The Genesis Continuum #1
The universe is nearing its inevitable end, everything is being rapidly devoured. The last hope of a dying universe is to awaken the Seeker, a legendary metaphysical being known only through ancient tales. The Seeker has the capacity to link the entire universe; they alone may be able to spark the rebirth of the universe.
Many of those that remain desperately want existence to continue. As the remaining races struggle to survive and fight over saving existence, lofty ideals give way to brutal pragmatism. Missions are sent out in search of the Seeker. One such mission encounters Kara an outcast noblewoman of the Labateen, a Stone-Age warrior culture. Kara is well versed in the Seeker’s litany, beyond what would be considered coincidence –to Kara the litany is simply the ways of God. Will Kara be able to help locate the Seeker?
Those who wish the universe to end in disorder, with no more than a whimper are not willing to sit by as others race to alter the end universe. As these opposing forces mount their defenses, racing to see their goals are achieved one question stands out…
Is Kara the key?
On Sci-Fi Art Work
Guest Post by Dr. George H. Elder
Usually, Sci-Fi books are not illustrated, although one can easily claim that many graphic novels are indeed Sci-Fi in nature. Alas, I can’t help but be attracted by drawn images, and I decided early on that Genesis would be illustrated. I believe drawings work with prose to better share what an author envisions than either mode of communication can do alone. My doctoral work at Penn State examined this area, with numerous studies indicating that simultaneously enlisting semantic and visuospatial resources greatly enhances attention acquisition and memory formation.
However, it should be understood that there are marked differences between the writing
requirements of a graphic novel and novels of more conventional natures. The
plot and character development of both require explication, but a graphic novel
does not need quite as much by way of written descriptions. Yes, a picture can
say thousands of words, so I decided to give illustrations a try in Genesis.
The issue
shifted to cost versus available talent, a practical dilemma. Moreover, all
costs were out of pocket, and few of us are rich. I was blessed in having access
to the
Center for Cartoon Studies,
which is located in White River Junction, Vermont. I saw CCS’s student artwork online
and was impressed. Good artists can also be found online at
Deviant Art, which is an excellent venue
for anyone considering hiring an artist.
I opted to employ a competition
with CCS’s students and described the Genesis project along with
contract terms on the school’s posting board. Five artists submitted artwork. My
friends in the art world, after much debate, decided that Randal Drew should be
awarded the contract. A price of $25 per ink was offered, with an award for up
to 125 drawings being made. The price was acceptable, although be advised, very experienced
graphic artists can be much more expensive.
Since the number of drawings would
be limited, I had to select key points wherein the drawings would dovetail with
the descriptions, plotlines and action sequences in such a way as to maximize
impact. This was far more difficult than I imagined. I must leave it up to the
reader to decide if the purpose was achieved. Clearly, the artwork had to
address the characters, time/space capsule, pivotal action scenes, and important
plotline shifts.
Some of this was achieved, and
seeing a character like Anita in a drawing allows the reader to better grasp
her size and power, for she most assuredly does not have a typical female form.
Seeing the capsule was also illuminating, as were some of the action scenes. My
main regret soon became not having more drawings done for each Chapter, but my
resources were limited and the artist was hard-pressed due to time- constraints.
Book 1 alone consumed 58 drawings spread over fifteen chapters and many more
could have been used.
In many
ways, this was an experiment, and if readers of the hard-copy text like them we
will extend the drawings to Books 2, 3 and 4. There are still a number of
technical problems to overcome. At 300-370 pages, each text is already the size
of an average Sci-Fi novel, and adding sixty more pages for the drawings presents
a financial barrier to publishers. However, my publisher felt the project was
technically and financially feasible for hard copies. Kindle is still grappling
with incorporating drawings and other graphics. I imagine time will resolve these
issues.
Ultimately, sales will dictate
content, which is a harsh reality that any author must confront. Genesis
was designed to be visual in nature, and parts of the story would benefit
greatly from drawings and artwork—such as the gigantic battles in Book 2 and
the surrealistic events that transpire in Book 3 (e.g., the crew’s experiences
with the Seekers).
On the other hand, some might find the
art superfluous, and this is a point I must consider. We write for audiences
and not just for ourselves. We are judged accordingly, but I do not believe it
wise to allow our need to follow a given genre form to stifle creativity.
Sci-Fi is all about reaching out in new directions, and thus we ought to
consider the role of graphics in our novels.
There is always the bogyman of cost
waiting around every corner, but I’ve no regrets about laying out what I could
on a hope and a prayer. Experimentation is the very heart of Sci-Fi! Our shared
passion is a conjunction of imagination, knowledge, and dreams that pushes the
envelope of what could be to its limits. We are only here for a second or two,
so we must do all we can while we can to try something new!
About the author:
Dr. George H. Elder has a Ph.D. from Penn State in Speech Communication and a Masters Degree in nonfiction Writing from UNH. He also has a very eclectic work and personal history. He has been a college teacher, custodian, upper-level scholar, drug addict, weight lifting coach, bouncer, and much more. He has authored numerous articles in the popular press and even a scientific text book that examines the neuropsychological basis of human communication. He has also addressed subjects such as philosophy, free speech, weight training, drug use, nutrient effects, street life, and a wide range of other issues.
His varied life experiences and education give him a unique and interesting perspective, and he often weaves philosophical insights and pathos into his texts. His books are action-oriented, but they do not have simplistic plots wherein good vs. evil or some other hackneyed approach is used. Instead, Elder employs plot shifts that allow the characters and readers to question the relationships we often take for granted. For example, a hero may do great wrongs while a species once perceived as malicious can be revealed to be honorable and wise. This offers refreshing and exciting perspectives for readers as they delve into Elder’s texts, for one never knows what to expect.
You can find out more about Dr. George H. Elders on his
website.
THE AUTHOR
