in particle physics that promise to be comparable to the AI-powered prediction of protein structures that earned Google DeepMind scientists a Nobel prize in October.

At the Large Hadron Collider (LHC), he said, similar strategies are being used to detect incredibly rare events that hold the key to how particles came to acquire mass in the first moments after the big bang and whether our universe could be teetering on the brink of a catastrophic collapse….

(14) ORIGIN STORY. [Item by SF Concatenation’s Jonathan Cowie.] OK, so you are an SF fan, but could you be a multibillionaire? Now, I have occasionally dreamed of having a superpower and if I ever did I guess it might be the USA.  However, you don’t have to be born on Krypton or be bitten by a radioactive spider.  All you need — as Bruce Wayne and Tony Stark showed — is lots and lots of dosh, and then you can even influence things on the national stage. But in real life one SF enthusiast did just this, and it is this interest of his in SF that gives us a clue as to his beliefs, as a BBC Radio 4 series of half-hour programmes reveals…

The story of Elon Musk, the way it’s usually told, makes him sound like a fictional character, a comic-book superhero – or supervillain. He’s the world’s richest man, and now an adviser to the US President. He uses X – his social media platform – to berate politicians he doesn’t agree with around the world.

He plans to put chips in people’s brains, and to save the world by colonising Mars. Musk’s visions of the future seem to stem from the science fiction that has fired his imagination since he was a boy. But what’s the real story, the true history, behind the comic book? Back in 2021 Harvard History Professor and New Yorker Writer Jill Lepore became fascinated by this question.

So she made a Radio 4 podcast which tried to explain Musk through the science fiction he grew up with – tales of superheroes with origin stories that seemed to influence how he understands his own life. So much has happened since then that we decided to update that series – and add three new episodes, too. Because Musk keeps changing, and so does what Lepore calls ‘Muskism’ – his brand of extreme capitalism and techno-futurism. And strangely, his origin story keeps changing, too.

How can understanding these fantasy stories – some of them a century old – help us understand the future Musk wants to take us to?

You can listen to the first episode here: “Introducing X Man: The Elon Musk Origin Story”.

(15) NO LAST OF US. [Item by SF Concatenation’s Jonathan Cowie.] There is a review of fungi impact on Earth’s ecosystems – “Fungal impacts on Earth’s ecosystems” — in this week’s Nature.

Here, we examine the fungal threats facing civilization and investigate opportunities to use fungi to combat these threats….

This is an excellent overview but, alas, no mention of The Last of Us…!

(16) THEY KNOW WHERE THE SKELETONS ARE. Hollywood Graveyard combines filmmaking history with the pastime of tracking down celebrity graves. Can you guess what movie this installment focuses on? “Graves From The Black Lagoon : A Famous Grave Film”.

[Thanks to SF Concatenation’s Jonathan Cowie, Steven French, Kathy Sullivan, Joey Eschrich, Rob Thornton, Danny Sichel, Teddy Harvia, Mike Kennedy, Andrew Porter, John King Tarpinian, Chris Barkley, and Cat Eldridge for some of these stories. Title credit belongs to File 770 contributing editor of the day Dan’l.]