Netflix’s Mars series “Away”, starring Hilary Swank, debuts next month. Check out the official trailer. It appears to focus on the relationship of a mother leaving behind her daughter for a 3-year mission.
What caught my eye was the Earth-Moon-Mars bracelet Swank’s character gives her daughter prior to departure. Not nearly as cool as Amber’s pendant in In the Shadow of Ares, but still an interesting parallel between the two stories.
When famed science presenter Silas Hudson and his companion are brutally murdered while visiting Redlands, an isolated settlement on Mars, settlers take the law into their own hands. The justice they seek carries greater danger than the crime, however, and their actions threaten to conceal another crime with far-reaching consequences.
It’s a pity about Hudson, though. The more we wrote about him, the more unfortunate it was that we had to kill him.
From New Harmony to Ariadaeus Dome, utopias have been built on philosophical foundations by rational minds brandishing simple solutions to the eternal problems of human societies. The problem each has faced is that those eternal problems are the result of real people living in the real world and dealing with real circumstances.
Utopias fail not only because their philosophies are unrealistic or the rationality is unreasonable, but because they invariably deny the nature of the human material they have to work with. But we are human. Wherever we go, for good or ill, we take our humanity with us. How could it be otherwise?
Silas Hudson, Mars Ep. 1, “The Romance of New Horizons”
(Sometimes, I think Silas Hudson should set up a Twitter or Gab feed.)
On my next to last day in Iceland, I drove the Kaldidalur route from Reykholt to Thingvellir, passing en route the Langjokull ice cap. Much to my surprise, there was a modestly-marked turnoff that led not merely close to the ice but out onto it (just left of the prominent hill in the center of the image):
Between Iceland and Norway, I’ve been up close to a dozen or so glaciers but have only ever seen ice caps from a distance. I always pictured them as being bounded by ridges or mountains where they didn’t squeeze out through passes as outlet glaciers, and didn’t anticipate that the margin of the ice would simply taper off to nothing. Just look at this – is this what you would have expected? That such a huge mass of ice would just kinda…end?
I took some pictures and made some notes and filed it all away for when we eventually send characters to the North Cap. Expect to encounter this scene with a red tint at some point.
Another surprise, and the point of this post, was the tour vehicles used by Into the Glacier to ferry people to a man-made ice cave further out on the ice cap.
A little research turned up that they were custom made from MAN 8×8 military chassis by a British company, Army-UK. The things were huge – the pictures don’t convey just how large they seemed up close (but note the Ford Explorer for some sense of scale). I couldn’t see how many seats there were in the front cab, but it looked wide enough to seat four abreast. Army-UK gives a maximum cabin capacity of 38 passengers, which would work out to ten two-by-two rows (minus two seats for the entrance door and steps).
This one was even larger than the one above:
While these aren’t exactly how we pictured the rovers in the Ares Project universe (at least not the rovers sent to Mars as part of the titular Ares Project, which we describe as having cylindrical bodies with a single large front transparency akin to the submersibles from The Abyss), they are great analogues against which one can imagine what other sorts of rovers might look like. In particular, the rovers used by the ill-fated British Trans-Marineris Expedition of 2050…oh, wait, we haven’t talked about that story yet, have we…
Yes, we need to get back to blogging here. But you know how it is, sometimes other priorities intervene.
Anyway, getting back to writing, we’re (still) finishing up the crime story Dispatch we’ve been working on for a while. We’ve spent the past two weekends restructuring a portion of it to address a draggy sequence that was proving impossible to edit into shape. It’s turning out nicely, with a much more consistently-paced escalation of events following the titular crime.
Meanwhile, Act I of the second Amber Jacobsen book, Ghosts of Tharsis, is complete but for some fact checking on orbital mechanics, Act II is written but for a few additional thematic elements and some additional action, and Act III is written but (frankly) the denouement is still a dog’s breakfast.
I spent most of July in Iceland, which half-expectedly turned into a “location scouting” trip for writing purposes. Drove Kaldidalur, Kjolur, and about half of Sprengisandur, each of which crosses a number of Mars-like landscapes. Also drove the segment of the Ring Road between Egilstadir and Jokulsargljufur that I bypassed in 2010, an area that looked like the Moon and Mordor had a landscape love-child. Once I finish processing the photos, I may do a photo essay on the especially Martian landscapes I encountered.
NAWA Technologies has announced that it will begin mass-producing carbon nanotube based ultracapacitors. Compared to lithium batteries, ultracapacitors are capable of near-instantaneous charging and discharging.
It was these characteristics that led us to select this technology, in our novel In The Shadow of Ares, to power various devices on a future Mars, ranging from mobile agents to the autonomous “diggers” (mining robots). More specifically, it was the near-instantaneous discharge of huge quantities of energy that made them particularly appealing.
Although the 2019 versions of ultracapacitors have shortcomings (low energy density and high leakage rates compared to lithium units), it is rewarding to see the technology we described a decade ago reach mass production.
So what say we buy one, bring it to full charge, and see what happens when we damage the charge regulator?
I swore off reading most news as one of my new year’s resolutions, so I’m a little behind on this item. Now I understand the sudden sense of urgency regarding proposals I’ve been busy with this past week.
“At the direction of the President of the United States, it is the stated policy of this administration and the United States of America to return American astronauts to the moon within the next five years,” Pence said. “To be clear: the first woman and the next man on the moon will both be American astronauts, launched by American rockets from American soil.”
So much for the usual kumbayaa globalism. Heh.
Pence offered a warning that appeared to be directed at Boeing, the prime contractor for the SLS core stage. “We’re committed to Marshall [Space Flight Center],” he said. “But to be clear, we’re not committed to any one contractor. If our current contractors can’t meet this objective, then we’ll find ones who will.”
“If commercial rockets are the only way to get American astronauts to the moon in the next five years, then commercial rockets it will be,” Pence added. “Urgency must be our watchword.”
From what I’m seeing, what’s behind the sense of urgency is the perception that HQ will not hesitate when faced with delays or overruns to change contractors or cancel troubled programs outright. (Excluding SLS, of course…)
Having worked on a program (on the receiving side) that was taken away from one contractor and given intact to another due to poor performance, I hope that specific type of contractor change doesn’t happen too often. Shifting a existing program to an entirely new team may (or may not) fix the management and design competency issues, but it takes a lot of time for the new team to get up to speed. More importantly, it’s difficult if not impossible to fix all of the engineering problems simply due to the inertia of completed engineering – the new team may not be allowed to start from scratch, or to implement significant changes and improvements, simply because of the time and budget required to do so.
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