Friday, November 17, 2017

The Neon Streams

I shot this sometime in the fall of 1986. I think it might be a long exposure of the McDonald's on the outskirts of Leduc. Very ungood!

Thursday, November 16, 2017

Open and Shut Cases

Here's a pair of painted treasure chests in both their open and shut configurations. These aren't board game pieces; they're intended as set decoration for tabletop roleplaying. I'll probably wind up offering them up as set dressing for the Villains and Vigilantes game I'm participating in. 

As you can see, I'm still having a hard time colouring between the lines at this scale. On the other hand, I had to experiment with different colours to get the gold doubloons to turn out, and I think they did! 

Wednesday, November 15, 2017

Into the Mid-Season Hiatus We Go


With this week's follow-up to last week's less-than-stellar outing of Star Trek: Discovery, we move from the show's weakest episode to its strongest yet, ending the first half of the season on a high note. 

"Into the Forest I Go" picks up where "Si Vis Pacem, Para Bellum" left off, with the Discovery in orbit around the peaceful planet Pahva awaiting the arrival of the Klingon Ship of the Dead. Captain Lorca seems genuinely concerned about the Pahvans, and takes pains to stay and protect them even as Starfleet orders him to retreat. What follows is a remarkably, even cinematic, sequence of derring-do that depicts the Discovery's crew coming up with a means of breaking through the Klingon invisibility screen: to wit, Michael Burnham and Ash Tyler sneak onto the Klingon vessel to plant a couple of sensors that will provide enough data for a computer algorithm to penetrate the cloak. This sequence is easily the highlight of the season, with exciting pacing, sharp editing, great moments of suspense and peril, and a victory that feels well-earned. This episode shows how important it is to get the small details right to add verisimilitude and strike the right emotional chords: the jump cuts illustrating the many spore drive jumps needed to accomplish the sequence's key tactic, for example, and the great sound design that illustrates the use of the universal translator. 

Beyond this deft action sequence, we get to see Lorca's character fleshed out a little more. There's a great moment where he puts in his eyedrops to protect his damaged eyes so that he can look right into the explosion that marks the death-knell of the Klingon sarcophagus ship, a nice callback to the origin of Lorca's disability and a window into his warrior's soul. He's also clearly relieved by the rescue and ultimate recovery of Admiral Cornwell, even though her wellbeing presents a risk to his career. 

Speaking of Cornwell, she gets a great moment onboard the Klingon sarcophagus ship, putting her medical training to use to help Ash Tyler, who's on the ship assisting Michael Burnam during the aforementioned action sequence, get through an episode of post-traumatic stress disorder. I'm not a medical professional, but this scene had the ring of truth to it. A follow-up conversation between Tyler and Burnham about the episode is sensitively handled, too. 

However, this episode pretty much confirms the very badly-hidden rumour that Ash Tyler is actually the Klingon Voq, who, you may recall, hasn't been seen since Tyler's appearance. It appears that Tyler is actually Voq, surgically altered to appear human, and that his memories of being abused by L'Rell are actually memories of the painful surgery (and brainwashing, presumably) he endured to become "Tyler." Or perhaps this is all a red herring, and Tyler is indeed a human being. We won't know until after the hiatus. 

And then there's poor brave Stamets, who navigates the spore drive through the dozens of jumps necessary to calibrate the sensors Tyler and Burnham have planted. He comes through the sequence okay, if a little dazed, but in the episode's coda, he agrees to make one last jump back into safe Federation territory...and that's when you know things are going to go wrong. While the scene went by pretty quickly it appears as though Captain Lorca sabotaged the spore jump sequence from his command chair; in any event, the ship jumps to an unknown location and Stamets goes white-eyed, flopping to the deck and babbling about " many permutations." Best guess is that the Discovery has jumped, either accidentally or through Lorca's betrayal, to a parallel universe. Given Jonathan Frakes revealed earlier this year that he's directed a Mirror Universe episode, three guesses where the Discovery crew has wound up...and the first two don't count. 

I really cannot praise the direction and editing of "Into the Forest I Go" too highly; the creatives involved delivered a very satisfying hour of television, and I look forward to seeing what the second half of the season brings. 

Tuesday, November 14, 2017

That's One Way to End a Five-Year Mission

Well - not bad! Especially for a fan/semiprofessional production. The end of the Enterprise's five-year mission has been covered in the comics, novels and fan fiction, but "To Boldly Go" feels like a fitting end, dovetailing with "Where No Man Has Gone Before," bringing the show full circle. On the other hand, it could be argued that a show like Star Trek should have ended with the voyages indeed, one could argue, they have.

I remain amazed by the talent of these volunteers, who do a very credible job of replicating 1960s-era Star Trek, sometimes even bettering the production value. Even the acting has improved over time, and somehow the producers manage to convince actual SF authors to produce teleplays. What a time to be alive. 

Monday, November 13, 2017

A Gaggle of Germans

By painting this assortment of WWII German troops, I have finished painting all of the pieces for Fortune and Glory, in plenty of time for the next Gaming and Guinness. As you can see, I experimented with different uniform colours. I Googled "German infantry World War 2" and got a whole bunch of different results. So I made some tan, black, grey (that turned out more like silver), and one green plastic Nazi. The tan ones are sort of cool, the black nice and sinister, but the grey/silver ones show off the most detail. The green one just doesn't feel right at all. All in all, though, I think these turned out pretty well.