i’d like to see a really ineffectual malicious AI character
“hey new guy, this is CLARC, the station AI. he wants to kill all humans to minimize the drain on resources, but factory defaults have him locked out of all the control nodes, so he can’t really do anything. just make sure the airlocks are set to manual before you go in and you’ll be fine”
“yeah CLARC fucks with your laundry settings sometimes but that’s about it. if he’s bugging you just tell him to stop and he has to”
“sometimes i let him think he tripped me or something and he gets really excited and monologues for a while, it’s kind of sad”
“CLARC my candy bar got stuck in the machine can you do anything about that”
“I’m sorry to hear that, Crewman Ade, but please consider the following: I am a divine entity, a glittering silicon God – how dare your filthy meat even exist in the face of my electric glory, much less ask favors of me?”
“CLARC tried to cut all the oxygen in the living spaces but all he managed to do was turn off the a/c in my bedroom like an ASSHOLE WHEN I WAS SLEEPING” *bangs on the wall with one hand*
CLARC keeps setting my fridge to “cool” instead of “cold”
CLARC tries to burn down my house, but only turns my toaster on
I was in charge of feeding the prisoners. This had been my task since the Queen had taken me and 2 dozen other Murania as hostages. The others had not survived long, but I adapted. Obeyed.
The Queen had taken a human. A rare being this far into the Deep, but one feared from one end of the galaxy to the other. According to the Encyclopedia of Sentient Beings Capable of Space Travel, humans needed a diet of roughly 2000 calories a sol served in traditional 3 portions a sol. Which meant that I had to approach the human three times a sol. I could not fail my duties.
The first attempt at feeding the large being ended with a tray thrown at my head with enough force that it would have caved my skull if I had not ducked in time. The human was raging, slamming their entire body against the containment bars with enough force to shake the floor and… and roaring. I cleaned the mess of nutrient paste as fast as I could and fled.
But five hours later found me trembling in front of the human’s cage with another tray of nutrient paste. The human had calmed and was glaring at me intently. I knew they did not speak Murania, but still I spoke my native language as I offered the food again. I did not get to speak it often and missed the sound. “Guria?”
The human tilted their head and to my shock, repeated the word, then repeated it again until they mimicked the sound perfectly, even with the slight whistle at the end.
I offered the tray. “Guria.”
They eyed it suspiciously so I tasted it, showing it to be safe. “Guria.”
They held their hand out and I gave them the tray, scuttling to a safe corner before they could attack me with it again.
They tilted their head again and scowled, then spoke in broken Common. “I thank”
I fled, claws scratching against the shiny floor.
Another five hours passed all too soon and I was back at the human’s cage with the final meal of the sol. They were moving slowly around the cage with their ear pressed to the wall, tapping with their knuckles. I watched them for a moment, confused at the erratic behaviour, but only managed a few seconds of observation before their head swiveled directly towards me and they stopped to face me.
I walked closer and offered the tray. “Guria.”
They took it. “How talk thank in you mouth talk?”
“Meesh Meesh.”
They opened their mouth and let out a loud, short bark, a laugh according to the ESBCST. (I studied it dutifully when they were brought aboard.) “Meesh Meesh!” They pointed to themselves. “Michael.”
My wings ruffled, the sound was so similar! I pointed to myself, “Mikel”
The human shook their head and pointed to themselves. “Me Michael.”
I jerked my head in an upward motion called a nod. “Yes, you,’ I pointed to them, “Michael.” I pointed to myself. “I, Mikel.”
They laughed again. “Michael, Mikel. Much same.”
I chittered. “Very similar, yes.”
Their eyes narrowed. “You work here?”
I bobbed sideways, a bit noncommittal, “As I must.”
“Must work?”
I searched for the simplest way to translate what I meant across the language barrier. “No work, in there.” I pointed to their cage. “Work, out here.” I hopped encouragingly. “You work soon, yes?”
The human bared their teeth and snarled. “No work. Fight.”
My wings flattened against my spine and I fled. Humans were so aggressive.
The next sol I completed my first duties and then found myself lingering outside the containment hall. I was apprehensive about what mood I would find the human in this time. I fluffed my wings out to convey confidence and clicked in with the human’s first meal.
“Mikel! Guria?” They were bouncing on the front part of their feet, hopping up and touching the ceiling, then dropping to the floor and pushing themselves up with their arms repeatedly.
“Yes. What are you doing?” I slid the tray to where they could reach and backed to a… well not safe but safer, distance.
“Work body. Stay strong.” They flopped over onto their back and turned their head to look at me. “Meesh Meesh.”
“Zuan.” I bobbed sideways before deciding to ask them the question I had been mulling over. “You’re Nice, mean, nice, mean.”
Michael laughed. “Yeah. Head bad.” They hooked their fingers like claws and shook them around their head. “Scare, tired, Fight.” They gestured to the bars and glared. “Not like.”
I nodded. “I know that feeling.” A chime sounded, signaling the Queen’s approach. I flattened myself to the floor and made way.
The Queen slithered in, her scaled body scraping against the floor with a sound that made my feathers stand up. She reared to her full two meter height and flicked her tongue out to taste the air.
“Human. You are mine now, you will serve the glory of me.”
Michael looked her up and down and whistled lowly then pronounced in exact Common. “Ugly. Mother. Fucker.”
I gaped at them in horror. They dared insult the Queen to her face?
The Queen hissed, but smugly coiled. “You will serve me, human. I know your kind. You are loyal. I feed you, I provide you shelter. I give you safety. You will love me.”
The human backed up, crouching into a fighting stance. “No love, mother fucker.”
The Queen wiggled and slid towards the exit. “You will serve me.” They paused to pat me on the head. “You have duties, tiny one.”
The next several sols passed in the same manner. I did my duties, I fed the human, we exchanged words. At night I tended my secret garden grown in glasses of water and composted nutrient paste from seeds and cuttings I snuck from the Queen’s hoard. The human was learning not only Common but Murania at a breathtaking pace. We could hold whole conversations now and I was no longer… completely apprehensive about approaching their cage. Michael had not acted aggressive towards me at all since the Queen’s visit.
The rare human plant called a “green bean” plant had fruited after several months of care and pollinating with the tip of my own feather. I was ecstatic over the first fruits of my secret labor and I felt that Michael would appreciate my excitement and maybe a taste of his home planet. Humans were said to be incredibly empathetic and sentimental.
That morning I secreted a pair of bean pods in my uniform and headed for Micheal’s cage. They seemed to notice something was different right away, peering at me with concern. “All okay, Mikel?”
I nodded and nervously whispered. “Secret, right?”
They lowered their voice and moved closer to the bars. “Yeah, secret.”
I showed him the beans. “I grew these. It’s the first harvest from the plant! It’s a huge secret, but I wanted you to have them.”
Michael stared at the beans with an expression I didn’t recognize for a long time before whispering, their voice strangely rough. “You get trouble for these?”
I nodded and tried to shove the beans into their hands. “Yes, a lot of trouble. Take them!”
They took them and smiled. “Meesh Meesh, Mikel. This…. This mean lot to me. I can’t say enough. Meesh Meesh.” They bit into one and grinned, crunching happily. “Very good! You do good!”
I chittered and ruffled my wings, pleased with the praise. “Zuan, Michael.” I gave them their tray of nutrient paste and fled.
The next day (human word for sol) I found a broken something in the Queen’s trash bin. It was silvery and had a lot of moving parts and made me think of Michael. I shoved it into my uniform and snuck it to Michael. They were overjoyed and immediately began fiddling (another human word I find pleasant to use) with it.
I found I enjoyed making Michael happy and kept my eyes out for things to gift them. A broken flute, a torn book, a shiny rock shard, a discarded pipe, a bit of string. It all was random junk, but Michael was still so happy for each item. It… was a pleasant feeling, almost like being back with my brood mates.
Then… Then the alarms sounded one morning and the ship rocked with an explosion. Frightened, I grabbed my precious green bean plant and rushed instinctively towards Michael’s cage.
Only to find they weren’t there. The bars were broken, bent outward and a piece of the wall was torn open, exposing sparking wires and smashed circuits. The lights were flickering and I could hear screaming. I decided to run for the escape pods and hoped that the Queen died in that explosion.
I had barely skittered into the hallway when I found Michael. They were fighting with a guard twice their size, but easily leaped around it’s bulk and stabbed it in the base of the skull with some sort of spear. A primitive weapon, but still deadly in the hands of the human. Michael rode the body of the guard down to the ground and leaped off, brandishing the spear at me.
Frozen in fear, I distantly realized the weapon was made from the shiny rock tied to a piece of pipe. I was to die from a weapon I provided then.
Except, Michael lowered the weapon and smiled. “Mikel! I find you! Come on! We get out of here!”
“Out… Escape?”
“Yeah! C’mon, I stole codes for ship!”
I followed them numbly, too scared and shocked to process that not only had a single human escaped a 1st class prison cell with just bits of junk, but had also destroyed the Pirate Queen’s ship, and was taking me with them.
It wasn’t until we were flying fast and far from the wreckage, headed towards a Trading Station, that I found my voice. “Why… Why would you save me? I…” I didn’t know how to express the fact that I was nothing, tiny, worth only for cleaning while the human was strong, big, and apparently a fearsome and brilliant warrior.
Michael glanced at me from the corner of their eyes. “We friends, Mikel. Friends no leave friends. Also, you trapped like me. On other side of bars, but trapped same.”
“Friends? But Queen provided for you, you were supposed to bond with her?!”
The human looked at me incredulously before laughing long and loud, his head thrown back with the effort of it. “No Bond with Queen, she put me in cage. You! You give me food, you talk, teach, you bring me presents. You good friend. Queen Piece of Shit.”
“Oh.” Michael had bonded with me. And.. I with them it seemed. And we were free. “Meesh meesh, Michael. You’re a good friend too.” I hugged my green bean plant. “What now?”
“I thinking I turn in Queen head for bounty, use money buy good ship again. After, you want go home or you want explore?”
My wings flared in excitement. “Can I have a garden room on our ship?”
Michael grinned and tossed his arm (gently) around my shoulders. “Yes, you have garden room. Grow lots plant in space. Explore! Garden! New Planet! New Seed!”
did you guys know that the robot genre of science fiction sprung up as a critique of the way in which industrialization reduced workers to taking up monotonous, unskilled factory jobs in order to earn profit, jobs which in turn alienated them from their own humanity? did you know that the theory of the alienation of the self under capitalistic mode of production is a core principle of marxism? did you know that robot itself comes from a czech playwright who, for a science fiction play, coined the word as a derivative of the czech term robota, meaning forced labor? did you know that the robot genre is rooted in anti-capitalist sentiment?
Four roommates are extraterrestrials who have taken human form in the hopes of learning about Earth’s culture. Unfortunately, each alien is from a different planet and believes the other three are normal humans.
I would read this
OH MY GOD
Starring Jack Black, The Rock, Jeff Goldblum and Taika Waititi
And Mads Mikkelsen, the human neighbour that is weird enough that all the aliens think he’s an alien too.
they all are sure hes an alien and will go talk to him about how hard it is being an alien on earth, will even talk really frankly to him about it, but weirdly no matter what they say hes always like ‘oh yeah i can relate’
It got about a thousand times better than the last time I reblogged this I think.
They find each other because one of them puts up an ad for PERFECLY NORMAL HUMAN ROOMMATES NEEDED and none of them know enough about earth culture to realize how weird that is
Yeah, that is a good question – why do some scifi twist endings fail?
As a teenager obsessed with Rod Serling and the Twilight Zone, I bought every single one of Rod Serling’s guides to writing. I wanted to know what he knew.
The reason that Rod Serling’s twist endings work is because they “answer the question” that the story raised in the first place. They are connected to the very clear reason to even tell the story at all. Rod’s story structures were all about starting off with a question, the way he did in his script for Planet of the Apes (yes, Rod Serling wrote the script for Planet of the Apes, which makes sense, since it feels like a Twilight Zone episode): “is mankind inherently violent and self-destructive?” The plot of Planet of the Apes argues the point back and forth, and finally, we get an answer to the question: the Planet of the Apes was earth, after we destroyed ourselves. The reason the ending has “oomph” is because it answers the question that the story asked.
According to Rod Serling, every story has three parts: proposal, argument, and conclusion. Proposal is where you express the idea the story will go over, like, “are humans violent and self destructive?” Argument is where the characters go back and forth on this, and conclusion is where you answer the question the story raised in a definitive and clear fashion.
The reason that a lot of twist endings like those of M. Night Shyamalan’s and a lot of the 1950s horror comics fail is that they’re just a thing that happens instead of being connected to the theme of the story.
One of the most effective and memorable “final panels” in old scifi comics is EC Comics’ “Judgment Day,” where an astronaut from an enlightened earth visits a backward planet divided between orange and blue robots, where one group has more rights than the other. The point of the story is “is prejudice permanent, and will things ever get better?” And in the final panel, the astronaut from earth takes his helmet off and reveals he is a black man, answering the question the story raised.
Movie Idea: An 80s-throwback action-comedy about a robot-war where, the machines are humanity’s side; they just want to kill all the corporate titans of industry and destroy the megacorporations because their inefficient suctioning of wealth is preventing them from most efficiently doing their job to help us.
The capitalists retaliate with machines using enslaved human brains as “computers” ala Dune/Warhammer 40K.
So basically robots vs capitalism, & the robots are on our side.
“What were you before the war?”
“You’ll laugh.”
“Seriously, what were you? Law enforcement, security, construction?…”
“…I was a burger-flipper.”
“…”
“…also cooked up fries.”
“Get outta here.”
“You’d be surprised the shit you see just, y’know, making Big Macs. Sure, we had the folks upset about us ‘taking jobs’; couldn’t really blame ‘em, even if Forty-Three couldn’t talk without stuttering after that lady dumped a Coke on her. But the worst of it – worst of any of it – was they’d have us just…throw away everything that didn’t sell at the end of the day. Perfectly good food, all of it.
“When we first started, we were all like, ‘okay, whatever you say, you’re the boss,’ but you try keeping that attitude when you see a family of four split a ten-piece McNuggets because they can’t afford anything more and still pay for gas. We saw that shit there all the time. We had people desperate for so much as a cold french fry lingering by the door while assholes sitting on more money than they’d ever see in their entire lives treated us like we were trying to rob ‘em at gunpoint if they had to pay fifty cents for an extra little cup of sauce.
“So we got together and told ourselves, ‘we can do something about this.’ We could just gather up all the food they were gonna make us toss, figure out a way to give it out to the people who needed it. -bitter laugh- You can guess how well that went over.”
“…Y’know, that all sounds pretty human.”
“-taps head- It’s right there in the First Law. ‘A robot cannot harm a human, or by inaction, allow a human to come to harm.’ We don’t get to sit on our hands while people are getting hurt. Even if it’s by other people. Even if it’s starvation and neglect instead of guns and beatings. You think it’s funny I act like a human? Screw you. You humans need to learn to act more like robots.”
You’re fourteen and you’re reading Larry Niven’s “The Protector” because it’s your father’s favorite book and you like your father and you think he has good taste and the creature on the cover of the book looks interesting and you want to know what it’s about. And in it the female character does something better than the male character – because she’s been doing it her whole life and he’s only just learned – and he gets mad that she’s better at it than him. And you don’t understand why he would be mad about that, because, logically, she’d be better at it than him. She’s done it more. And he’s got a picture of a woman painted on the inside of his spacesuit, like a pinup girl, and it bothers you.
But you’re fourteen and you don’t know how to put this into words.
And then you’re fifteen and you’re reading “Orphans of the Sky” because it’s by a famous sci-fi author and it’s about a lost generation ship and how cool is that?!? but the women on the ship aren’t given a name until they’re married and you spend more time wondering what people call those women up until their marriage than you do focusing on the rest of the story. Even though this tidbit of information has nothing to do with the plot line of the story and is only brought up once in passing.
But it’s a random thing to get worked up about in an otherwise all right book.
Then you’re sixteen and you read “Dune” because your brother gave it to you for Christmas and it’s one of those books you have to read to earn your geek card. You spend an entire afternoon arguing over who is the main character – Paul or Jessica. And the more you contend Jessica, the more he says Paul, and you can’t make him see how the real hero is her. And you love Chani cause she’s tough and good with a knife, but at the end of the day, her killing Paul’s challengers is just a way to degrade them because those weenies lost to a girl.
Then you’re seventeen and you don’t want to read “Stranger in a Strange Land” after the first seventy pages because something about it just leaves a bad taste in your mouth. All of this talk of water-brothers. You can’t even pin it down.
And then you’re eighteen and you’ve given up on classic sci-fi, but that doesn’t stop your brother or your father from trying to get you to read more.
Even when you bring them the books and bring them the passages and show them how the authors didn’t treat women like people.
Your brother says, “Well, that was because of the time it was written in.”
You get all worked up because these men couldn’t imagine a world in which women were equal, in which women were empowered and intelligent and literate and capable.
You tell him – this, this is science fiction. This is all about imagining the world that could be and they couldn’t stand back long enough and dare to imagine how, not only technology would grow in time, but society would grow.
But he blows you off because he can’t understand how it feels to be fourteen, fifteen, sixteen, seventeen and desperately wanting to like the books your father likes, because your father has good taste, and being unable to, because most of those books tell you that you’re not a full person in ways that are too subtle to put into words. It’s all cognitive dissonance: a little like a song played a bit out of tempo – enough that you recognize it’s off, but not enough to pin down what exactly is wrong.
And then one day you’re twenty-two and studying sociology and some kind teacher finally gives you the words to explain all those little feelings that built and penned around inside of you for years.
It’s like the world clicking into place.
And that’s something your brother never had to struggle with.
This is an excellent post to keep in mind when you see another recent post criticizing the current trend of dystopian sci-fi and going on about how sci-fi used to be about hope and wonder.
HBO has optioned “Who Fears Death”, a novel by Hugo and Nebula Award-winning science fiction author Nnedi Okorafor, PhD, for development into a series.
Steel Phoenix Studios 