Battlestar Galactica

Total Page:16

File Type:pdf, Size:1020Kb

Battlestar Galactica ™ A novel by Jeffrey A. Carver based on the teleplay by Ronald D. Moore and Christopher Eric James based on a teleplay by Glen A. Larson TOR® A TOM DOHERTY ASSOCIATES BOOK NEW YORK This is a work of fiction. All the characters and events portrayed in this book are either products of the author’s imagination or are used fictitiously. BATTLESTAR GALACTICA Copyright © 2006 by Universal Studios Licensing LLLP. Battlestar Galactica © USA Cable Entertainment LLC. Licensed by Universal Studios Licensing LLLP. Teaser copyright © 2006 by Universal Studios Licensing LLLP. All rights reserved, including the right to reproduce this book, or portions thereof, in any form. Edited by James Frenkel A Tor Book Published by Tom Doherty Associates, LLC 175 Fifth Avenue New York, NY 10010 www.tor.com Tor® is a registered trademark of Tom Doherty Associates, LLC. 0987654321 For Julia and Alexandra, hot on my heels and gaining fast ACKNOWLEDGMENTS This book took my life by storm, in a way. I had seen the SciFi Channel’s Battlestar Galactica miniseries and enjoyed it very much. But it wasn’t until the chance to write a novel based on the show came along that I became immersed in the Galactica world. The opportunity arrived just as I had completed the first draft of a long-delayed novel in my Chaos series, and it seemed the perfect way to ventilate the mind and experience a complete change of pace for a little while. Thanks go to Jim Frenkel, my editor, for intro- ducing me to the whirlwind—and to my family for welcoming the whirlwind into the house and support- ing my crazy work schedule while I tamed it. (And a special familial thanks to Julia, who helped me brain- storm it.) This novel is my interpretation of a story created by others. It’s a good story, and one I enjoyed working with. For that, I thank the creators of the show, Ron Moore and David Eick, and the marvelous actors and crew who so vividly brought the story to life on the screen. I’d also viii acknowledgments like to thank Cindy Chang at Universal for being so ready to find answers to the smallest questions. A novel is a different beast from a movie, and there are special challenges in telling a story that’s satisfy- ing to readers while remaining faithful to the original show. For help with that, I thank Craig Gardner, Richard Bowker, Victoria Bolles, and Mary Aldridge for their willingness to read many pages fast, and for their helpful and insightful comments. Finally, I’d like to thank you, my readers, for your patience and interest—especially those of you who have been waiting so long for another book from me. Here’s one I hope you’ll enjoy! ™ PROLOGUE The Cylons were created by Man. Created to make life easier on the Twelve Colonies. They began as simple robots—toys for the amusement of the wealthy and the young—but it was not long before they became useful, and then indispensable, workers. As their sophistica- tion grew, the Cylons were used for the difficult and dangerous work that humans preferred to avoid: min- ing, heavy industry, deep space construction. And finally, perhaps inevitably, they were used for war. Not against enemies from without, but by human against human, as the Twelve Colonies found reason to wage war against one another. The Cylons were the greatest soldiers in the history of warfare. They were smart, fast, and deadly. Successive models had become increasingly independent, capable of making decisions without human orders. And they were utterly without conscience. Killing, to the Cylons, was simply one of the functions for which they had been superbly designed. In hindsight, perhaps it should not have been a sur- prise that the day would come when the Cylons de- xii prologue cided to kill their masters. And when that day came, the horror of war was unleashed upon all twelve of the Colonies of Man. For ten long and bloody years, hu- manity fought—not just for freedom, but for survival. The Twelve Colonies, facing a common, implacable foe, at last came together and joined as one. Many fought, and many died, in the effort to destroy the mechanized race that humanity itself had conceived and brought into being. There would be no victory. But through valiant fight- ing, and with the mobilization of every available re- source throughout the human sphere, the Cylons were gradually driven from the immediate part of space oc- cupied by humanity. In the end, an armistice was de- clared. Humanity would live in peace, while the Cylons left to find another world to call their own. Live and let live was the philosophy...if “live” was a term that could be applied to the existence of the robots. No one knew the location of the Cylon world. But to maintain the peace, a remote space station was built in the dark emptiness between the stars, to be a place where Cylon and human would meet and maintain diplomatic rela- tions. Once a year, every year, the Colonials sent an officer for the scheduled meeting. After the first year, the Cy- lons sent no one. No one had seen or heard from the Cylons in over forty years. That was about to change. PART ONE IT BEGINS CHAPTER 1 Armistice Station The diplomatic spaceship emerged from its Jump with a momentary flash of light. Its prior inertia carried it like a boat on a river toward its destination. The only propulsion required was braking thrust. The spidery space station hung silent in the dark- ness, billions of miles from the nearest inhabited world. A row of navigational marker lights winked along its vertical spine, barely illuminating its outline. The approaching spaceship, an ungainly white trans- port, pierced the darkness with tiny flares of its ma- neuvering jets as it slowed. Nearing the docking section, it rotated and pitched upward to align itself with the station. Practice made the intricate ballet of the docking maneuver seem casual; the pilots had per- formed it so many times it was an automatic move- ment, like a hand slipping into a glove. The thrusters brought the ship to a halt a hundred meters from the station. A telescoping passageway 4 jeffrey a. carver emerged from the side of the station’s docking port and stretched out, crossing the gap with a single glid- ing movement. It drew up into place against the ship’s airlock, and with a series of thunks, the mag-locks made it fast. Another scheduled meeting was about to begin. In theory. The intercom crackled to life, and the pilot’s voice filled the departure lock. “Colonel Wakefield, we are docked. You may enter Armistice Station at your dis- cretion. If you need anything, we’ll be here. I hope you don’t get too lonely over there.” The colonel pressed the talk button on the inter- com. “Don’t worry about me, Captain. I’m used to it by now. I’ll be back soon enough, no doubt with noth- ing to show for it.” With the sigh of someone who had done this job many times already, he drew himself up straight and stepped to the airlock hatch. The latch mechanism stuck for a moment, then swung open, re- vealing the interior of the passageway. Picking up his briefcase, the colonel stepped across the threshold and began the long, deliberate walk down the passageway and into the station’s interior. There was an unavoidable grimness to the job, but he vowed not to give in to a sense of futility. If the Cy- lons did not show up—and he fully expected that they would not—he would not let that reflect on his own performance. His footsteps echoed in the silence of the station as he left the passageway and airlock and passed through the long corridor leading to the meeting chamber. He shivered a little, and wrinkled his nose at the musty smell of the place. There was dust in the air—the fil- ters must be in need of replacement—and a patina of grime everywhere. The maintenance robots must be battlestar galactica 5 breaking down, he thought. They were Cylon-built ma- chines, of course—humans no longer had robots—but really, the wonder was that they still functioned at all. He doubted they’d been serviced since the station was built. What did that say about the endurance of the Cy- lon technology? The thought caused him a little shud- der, which he did not allow to the surface. Only once a year was there any official activity in the station. And that activity consisted of the colonel arriving, waiting three days for his Cylon counterpart to show up, and then leaving. Not once in the last thirty-nine years had a Cylon representative appeared, to meet with him or with any other member of the Colonial delegation. The colonel often wondered why they bothered. But he knew the reason: Even if the Cy- lons did not honor their commitment to the armistice terms, at least the Colonials were keeping up their end of the agreement. And how else could they maintain vigilance, since they did not even know in what direc- tion to look for the Cylon world, or even if it really ex- isted? The colonel came to the massive closed doors of the meeting chamber and pulled them open. The sound re- verberated in the room as the doors slammed closed behind him.
Recommended publications
  • Representations and Discourse of Torture in Post 9/11 Television: an Ideological Critique of 24 and Battlestar Galactica
    REPRESENTATIONS AND DISCOURSE OF TORTURE IN POST 9/11 TELEVISION: AN IDEOLOGICAL CRITIQUE OF 24 AND BATTLSTAR GALACTICA Michael J. Lewis A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2008 Committee: Jeffrey Brown, Advisor Becca Cragin ii ABSTRACT Jeffrey Brown Advisor Through their representations of torture, 24 and Battlestar Galactica build on a wider political discourse. Although 24 began production on its first season several months before the terrorist attacks, the show has become a contested space where opinions about the war on terror and related political and military adventures are played out. The producers of Battlestar Galactica similarly use the space of television to raise questions and problematize issues of war. Together, these two television shows reference a long history of discussion of what role torture should play not just in times of war but also in a liberal democracy. This project seeks to understand the multiple ways that ideological discourses have played themselves out through representations of torture in these television programs. This project begins with a critique of the popular discourse of torture as it portrayed in the popular news media. Using an ideological critique and theories of televisual realism, I argue that complex representations of torture work to both challenge and reify dominant and hegemonic ideas about what torture is and what it does. This project also leverages post-structural analysis and critical gender theory as a way of understanding exactly what ideological messages the programs’ producers are trying to articulate.
    [Show full text]
  • Patricia Murray Patricia Clum & Patricia M
    PATRICIA MURRAY PATRICIA CLUM & PATRICIA M. MAKE-UP DESIGNER CANADIAN CITIZENSHIP & RESIDENCE / US RESIDENCE / IATSE 891 / ACFC HEAD OF DEPARTMENT FEATURE FILMS DIRECTOR/PRODUCER CAST THE ART OF RACING IN THE RAIN D: Simon Curtis Amanda Seyfried Fox 2000 Pictures P: Joannie Burstein, 2nd Unit Make-up Vancouver Patrick Dempsey, Tania Landau, Make-Up FX Artist Neal H. Moritz THE PACKAGE D: Jake Szymanski Daniel Doheny, Luke Spencer Roberts, Netflix EP: Shawn Williamson, Geraldine Viswanathan, Sadie Calvano, Brightlight Pictures & Jamie Goehring, Kevin Leeson, Eduardo Franco Red Hour Productions Haroon Saleem HOD & Make-Up FX Artist P: Ross Dinerstein, Nicky Weinstock, Ben Stiller, Anders Holm, Kyle Newacheck, Blake Anderson, Adam DeVine STATUS UPDATE D: Scott Speer Ross Lynch, Olivia Holt, Netflix P: Jennifer Gibgot, Dominic Rustam, Harvey Guillen, Famke Janssen, Offspring Entertainment & Adam Shankman, Shawn Williamson Wendi McLendon-Covey Brightlight Pictures HOD TOMORROWLAND D: Brad Bird Raffey Cassidy, Kathryn Hahn Walt Disney Pictures P: Damon Lindelof Make-Up Onset FX Supervisor Co-P: Bernie Bellew, Tom Peitzman PERCY JACKSON: D: Thor Freudenthal Missy Pyle, Yvette Nicole Brown, SEA OF MONSTERS P: Chris Columbus, Christopher Redman Fox 2000 Pictures Karen Rosenfelt, Michael Barnathan Make-Up FX Supervisor DAYDREAM NATION D: Michael Goldbach Personal Make-Up Artist to Kat Dennings Screen Siren Pictures EP: Tim Brown, Cameron Lamb HOD P: Trish Dolman, Christine Haebler, Michael Olsen, Simone Urdl THE TWILIGHT SAGA: ECLIPSE D: David Slade Ashley Greene, Bryce Dallas Howard, Summit Entertainment P: Wyck Godfrey, Greg Mooradian, Kellan Lutz Make-Up Artist Main Unit Karen Rosenfelt SLAP SHOT 2 D: Steve Boyum Stephen Baldwin, Gary Busey, Universal Pictures P: Ron French Callum Keith Rennie, Jessica Steen HOD JUST FRIENDS D: Roger Kumble Ryan Reynolds New Line Cinema P: Chris Bender, Bill Johnson, Make-Up FX Artist Michael Ohoven, J.C.
    [Show full text]
  • 6821191 the Bsg Forum Time Capsule.Pdf
    #6821191 … The bsg forum time capsule. Posted by midshiftbrigwatch on 27 July 2010 - 08:21 PM in Battlestar Galactica Wow. I haven't been on here since 2007. I was part of the big wave of Mansquitos that showed up on the forum after the excitement of the 'bucket drop' in S2.5. Hung out with Cafsiopeia, ViperChic, Chewbekah, WakaWaka, Wahaa! (thirty iterations of Wahaa! that is...), GoonSquad, Dickie Hertz, Viper1, Wingnut622, Sephiroth144, CobraCommander, Frackitall, LurkerKing, JungleBoot, Archimedes, PubliusClaudius, Boozy, Ambrosia Stims, Wolfpack, Zorya, elbe, Goliath, Raymond Shaw (Sean, R.I.P. brother- you inspired me to learn to wield the power of the animated GIF. Can't believe it.), eternalkerri, Malcolm XII, and tons of other good folks who had fun watching this crazy thing for a while. I also was cordial with most of the TOSsers and Moist board "trolls", who in fairness wanted something specific that just wasn't going to happen, but took a Browncoats' stand to get it anyway, and I salute that. It was a furious campaign, but it wasn't exactly ugliness- it was opposing opinion, strong and uncompromising- and no forum since Rome has been without that. Nor should it. Sure, Languatron was a nutjob, sworn by himself to destroy NBC/Universal by any quixotic means necessary, but even the other "trolls" thought he was a nightmare; he made his own board where only he was able to join, post, or read posts for crying out loud! Most of the above mentioned went and played on Moctezuma's Frakheads! for a while after we got fed up with this board's constant banhammerization and the show's increasingly wayward direction in S3 & 3.5.
    [Show full text]
  • Monthly Title Information Cover Sheet August 2020
    AMSTERDAM UNIVERSITY PRESS Monthly Title Information AI Sheets - August 2020 AUP Marketing; Lucia Dove ([email protected]) 26/05/2020 Amsterdam University Press 9789462987203 Corsi, Urbanization in Viking Age and Medieval Denmark 9789462989320 Gohain, Imagined Geographies in the Indo-Tibetan Borderlands 9789462983632 Lie, Towards a Political Aesthetics of Cinema 9789462988040 Jones, Death and Afterlife in the Pages of Gregory of Tours 9789462983373 Kuuliala, Saints, Infirmity, and Community in the Late Middle Ages 9789463721844 Thomas, Poussin's Women 9789462985865 Stevens, Fanvids 9789462989504 Hjorth et al, Digital Media Practices in Households 9789463720120 Mathias, Disaster Cinema in Historical Perspective 9789462988934 Ngo & Hung, Shadow Exchanges along the New Silk Roads 9789463726436 Tan, Buddhist Revitalization and Chinese Religions in Malaysia 9789089647221 Chen et al., Chinese "Cancer Villages" Arc Humanities Press 9781641892728 Sarti, Women and Economic Power in Premodern Royal Courts 9781641894067 Weiss et al., Waldef Amsterdam University Press and Arc Humanities Press titles are available outside North America through NBN International and available in North America and Canada through Baker & Taylor Publisher Services. Amsterdam University Press T +31 (0)20 420 00 50 www.aup.nl Nieuwe Prinsengracht 89 [email protected] facebook.com/AUPAcademic 1018 VR Amsterdam [email protected] twitter.com/AmsterdamUPress AMSTERDAM UNIVERSITY PRESS THE EARLY MEDIEVAL NORTH ATLANTIC Maria R.D. Corsi Urbanization in Viking Age and Medieval Denmark From Landing Place to Town This study traces the history of urbanization in Denmark from c. 500-1350 and explores how interconnected political, religious, economic factors were instrumental in bringing about the growth of towns. Prior to urban development, certain specialized sites such as elite residences and coastal landing places performed many of the functions that would later be taken over by medieval towns.
    [Show full text]
  • What Does Gender Mean in Regendered Characters
    What Does Gender Mean in Regendered Characters Author Baker, Lucy Published 2017-12-31 Thesis Type Thesis (PhD Doctorate) School School of Hum, Lang & Soc Sc DOI https://doi.org/10.25904/1912/2211 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/380299 Griffith Research Online https://research-repository.griffith.edu.au WHAT DOES GENDER MEAN IN REGENDERED CHARACTERS Ms Lucy Irene Baker, BA (Hons), MAppSci(Lib&InfoMgmt) School of Humanities, Languages, and Social Science Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy 31 December 2017 21 Abstract This thesis examines the ways regendering, or ‘genderswapping’, is performed as an adaptational creative choice for fans and creators. Regendered works, such as the TV series Elementary, illustrate the complexity of representation, and the ongoing imbalanced landscape of media. I develop a more cohesive understanding of the fannish counterpublic and its complex approaches to creativity and gender by grounding the research and data collection in fan studies, gender studies, and literary theory. This thesis uses interviews, surveys, and observations of fannish communities, and close readings of regendered texts and media, to develop two theories of regendered effects. One: the position of regendered work within fannish counterpublics is one centred on the conflicts and tensions between lived experiences and the media landscape, performed through the creative forms that characterise their communities. Fannish experiences of gender and sexuality influence their reception of those works, and how they practice regendering as a creative process. Two: these works then reinforce that counterpublic by correcting the gender imbalance of the initial work, and re-othering the expectations of that work.
    [Show full text]
  • The Women of Battlestar Galactica and Their Roles : Then and Now
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2013 The women of Battlestar Galactica and their roles : then and now. Jesseca Schlei Cox 1988- University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Cox, Jesseca Schlei 1988-, "The women of Battlestar Galactica and their roles : then and now." (2013). Electronic Theses and Dissertations. Paper 284. https://doi.org/10.18297/etd/284 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE WOMEN OF BATTLESTAR GALACTICA AND THEIR ROLES: THEN AND NOW By Jesseca Schleil Cox B.A., Bellarmine University, 2010 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degre:e of Master of Arts Department of Sociology University of Louisville Louisville, Kentucky May 2013 Copyright 2013 by Jesseca Schlei Cox All Rights Reserved The Women of Battlestar Galactica and Their Roles: Then and Now By Jesseca Schlei Cox B.A., Bellarmine University, 2010 Thesis Approved on April 11, 2013 by the following Thesis Committee: Gul Aldikacti Marshall, Thesis Director Cynthia Negrey Dawn Heinecken ii DEDICATION This thesis is dedicated to my mother and grandfather Tracy Wright Fritch and Bill Wright who instilled in me a love of science fiction and a love of questioning the world around me.
    [Show full text]
  • And Battlestar Galactica (2003)
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Saskatchewan's Research Archive Evil, Dangerous, and Just Like Us: Androids and Cylons in Do Androids Dream of Electric Sheep? (1968) and Battlestar Galactica (2003) A Project Submitted to the College of Graduate Studies and Research in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Department of English University of Saskatchewan Saskatoon By Chelsea Catherine Cox © Copyright Chelsea Catherine Cox, September 2011. All Rights Reserved. PERMISSION TO USE In presenting this project in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for the copying of this project in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my project work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this project or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my project. Requests for permission to copy or to make other uses of materials in this project in whole or part should be addressed to: Head of the Department of English University of Saskatchewan 9 Campus Drive Saskatoon, Saskatchewan S7N 5A5 Canada OR Dean College of Graduate Studies and Research University of Saskatchewan 107 Administration Place Saskatoon, Saskatchewan S7N 5A2 Canada i ABSTRACT The nature of humanity and what it means to be human has long been the focus of science fiction writers in all media.
    [Show full text]
  • Apocalypse As Religious and Secular Discourse in Battlestar Galactica
    Volume 6 2014-15 APOCALYPSE & GHOSTS Apocalypse as Religious and Secular Discourse in Battlestar Galactica and its Prequel Caprica Diane Langlumé University of Paris VIII Saint-Denis Abstract he concept of the end of the world is inherent in religious discourse. Illustratively, in T Medieval Christianity, a divine power was held responsible for cataclysmic events. In the post-Hiroshima era, the concept of apocalypse has taken on secular meaning. Not surprisingly, given recent history, the apocalypse has become a prominent component of popular television epics; broadcast narratives, such as Battlestar Galactica and Caprica, entwine both Biblical and secular versions of the apocalypse, thereby creating a novel apocalyptic discourse which, instead of establishing the apocalypse as an end, uses it as a foundation, as a thought-provoking means of conveying a political message of tolerance and acceptance of otherness, of encouraging self-reflectiveness; and as a way of denouncing the empty rhetoric of religious extremism. Keywords: Television series, Battlestar Galactica, Caprica, religion, Book of Mormon, Bible, Book of Revelation, John of Patmos, Genesis, Adam, Garden of Eden, Heaven, God, fall of man, the beast, false prophet, angel, Second Coming, resuscitation, apocalypse, end of the world, nuclear apocalypse, Hiroshima, post-apocalyptic, genocide, intertextuality, parody, pastiche, religious satire, 9/11, America, religious terrorism, suicide bombing, cyborg, robot, humanity, monotheism, polytheism. he television series Battlestar Galactica1 establishes its chronology between a nuclear T apocalypse that has just taken place and the threat of a potential future apocalypse,2 both at the hands of human-looking cyborgs called Cylons. Caprica, its prequel series, set fifty- eight years before the nuclear detonation, unfolds the events leading up to the apocalypse in Battlestar Galactica.
    [Show full text]
  • 39635191.Pdf
    table of contents RKYV # 28 {September 2009} RKYV ONLINE LOGO - David Marshall { current } RKYV ONLINE LOGO – r. j. paré {modified} RKYV COMICS LOGO – Roy G. James {original} Virtual Cover # 28 Writer’s Column - Art by Allen Freeman - By Larissa Gula - Layout by David Marshall Poetry Interior Art - By Dexter Betantos, Anna Gehmacher, - By Jonathan Biermann, De Tourist, Roger Frances Vargas, r. j. paré Formidable, Engin Korkmaz, Lisa Marie Mueller, Dave Michaels, r. j. paré, Allen Music Freeman. - “Redhouse” - by r. j. pare Editorial Column - “At the Outset: A Few Thoughts from the Short Fiction Editor” - “Bad Beat – Part 2” - By r. j. paré - By r. j. paré In the News Pop Culture - By Tom Rossini - “An interview with Jimmy Palmiotti” - By Brad Bellmore Featured Artist Review - “Comic Book Review” – Allen Freeman - By Brad Bellmore - By r .j. paré - “Raised on Saturday Morning Cartoons” - By Pauline Paré 12 Inches – by Roger Formidable at the outset a few thoughts from the editor By r. j. paré “I suppose I should collect my books And go back to school.” --- Rod Stewart The summer ends and with it the time for idle days at the beach. For our children, moaning and groaning it is time to head on back fer some more of that fancy book learning. For ourselves it can be an opportunity to devote extra time to our never ending back-log of projects. Whether it is a leaky roof that needs fixing before winter or some creative time to express yourself… we all have stuff that piles up. Here at RKYV ONLINE we’ve, lately, devoted more energy to showcasing bigger names and talents as a means of sharing with you – our readers, contributors and developing artists – what is possible when you truly invest in your own creativity.
    [Show full text]
  • Dragon Con Progress Report 2021 | Published by Dragon Con All Material, Unless Otherwise Noted, Is © 2021 Dragon Con, Inc
    WWW.DRAGONCON.ORG INSIDE SEPT. 2 - 6, 2021 • ATLANTA, GEORGIA • WWW.DRAGONCON.ORG Announcements .......................................................................... 2 Guests ................................................................................... 4 Featured Guests .......................................................................... 4 4 FEATURED GUESTS Places to go, things to do, and Attending Pros ......................................................................... 26 people to see! Vendors ....................................................................................... 28 Special 35th Anniversary Insert .......................................... 31 Fan Tracks .................................................................................. 36 Special Events & Contests ............................................... 46 36 FAN TRACKS Art Show ................................................................................... 46 Choose your own adventure with one (or all) of our fan-run tracks. Blood Drive ................................................................................47 Comic & Pop Artist Alley ....................................................... 47 Friday Night Costume Contest ........................................... 48 Hallway Costume Contest .................................................. 48 Puppet Slam ............................................................................ 48 46 SPECIAL EVENTS Moments you won’t want to miss Masquerade Costume Contest ........................................
    [Show full text]
  • But, You're Just a Girl
    University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Spring 5-17-2013 But, You're Just A Girl Sasha McTee [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Part of the English Language and Literature Commons Recommended Citation McTee, Sasha, "But, You're Just A Girl" (2013). University of New Orleans Theses and Dissertations. 1655. https://scholarworks.uno.edu/td/1655 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. “But, You’re Just A Girl:” The Female Hero in Modern Science Fiction and Fantasy A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Arts in English by Sasha Rene McTee B.A. University of Colorado at Boulder, 2007 May, 2013 Table of Contents Abstract .............................................................................................................................
    [Show full text]
  • Zálohadiplomka Konečná Verze
    Masarykova univerzita Filozofická fakulta Ústav filmu a audiovizuální kultury Kristýna Chmelíková (FAV, magisterské navazující prezen ční studium) Narativn ě komplexní seriál a jeho transmediální extenze Případová studie amerického seriálu Battlestar Galactica Magisterská diplomová práce Vedoucí práce : Mgr. Pavel Skopal, Ph.D. Brno 2011 Prohlášení o samostatnosti Prohlašuji, že jsem pracovala samostatn ě a použila jen uvedených zdroj ů. Datum Podpis 31. dubna 2011 ............................................................................. 1 Poděkování Za vedení diplomové práce a cenné p řipomínky d ěkuji Mgr. Pavlu Skopalovi, Ph.D. Za podn ětné konzultace tématu pat ří m ůj dík Mgr. Jaroslavu Švelchovi a Mgr. Radomíru D. Kokešovi. Děkuji též Martinu Chmelíkovi za pomoc p ři zpracování graf ů a Vendule Pavlí čkové za jazykové korektury. Pod ěkovat za srde čnou podporu, a to nejen v dob ě vzniku této práce, pak chci svým rodi čů m a Michalu Kašpárkovi. 2 Klíčová slova Narativn ě komplexní seriál, transmediální vypráv ění, transmediální extenze, konvergence médií, narativní analýza, produser, hyperdiegeze, Battlestar Galactica Keywords Narrative complexity of a TV series, transmedia storytelling, transmedia extension, media convergence, narrative analysis, produser, hyperdiegesis, Battlestar Galactica 3 Obsah 1. Úvod ................................................................................................................................................ 6 1.1 Ne p říb ěh, ale sv ět nebo ansámbl.............................................................................................
    [Show full text]