The Feasibility Of Space Prisons

The premise in the movie Lockout has to do with the hero breaking into an orbital prison facility to rescue the president’s daughter. It sounds like a winner especially for movie executives out to make a quick buck; take an existing story plot about a high-security prison and shoehorn it into a science fiction world by having it take place in space or the future, etc. “It’s Escape From Alcatraz in space or Papillon in space!” they may cry out in excitement. Space prisons have popped up in science fiction books and movies and can be fun. However, the problem is that when examined the premise doesn’t make much sense.

The heart of the problem with a space prison is that of resources. Building and maintaining an orbital prison would be such a cost prohibitive drain of resources that it probably won’t happen. Imagine the public outcry when the costs of maintaining such a prison are revealed. Many today complain when they hear that inmates get “luxury” items like cable TV. People would argue that prisoners don’t deserve to have necessities like air, food and water. Never mind if a way is found to have those necessities replenish themselves on a station.  Our civilization has to be a lot more advanced than depicted in Lockout and other films like Fortress 2: Re-entry to provide these things, let alone effective and practical security measures. Another thing to consider is the safety of the planet. During Lockout, the prisoners take control of the station. At one point, there is the danger of the prison’s orbit decaying which poses the risk of re-entry. That’s tantamount to putting a prison complex within a nuclear power plant today. That is a recipe for disaster. It just wouldn’t be done.

Now once a civilization becomes a true space-faring one, then a space prison is feasible. Take the prison facility seen in the Star Trek: Voyager episode “The Chute.” The alien society that kept the characters Tom Paris and Harry Kim captive routinely traveled between planets and most likely were able to easily produce the bare elements needed for survival in such a place. Another twist is the prison asteroid, one of which was presented in The Twilight Zone episode “The Lonely.” In that episode Jack Warden plays a prisoner held in solitary confinement and literally has the world to himself.  One caveat with the asteroid is that in the episode it looked like a desert with an atmosphere. This begs the question of using resources to construct such a place for one prisoner given that in the show, the space-faring tech wasn’t very advanced. Then there is the notion of using entire planets as a penal colony as shown in the series Earth 2. Once again, why waste an entire planet as a prison? This makes little sense since in that show Earth was dying and the characters were trying to set up a viable colony on the penal planet.

As for us, don’t expect to be reading about orbital prisons anytime this century. Probably when we have regular transport between the planets in our solar system with viable, self-sustaining colonies will this idea come to fruition. Cool-looking prison breaks and with nifty effects and explosions will remain in books and films. The bottom line is that it is way cheaper and easier to just keep prisoners down on Earth.

José Soto

New Essential Guide For A Star Wars Library

After some delay Del Rey finally released Star Wars: The Essential Guide To Warfare by Jason Fry this April. I went by my local book store today and saw the book. Browsing through it, I’ll have to say it was definitely worth the wait, IOW it looks good. As the title suggests, the book covers the conflicts in the Star Wars universe in chronological order starting with before the time of the Galactic Republic. The first conflict covered is with the Hutts fighting on a planet. For each conflict there are a few beautifully detailed drawings, along with a map of the galaxy showing where the conflict took place.

It also has profiles on the major characters that fought in the wars and details on the weapons used (i.e. blasters and lightsabers) and the ships used as well. Afterwards, the book goes on to describe a particular conflict and it seems to be told from the perspective of a historian or researcher living in the Star Wars universe.

Art by Darren Tan

A lot of space is devoted to the Clone Wars and the famous Galactic Civil War covered in the films. These parts of the book are in the middle while the first third covers the early years of the pre-Republic and the last third goes into the post-Return Of The Jedi period in other words the expanded universe. Characters and races seen in these sections include Admiral Thrawn and the Yuzhan Vong.

Star Wars: The Essential Guide To Warfare reminded me of the book The Illustrated Star Wars Universe that covers the different planets in the galaxy which is also from the viewpoint of someone living in that universe.

Art by Dave Seeley

Overall, it seems like a good history of the Star Wars universe with a good timeline and provides good reference material as well. My favorite topics were, of course, from the movies like the Battle of Endor or the Battle of Coruscant because I finally got to see the battle from the POV of a cockpit fighter. The art by several artists are well done and bring the storylines to life. One thing that was amusing was the depiction of the Ewoks, they look more like savages instead of teddy bears. Too bad George Lucas didn’t go with this idea when they were depicted on screen.

My only complaint about the book is that there aren’t as many drawings as I expected. There was a lot of text, which is fine, but I wish more space was devoted to big splashy artwork. But Jason Fry does a good job with the book and it would make a solid addition to the library of any true Star Wars fan.

C. S. Link

Season Two Of The Walking Dead Concludes, Part II

Vendettas & Confrontations

Episode Twelve: The pre-credits scene of episode twelve of The Walking Dead’s second season, “Better Angels,” opens at Dale’s funeral.  Killed by a walker at the end of the previous episode, the gory sequence jump cuts between the solemn burial – with Rick Grimes (Andrew Lincoln) eulogizing over the elderly victim – and the survivors engaging in what can only be described as a walker vendetta. Shuttling around the perimeter of Hershel’s farm in a pickup truck, they approach the shuffling undead, smashing and crushing their skulls. Rick explains, grimly, that Dale would have wanted them to pull together and take control of their lives. The survivors listen silently and reflect on the message…

Post-credits, the survivors take stock of their situation. The impending winter will soon dry up the swamp and nearby creek, eliminating the natural barrier against the walkers. The farm is left open and vulnerable, and Hershel (Scott Wilson) is allowing the group to move into his house for refuge. As Rick barks guard duty and lookout tower instructions, it’s evident that he elevated Daryl Dixon (Norman Reedus) to his second-in-command, leaving Shane Walsh (Jon Bernthal) somewhat grumbling and bitter. Rick’s son Carl (Chandler Riggs) reveals to a stunned Shane his guilty feelings over Dale’s death. Later, Rick’s wife Lori (Sarah Wayne Callies) bares her soul to Shane, sharing her appreciation for him, but it’s a sly ruse to keep Shane with the group.

dead-walker[1]Later, Shane sneaks into the barn where the prisoner Randall (Michael Zegen) is held. Feigning discontentment with the group, he tricks Randall into taking him to his renegade comrades. On their way, he murders the boy then smashes himself into a tree to fake assault injuries to the group. A search party goes out for Randall, with Rick and Shane in one pair and Glenn (Steven Yuen) and Daryl in the other. The latter two find Randall, now re-animated as a walker, but suspiciously he has no bites. Meanwhile, Shane leads Rick further away from the farm; Rick sees through his trick and confronts him…

Please click on the link to Deadloggers to continue reading about Episode Twelve

 

Gory Climax

The pre-credits sequence for “Besides the Dying Fire,” the thirteenth episode and exciting season finale of season two of The Walking Dead, opens with the lead-in to the previous episode’s finale. In an eerie glimpse of deserted Atlanta, inhabited only by walkers, a helicopter passes overhead. As one walker mindlessly follows, hundreds soon join, forming a terrifying mass herd. Incapable of tiring, they shuffle on, day and night, drifting out of the city and into the countryside until they end up at the gate to Hershel’s (Scott Wilson) farm. The rickety, weather-beaten wood is no match for their sheer mass and the groaning undead crash through. Hearing the gunshot (that killed the re-animated Shane) they plod on in that direction, confronting Rick Grimes (Andrew Lincoln) and his son Carl (Chandler Riggs)…

barn walkers

Post-credits, the survivors in the farm react uneasily to Daryl Dixon’s (Norman Reedus) news that their prisoner Randall (Michael Zegen) re-animated with no bites. Daryl slips out of the house into the darkness to look for Rick but stops upon seeing the approaching walkers. Outside, Rick thinks fast; ordering Carl to follow, they run to the barn, dodging walkers on the way. Once inside, Rick sets it on fire and flees up to the barn’s hayloft with Carl. In the thrilling, twelve-minute action sequence, the other survivors arm themselves and prepare for the fight, but things turn awry: Jimmy (James Allen McCune) drives up to the barn, saves Rick and Carl (who jump onto the RV’s roof and to the ground), but the RV is overrun by walkers; Patricia (Jane McNeill) is killed; Andrea (Laurie Holden) and T-Dog (IronE Singleton) barely escape; Carol (Melissa McBride) is cornered but rescued by Daryl on his chopper; T-Dog picks up Lori (Sarah Wayne Callies) and Beth (Emily Kinney); and Glenn (Steven Yeun) escapes with Maggie (Lauren Cohan).

trapped gene pageHershel intends to stay and protect his land, hopelessly firing away with his shotgun, but is finally convinced by Rick to abandon ship. In the ensuing chaos Andrea, armed with only a pistol, gets separated from the rest and escapes through the woods. Running for her life, she stays alive, picking off walkers until running out of ammo…

Please click on the link to Deadloggers to continue reading about Episode Thirteen

Evan Rothfeld

Season Two Of The Walking Dead Concludes, Part I

bus-trap-gene-page

Cliffhanger Opening

Episode Ten: Episode ten of The Walking Dead’s second season, “18 Miles Out”, opens with a smash – literally. In an exciting pre-credits scene, walkers crash through the windows of an abandoned factory and chase Rick Grimes (Andrew Lincoln), Shane Walsh (Jon Bernthal) and last episode’s hostage, Randall (Michael Zegen) – his hands tied by rope – through the factory’s lot. As the trio attempt to escape it’s every man for himself: Shane holes up in a school bus, straining to keep the doors closed to prevent the walkers from swarming in; Rick runs from a walker, barely escaping; and Randall, abandoned by the other two, crawls to reach a knife a few yards away….

Post-credits, the events unfold via flashback. Deciding not to kill Randall, Rick and Shane agree to abandon him several miles away from the farm where he has a chance of survival. On the way, Rick – looking haggard and sounding hoarse and exhausted – stops the car at a quiet junction to have a much-needed and long overdue man-to-man with Shane. Laying it out calmly and carefully, but with a firm edge, Rick tells him that he knows the truth about Otis’ mysterious death and about Lori’s pregnancy. Shane questions Rick’s survival instincts, but Rick stresses that he is a fighter who will do what he needs to do to protect his family.

Continuing their drive, Rick thinks ahead, making survival suggestions for the group’s upcoming long, cold winter on the ranch. Shane is passive and pre-occupied with his thoughts. They pass a walker plodding through a nearby field; Shane sees it but says nothing.

Throwing A Wrench…

Reaching a creepy, abandoned industrial plant, they kill a couple of walkers and break in. As they explore the silent premises, they are shaken up by charred bodies lying in a gruesome outdoor pyre. Further in, they see two dead security guards lying side-by-side, methodically placed, but with no bites. Rick, staring at the bodies, episode 10 fightsurmises that it was scratches. They drag Randall to the perimeter, rip the duct tape of his mouth but leave his hands and feet tied, and then abandon him. As the two walk away, Randall desperately tries appealing to their sense of good will and reason, to no avail. Only after shouting that he went to school with Maggie do Rick and Shane stop – both know that this knowledge is dangerous. Thinking that he might find his way back to the farm, Shane prepares to shoot the boy. Rick kicks Shane’s pistol away, igniting a brutal fistfight. Bloody and bruised, the two ex-deputy sheriffs each take a beating, with Rick coming out slightly on top. Shane throws a huge wrench at Rick, who ducks but it smashes through the building window…and walkers alerted to the commotion start pouring out (hence the show’s opening)…

Please click on the link to Deadloggers to continue reading about Episode Ten

A Bunch Of Angry Men & Women

Episode Eleven: As the second season of The Walking Dead finishes up, the pre-credits scene of episode eleven, “Judge, Jury, Executioner” opens in the barn as Daryl Dixon (Norman Reedus) brutally interrogates Randall (Michael Zegen). The young hostage initially yields little info, but after Daryl’s beatings and not-so-subtle threats, he reveals that his renegade friends numbers thirty men, armed with semi-automatic rifles. He reveals to Daryl that they once kidnapped and gang-raped two farmer’s daughters and forced the farmer to watch. Daryl reacts furiously…

Post-credits, Daryl passes the grisly findings to Rick Grimes (Andrew Lincoln) and the others: if Randall’s friends pass through, the survivors are dead meat. Rick decides that the execution continues as planned; all agree except Dale (Jeffrey DeMunn), who argues that they have no right to take a life. Additionally, he puts forth that Randall is “just a kid”, he needs due process, etc. This leaves Rick unmoved. Dale next tries Andrea (Laurie Holden) and plays on her past as a civil rights lawyer, together with a call to maintain their humanity in the face of a changing world. This yields similar results, although Andrea agrees to guard Randall from the others.

Later, while Andrea is outside the barn guarding the young hostage as promised, Shane Walsh (Jon Bernthal) reveals to her his disgruntled suspicions that Rick will spare Randall at the last minute. Shane further reveals his thoughts about Rick’s incompetence and bad decisions as leader, coldly hinting about the need for “change”… Randall hears all this through a crack in the barn wall, but spots young Carl (Chandler Riggs) sitting on a loft in the barn watching him out of boredom. Using a slick buddy-buddy tone, he tries to persuade Carl to release him. Shane barges in and shoves a pistol to Randall’s face, but is stopped by Andrea. Shane warns Carl and promises not to tell his parents Rick and Lori (Sarah Wayne Callies).

Sentenced

While preparing for the hanging, Rick announces to Lori his intentions of clearing out the barn for the survivors’ new lodging, and strategically placing lookouts in the loft in preparation of the upcoming bleak, cold, and of course, walker-saturated winter. Even better, he suggests that they ask Hershel if they can stay in the house, to which Lori agrees.

stuck walkerAfter an incident in which Carl is rude to Carol (Melissa McBride) – calling her an “idiot” for believing in heaven – the young boy nicks a gun from Daryl and leaves camp, unsupervised. Ambling around the outside, he finds a walker stuck in the mud near a riverbed. He throws rocks at it, but gets too close: the walker frees one leg trying to get the young boy…

Please click on the link to Deadloggers to continue reading about Episode Eleven

Evan Rothfeld

Wrath Of The Titans Is An Improvement Over Clash

Though many hated the 2010 remake of Clash Of The Titans, to this reviewer it was an enjoyable romp; it wasn’t anything great but it was entertaining with nice special effects. The sequel Wrath Of The Titans is more of the same, which may or may not be good news depending on where you stand with Clash Of The Titans.

Wrath Of The Titans picks up several years after the first one, Perseus (Sam Worthington) is now living as a simple fisherman in a quaint village with his son Helius (John Bell). Sadly, Io (portrayed in the first film by the beautiful Gemma Arterton) died in between films and is a missed presence. One day the demigod Perseus is visited by his father Zeus (Liam Neeson) who asks for his help. The Greek gods are dying off because people have stopped worshipping them, the remaining gods are now weaker and to remedy this Zeus’ brother Hades (Ralph Fiennes) and Zeus’ son Aries (Edgar Ramirez) want to free the titan Kronos (actually Zeus and Hades’ father for anyone not knowing Greek mythology) from his underworld prison to regain power. The problem is that Kronos intends to destroy the world.

Perseus doesn’t want anything to do with the Greek gods’ problems but reluctantly gets involved after a two-headed chimera escapes from the underworld and attacks his village. Later he learns that Zeus has been captured by Hades and Aries and that his power is being drained to empower Kronos. Thus, the demigod joins forces with Queen Andromeda (Rosamund Pike), another demigod Agenor (Toby Kebbell) and the god Hephaestus (Bill Nighy) to find an entrance to the underworld, free Zeus and defeat Kronos.

This film has non-stop action and special effects sequences. Most of it was good, but one thing that was different from the first film is that more emphasis is placed on the gods themselves, which is a good thing since Neeson and Fiennes work well together and make convincing gods. Another point is that there are less monsters featured in this film but they were nonetheless amazing. The most impressive ones being Kronos, the chimera and a family of giant Cyclops. In fact, the Cyclops were so well done it was a shame they weren’t used more in the film. Worthington again does a decent job as the reluctant warrior forced to save the world. Many characters were more memorable than those in Clash Of The Titans and added flavor this mythological world, especially Agenor and Hephaestus, who both provided some comedic relief. The film has its drawbacks, it races from plot point to plot point with action scenes holding them together resulting in character development being sacrificed. While Zeus and the other gods get more screen time other characters like the flying horse Pegasus and Hephaestus only have extended cameos. But director Jonathan Liebesman does his usual competent job in presenting an entertaining film.

Overall, while Wrath Of The Titans isn’t in the same league as Lord Of The Rings or Harry Potter it is a worthwhile diversion on a Saturday night. Regarding the post-converted 3D, it actually was much better done than the original and not as headache-inducing. It may not be genuine 3D but if you have the extra cash go ahead and splurge on the 3D version of this film.

Lewis T. Grove