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Welcome To Black Science Fiction Society!!!

Posted by Administrator: Jarvis Sheffield on February 25, 2008 at 4:08pm
Welcome To Black Science Fiction Society!!! It has long been a goal of mine to create an online community with a focus on Black Science Fiction. Not simply a group or magazine, but a interactive site where consumers as well as developers of Black science fiction can communicate together. My company TheDigitalBrothers.com is a multimedia company that develops various media from websites and graphics design to animation, video and DVD creation. I look forward to collaborations with those willing to work with us not only to be a great website but a hub of talent and development.
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300 Spartans, 1 Million Persians & The Altering of History

Posted by Djeli on November 20, 2009 at 3:00pm
*Always like combining speculative fiction & politics--two of my favorite things. Wrote this review/analysis originally back in 2007, but since there's word they're making a sequel for 300 (why gods!?! why?!?), thought it'd be relevant anyway...

written March 2007So I saw 300 last week. Driven by action, the movie had enough blood and battle to dazzle the senses and up testosterone levels. As cinematography it was a visual CGI masterpiece—though one might ask when and where reliance on computer generated imagery enhances or devalues a movie. The acting was tolerable—not like Ghostrider where I wanted to gnaw off my left leg rather than sit through the excruciating dialogue. As plots go, it was mediocre— not bad but not exactly filled with complex intrigue. Syriana or Babel this movie was not. Noble Greeks fight scary Persians to Alamo type finish. Freedom. Honor. Glory. The End. But my anticipation of 300 was only partly based on my expectations of it as a film.300 is based on the Frank Miller graphic novel of the same name, and is a retelling of the Battle of Thermopylae between Spartan Greeks and the Persian Empire in the 5th Century BC. I read the comic back in 1998, and found it fascinating—yet discomforting. The story itself is a surreal fantasy. And though the film's director Zack Snyder makes the grandiose claims that "the events are 90 percent accurate," I hardly expected it to be factual. So that these Spartans fight bare-chested with CGI enhanced abdomens straight out of Chippendales, instead of in breastplates as would have been common, wasn't really of consequence to me. I took it for Hollywood cosmetic to sell tickets—and maybe even reach that coveted gay male audience. I was more concerned with the changes to the movie—and before that the comic—that had deeper meaning, and give us an interesting mirror into the society we live in.The SpartansIn 300 there is much celebration of Sparta—the Greek city-state known well for its warrior cult, who pose as the heroes of the film. But these are not the Spartans of history; they are instead, something else. For instance, though it's alluded that Spartans were known for killing infants who may have been born with defects or bad omens (this might be a physical deformity or a birth mark), this ritual infanticide is toned down to ambiguity. While the harsh life of a Spartan male, who endures years of brutality to become a warrior, is portrayed, it too is softened and made noble—in its own way. In the movie Spartan boys are forced out into the wild and must face fierce animals, not becoming a true warrior until they kill one. In reality however, Spartan youths didn't go out and kill animals to prove their worth. They actually had to go out and kill a slave—a Helot, fellow Greeks of nearby Lakonia and Messenia conquered and reduced to bondage by Sparta's "free" militaristic elite.Perhaps because this sounds too much like a modern gang initiation rite (and the comparison certainly fits), it is altered for the viewing audience. As told by the film, slavery is absent in Spartan society—and is something only their enemies practice. This sanitizing of Spartan history may be because in 300, there is much made about Sparta being a land of "freedom." In fact, this is the central theme of the story—the entire reason for the war against Persia. These Spartans are even mildly homophobic, laughingly scoffing at homosexuality among their fellow Athenian Greeks. This is ironic, as ritualized homosexual liaisons among Spartan boys in training was both common and obligatory at the time. In the film Spartan women are not altogether equal, but gender relations have an air of egalitarianism hard to find in the historical record.The reality, that Sparta was actually a slave society that conquered fellow Greeks, practiced state sponsored eugenics, and was run by a patriarchal male-dominated military oligarchy who maintained their power through force and violence, is radically altered—as it would no doubt clash with the cries for liberty and the "new era of freedom" Spartans boast of repeatedly throughout the film. Altogether, Spartan culture is re-arranged to fit modern (mostly American) ideas on democracy, masculinity, sexuality and gender. And this is necessary not merely to glorify Sparta, but to make certain they were seen as different from their enemies as ever.The PersiansOne of the first things I noticed when I read Frank Miller's 300, was the main villain of his story—the Persian King Xerxes. He was black—a towering bald giant with earrings in his ears and face and nose, like a brown-skinned Michael Clarke Duncan merged with Dennis Rodman. More than a few of Xerxes soldiers and generals were also black. I found that odd, because the historical Xerxes was Persian—modern day Iran. While the Persian Empire was certainly massive and assimilated all sorts of people, its black population was probably nowhere near that pronounced. And there are enough depictions of Xerxes to not mistake him for the average brother. So why make Xerxes a black giant?Frank Miller's version of the Battle of Thermopylae took its cue from age-old western notions of Orientalism—a Western perception of the East as alien, inferior and yet menacing. The Persia of 300 is the opposite of the Greeks, the opposite of the Occidental West: a fantastical imagining of the mysterious East, both exotic and frightening, with bizarre peoples and customs, ruled by superstition and tyrants. Most of all the "Orient" is dangerous, and holds the power to destroy the West if it isn't controlled or beaten back. For Miller, Xerxes as a Persian wasn't enough to embody this dark symbolism. He had to be transformed into a more threatening figure—one that only blackness seemed able to conjure up. The movie version changed this somewhat. Xerxes is no longer black. He is however still a giant, garbed in a speedo and decked out in about two tons of bling—from earrings to body chains. As opposed to the hyper-masculine Spartans of the film, Xerxes is effeminate, foppish and a gender-bending sexual deviant. His army is either dark and faceless, or horribly monstrous—and, as we are told, all slaves whipped into the service of their tyrannical god-king.But like Sparta, this depiction of Xerxes and the Persian Empire has more to do with modern western—and especially American—imagination than reality. The actual Xerxes of history probably dressed little different than many of his Greek enemies, though much better—in velvet robes or tunics, as Persia was an opulent kingdom. As far as his rule went, while he was probably not someone you'd elect to the local city council, for a monarch of an Empire of his time, he and the other Achaemenid kings of Persia were not precisely the tyrants of Hollywood depiction. They actually instituted what some have called one of the earliest declarations of Human Rights, detailing religious tolerance and (albeit limited) expressions of personal freedom. They even debated the merits of democracy, though choosing against it. Now don't get me wrong. Kings like Xerxes were undoubtedly conquerors, and were no nominees for the Nobel Peace Prize. By our standards, his empire would be unilateralist, rapaciously imperialist and ignore many aspects of international law. But Persian rulers also allowed their territories to have limited independence, demanding only tribute and conscript soldiers. And in what is probably one of the greatest ironies that the movie manages to reverse, under the Achaemenids, for religious reasons, slavery was nominally opposed—though by no means non-existent. This is at least a step-up from Sparta, where the enslavement of fellow Greeks was not a topic up for debate. In the end Xerxes and his fellow rulers were not saints, but neither were they the bloodthirsty tyrants of 300.The Battle of ThermopylaeCentered on the famed Battle of Thermopylae, 300 depicts fantastic fight scenes—as endless hordes of Persians bash themselves against Spartan soldiers who skillfully hold them off. For Frank Miller's graphic novel and the movie, 300 Spartans led by their king Leonidas hold off 1 million Persians. In reality, the Persians probably numbered between 60,000 to 120,000. The Greeks were actually a force of 7,000—some 4,000 of which were killed—whose success was based mostly on better bronze weapons and a tactical strategy of utilizing the natural landscape. While it's true that fellow Greeks abandoned the Spartans in the final battle, some 700 remained and also fought to the end. As for the Athenian navy who kept Persia occupied at sea and unable to deploy their full might, these Greeks are wholly absent from 300. The movie instead is certain to give the full glory only to the 300 super-manly Spartan soldiers (not those wimpy "gay" Athenian sailor boys), who in death achieve a cinematic display of quasi-Judeo-Christian sainthood. The undignified beheading of Leonidas and the eventual burning of Athens with the Greeks scurrying away in fright before the Persian forces, is erased from Hollywood-created history, to be sure our Spartan heroes are able to keep their manliness intact.Just a Movie?So in the end, what's the point of all this? 300 is just a movie after all, and before that a comic book. It's not history—even if it's director tries to pass it off as such to his audience. It's a story. And it doesn't have to follow the facts. If we're looking for historical accuracy, we'd be better off sticking to a classroom. Films are sold to us as entertainment, not lessons. But at the same time, like any work of art, we would be remiss to leave it at that. Films reflect our culture, our values, our perceptions, what we think of as normal or perverse, right or wrong, good or bad. And they can reinforce larger societal thoughts we take for granted. That Hollywood alters history isn't particularly surprising or even relevant. But how that history is altered, what history is altered and why the altering takes place can reveal a great deal.The Battle of Thermopylae has long been more than just an ancient event, a comic book or a movie, in modern western imagination. European colonisers and conquerors often portrayed themselves similar to the Spartans, facing hordes of usually darker-skinned enemies—be they Native American Sioux, East Indians or Afghans. In 1964, using the Battle of Thermopylae as partial inspiration, the popular movie Zulu depicted several British soldiers who make a last stand against hordes of fierce African warriors. (Curiously, no one seemed to catch the irony that these latter-day Europeans, unlike the Spartans, were the invaders.) In this way, an ancient battle was changed to not only support European colonialism and the "white man's burden," but also the claimed physical and moral superiority of western civilization, as opposed to the savage multitudes of the East.Some have accused 300 of being intentional propaganda, portraying the modern West (embodied by the Spartans) as noble freedom fighters and Iran (Xerxes and the Persians) as dangerous threats to freedom and democracy. The film even comes equipped with a local Spartan anti-war movement, who in the end are corrupted or weak and ineffectual. In Iran, the movie has caused an uproar—with protests against what are seen as negative and even racist portrayals of their beloved ancient Persia. Many Iranians even charge 300 is a precursor to a US invasion. Paranoia? Certainly. But given current US threats against Iran, coupled with daily images of US bombs caving in homes in next-door Iraq, those fears aren't merely plucked out of thin air.Still, I don't think that's the case. I doubt Frank Miller or this movie rendition has anything to do with current US foreign policy maneuvers. This isn't 24—where Jack Bauer's torture acts were literally tied to the Bush White House. And the average American may not even know Persia is one-in-the-same with modern Iran—though hordes of veiled and monstrous enemies from "that" part of the world might serve the purpose just as equally. Rather, what 300 portray are common images of ourselves—or how we would like to see ourselves—with themes of masculinity, whiteness, freedom and moral virtue. And in order to create that image, a foil is needed—darker in both skin and deed, threatening and powerful, but at the same time able to be overcome if we just show the courage to do so. It is Orientalism—part of a long history of western perceptions of the "other," made exotic to fit our ideas of how different "they" are from "us." On some level these perceptions help define "us"—as it previously helped generations of conquerors and colonizers—by defining "them." In that sense Frank Miller's 300 is not dangerous new propaganda. Rather, it's the same old propaganda—just more entertaining.
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The Cylons Cometh: Human-Machine Hybrids and our Impending Immortality

Posted by Nordette Adams on June 18, 2010 at 2:35pm

Calculating the rise and fall of science fiction books, television shows, and movies, I've determined the obvious. Science fiction is no longer dismissed easily as distractions for geeky misfits or as fanciful tales for children, and that may be because the world's observed science fiction over the years become science fact.


Photo from Flickr, by kodiax


So, here I am at 50, a Star-Trek-Twilight-Zone-Outer-Limits-Lost-in-Space-fed child of the 1960s. When I finished high school in the 70s, universities anxiously pitched computer science to graduates with the right test scores, hoping potentials could be drafted to the future. My generation may be part of the reason television's pushing out science fiction shows -- the retired Lost; Fox'sFringe; CBS's FlashForward, which has been cancelled; and the return of V and Battlestar Galactica. The last on the list has given birth to a prequel, Caprica.

My generation grew up on television, pressed the on-buttons of the first personal computers, made playing video games the cool thing to do as we nursed our Pac-Man addictions, and passed our growing dependence on technology onto our children who flock to movie theaters jonesing for special effects and silver screen spectacles that make them believe not only can Superman fly, but so can they. And they dream it into their visual arts, dance, music, and want so much more.

My daughter, 29, is working on a novel about a female general in a matriarchal society, and I am working on a novel about humans in peril on another planet. She and I had a discussion a few months ago about technology. I said ... Please read more of this post at BlogHer.com.

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A Response to Avatar: Visit the Planet Revival

Posted by Stafford Battle on May 31, 2010 at 1:06am


I have started my response to the movie: Avatar. I have created a short story called: Revival. The scenario starts out the same -- greedy humans invade peaceful people on beautiful, unspoiled planet. But I added a few land mines into the story. This is part one, I hope you enjoy it. Also, you can get a free copy of my E-book, " A Cup of Paradise" at the site.


Go to: http://www.sbattle.com



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Creating Your Own Book Trailer

Posted by Tosin Coker on May 22, 2010 at 5:11am
The moment I responded to a comment about one of my book trailers, I knew I had to follow through and write about how to create your own. So I'm going to put it down recipe style and start with the things you need to make it happen.

Tools:
Movie editing software (Windows Movie Maker WMM, Wax, imovie [I think that's what the Apple version is called]). I list these options, because they are free, easy to use and with a little creativity can give good results.

A picture of your book cover

You may want to include a picture of yourself if you like.

The blurb from the back of your book

Royalty free images and music

Time patience and practice!


I'm just going to imagine that some of us are clueless about computers here and explain the process using WMM. Go to Start > Programs > WMM.

When the program opens you will see at the bottom of the window, a Timeline. At the upper right, a screen. At the upper left a Task panel and in the center, a section where you will be see your images/music that you will be working with. This middle pane can also show the different options offered in Effects/Transitions found under the Edit section of the Task panel.

I would recommend that you start off with playing around with the options so as to get a general idea of what everything does. From the Import section of the Task panel, click on pictures, find the ones you want to use. When you have made your choice (press and hold the Ctrl key to select more than one at a time), they will become visible on your center panel, same for any other media you import. Bear in mind if you are going to use a film clip (say of yourself speaking about your book), WMM only caters for wmv and avi formats. Any other formats will have to be converted. I use the free version of Any Video Converter to do this (Google it).

Click and drag your pictures onto the Timeline, do the same with your audio/music files. You might want to juggle them around a bit, make the duration of a particular picture longer than another, trim down the music etc. Try right-clicking on your files in the Timeline to see other options, like fade in/out. Click on an image that you have dragged into the timeline and select Effects from the Edit section. Have a go at applying each one and seeing how it works, and which is best for to highlight on the story you are trying to tell with that image. Do the same with Transitions.

Like anything it might take a little practice to get things the way you want it, but simple works best. Also bear in mind that a good trailer lasts about 60-90 seconds. You don't want your audience to zone out before you get your message across. Think of the way tv commercials work.

Things to consider:
Copyright. You don't want to shoot yourself in the foot before you even get anywhere. Using a track from 50cent or any other artist without prior (written) permission will get you in trouble.

Use royalty free music and pictures. Images can be found for free using advanced search options on google. Being that our genre is predominantly sci-fi, bear in mind many of NASA's image stock are under creative commons license (free to use), but do cross check to make absolutely sure.

Most of my images are my own personal photos that I took myself. Even if you don't have much to work with, the fonts used can make your trailer eye catching. Notice in the book trailer for my second novel (Let Sleeping Gods Lie), at times I have used capitals to give the sentence a different visual appeal and break the monotony of it.

I get royalty free music from a site called Incompetech - http://incompetech.com/m/c/royalty-free
You are invited to make a donation, but if nothing else the owner of the tracks Kevin Macleod appreciates if you give his name a mention or add a link back to his site.
For sounds, like the shots heard at the end of my most LSGL trailer, I go to soungle.com they have hundreds on offer, all free to use.

Its a good idea to watch as many trailers as you can, both for books and movies. Learn from other peoples mistakes, how would you improve on my trailer for example? Too long, okay make yours shorter and snappier. Boring music? Choose something lively, but be sure it compliments your story line.

When choosing music, I try to keep it neutral, I love RnB, but I don't use it on my main trailer. If I really think something fits, I might do a second trailer so it appeals more to the market of readers who would benefit from knowing my book has a soulful vibe to it.

I hope this helps, feel free to ask questions if you find yourself needing further clarification on anything.
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Publishers Weekly Profiles Nnedi Okorafor: A Nigerian Sorceress Makes Her Way

Posted by Nnedi Okorafor on May 10, 2010 at 1:07pm
By Mikki Kendall -- Publishers Weekly, 4/12/2010 12:00:00 AM

Nnedi Okorafor’s gentle demeanor is so disarming that it’s impossible not to relax in her company. The Chicago State University professor has a sweet smile, three graduate degrees, numerous awards and prize nominations for her writing, and a razor-sharp mind that is changing the face of speculative fiction. The latter soon becomes apparent when the discussion turns to genocide, rape, female circumcision, fantasy, and Nigerian culture.

Born in the U.S. to Nigerian immigrants, Okorafor, 36, grew up in the same suburb of Chicago where she now resides with her own daughter. As a child, she was mostly interested in sports and the sciences, dreaming of becoming an entomologist, but she was always fond of reading, and by age 12, she found her mind had been “corrupted by genius white male storytellers” like Stephen King and Clive Barker. “I was working my way through the library reading whatever caught my eye,” Okorafor recalls fondly. “I read a lot of books that I definitely had no business reading at that age.” A writing class in college sparked her creativity and while obtaining an M.A. in journalism and an M.A. and Ph.D. in English, Okorafor began to write the stories she always wanted to read.

Okorafor’s books feature the cultural and social touchstones of her youth: Nigeria, strong girls and women, and the strange, beautiful lives of plants and insects. The YA novel Zahrah the Windseeker (Houghton Mifflin, 2005), which won the Wole Soyinka Prize for Literature, is a classic magical quest set in a world in which Earth is a legend and everything from clothing to computers grows from seeds. In the Parallax Award–winning The Shadow Speaker, her second YA, a Muslim teen in West Africa must avert interplanetary war.

Okorafor’s first adult novel, Who Fears Death, which will be published in June by DAW Books, combines science fiction and fantasy in the story of Onyesonwu, a young sorceress making her way in a postapocalyptic future Saharan Africa where men use rape as a tool to eradicate a culture on the genetic level. “Who Fears Death addresses the push and pull in African culture that powerful women face when their culture has certain duties and beliefs that can stifle them,” Okorafor says.

As she channels the past, present, and future into one complex tale, Okorafor walks a fine line between sincere respect and unstinting examination of tradition: mixing futuristic technology with magic rooted in the beliefs of Nigerian, Tanzanian, and other African cultures, exploring why many women willingly practice female circumcision and see it as a necessary rite of passage even as others find it horrific. These somber themes seem a drastic departure from her previous work, but Okorafor refuses to gloss over the realities on which she builds her fiction.

“What initially brought me Onyesonwu’s character,” she explains, “was reading a Washington Post news story: ' “We Want to Make a Light Baby”: Arab Militiamen in Sudan Said to Use Rape as Weapon of Ethnic Cleansing.’ I wondered what these children would be like, what would their struggles be, how would they survive, who would they grow up to be. And that’s when Onyesonwu came to me to tell her story.” Okorafor adds, “I am not trying to be shocking or exceedingly graphic. Onyesonwu’s story was told to me in just this way and she is not one to tell lies, embellish, or mince words.”

Okorafor’s upcoming projects include a YA novel that Penguin will publish in 2011, Akata Witch, with a focus on the tension between African-Americans and Africans as well as “deep, deep Nigerian witchcraft”; two screenplays in collaboration with award-winning Nigerian film director Tchidi Chikere; and a science fiction novella set in Nigeria. She also has plans for another adult novel. “I’ll know what that one is about when I start writing it,” Okorafor says. “When it comes, it’ll come like a tidal wave.”

Author Information
Mikki Kendall is an occasional adult and constant writer.
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SUPERHEROES AS EXPRESSED SPIRITUALITY.

Posted by CAP BLACK RLSH on May 2, 2010 at 8:30pm
I've always felt profound spiritual joy when experiencing the superhero ( fictional and REAL ) in society.
This isn't meant to offend anyones faith nor the institution of organized religion. Quite the contrary. Superheroes also are a celebration of the same values. They just do it a bit differently.
Speaking only for myself I become transcendent while encountering superhero print and other content. This transcendence can only be called spiritual. I've read great text from religions great and small. While not saying comic books and pulp novels are on the same plane I know what they do to quicken my spirit.
Superheroes are a non-denominational, non-sectarian way to apply timeless lessons from the Bible; Torah; Quran and other holy books in a colorfully contemporary fashion. As a creative concerned citizen I'm always on the look out for inspiration and with superheroes I find it.
In a real world where one faith beats the other over the head it's rewarding to find a secular form promoting doing good because it's the right thing to do. Period!
Superheroes have been a creative " church " for me all my life. They are infinitely more than escapism or, in the case of real life superheroes ( RLSH ), delusion.
I hope I haven't stepped on anybody's religious toes but to me, superheroes are expressed spirituality, minus preaching or places of worship. They speak loudly about what the One Super Power ( however you do or don't term God ) offers anyone caring enough to become more.
NADRA ENZI AKA CAPT. BLACK promotes crime prevention and self-development. (912) 272-2898 NADRACAPTBLACK@YMAIL.COM ( Pay Pal address ) and http://reallifesuperheroes.org/wiki/index.php?title=Captain_Black

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BLACK SUPERHEROES EPISODE -CAPT. BLACK SUPER SHOW.

Posted by CAP BLACK RLSH on February 26, 2010 at 3:00am

TODAY, FEB. 27TH, 2010; NOON Eastern/11AM Central @ www.blogtalkradio.com/nadraenzi to hear or call (347) 426-3902:
Are Dr. King and Malcolm X similar to real life superheroes? What about President Obama?
Do Black "real life superheroes" differ from their peers? Tune in to the Capt. Black Super Show's Black History Month episode www.blogtalkradio.com/nadraenzi where heroism and all forms of creative concerned citizenship are explored.
-NADRA ENZI AKA CAPT. BLACK
www.captblack.info
Safety Rights Activist/Urban Security Consultant.
(912) 272-2898






















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"BLACK AGE XII"

Posted by Turtel Onli on October 18, 2009 at 5:30pm
We at ONLI STUDIOS are glad to say that "BLACK AGE XII" was a success from every point of view. It opened doors, built bridges, and entertained all who were there. I have always maintained that the Black Age was the most independent movement in the game. Resistance is futile. We rock! We come! We conquer!We have pioneered a complete genre and support system all in one. It is no mystery that the growth area of Sci-fi, graphic novels, and games will run right through the Black Age. I look forward to meeting y'all at the nearest Black Age event next year.The best, illustrators, writers, and new characters are in the Black Age.Respect us.....collect us!Onli

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When Will White People Stop Making Movies Like "Avatar"? - A Critical Review

Posted by Djeli on December 21, 2009 at 2:30pm

[When I first saw the movie Crash, I remember all the rave reviews it got for tackling race. And though I liked it well enough, something just didnt' sit right. Wasn't until I read Jeff Chang and Sylvia Chan's scathing deconstruction of the flick that I put my finger on it. Same can be said for District 9, which I found odious when it came to race, despite claims it was actually *addressing* race. Seemed like only Nnedi Okorafor (at least early on) was feeling my gripes. Not telling people what to think--cuz hey, everybody can be their own judge. But given this track record, refreshing to find a review on Hollywood's latest attempt to get "deep" (about race, culture, colonialism, etc) that diverged from mainstream consensus.] See below.When Will White People Stop Making Movies Like "Avatar"?By Annalee Newitzhttp://io9.com/5422666/when-will-white-people-stop-making-movies-like-avatar?skyline=true&s=xCritics have called alien epic Avatar a version of Dances With Wolves because it's about a white guy going native and becoming a great leader. But Avatar is just the latest scifi rehash of an old white guilt fantasy. Spoilers...Whether Avatar is racist is a matter for debate. Regardless of where you come down on that question, it's undeniable that the film - like alien apartheid flick District 9, released earlier this year - is emphatically a fantasy about race. Specifically, it's a fantasy about race told from the point of view of white people. Avatar and scifi films like it give us the opportunity to answer the question: What do white people fantasize about when they fantasize about racial identity?Avatar imaginatively revisits the crime scene of white America's foundational act of genocide, in which entire native tribes and civilizations were wiped out by European immigrants to the American continent. In the film, a group of soldiers and scientists have set up shop on the verdant moon Pandora, whose landscapes look like a cross between Northern California's redwood cathedrals and Brazil's tropical rainforest. The moon's inhabitants, the Na'vi, are blue, catlike versions of native people: They wear feathers in their hair, worship nature gods, paint their faces for war, use bows and arrows, and live in tribes. Watching the movie, there is really no mistake that these are alien versions of stereotypical native peoples that we've seen in Hollywood movies for decades.Read full review here.
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Chronicle of the Liberator -- Review

Posted by Malcolm Dylan Petteway on December 8, 2009 at 9:30pm
Chronicle of the Liberator (Paperback)By Ronald T. JonesAugust 15, 2004Iuniverse$12.95Ronald T. Jones’ Chronicle of the Liberator is a thrilling science fiction read. Ronald definitely captured the true essence of a military sci-fi story with this story.Chronicle of the Liberator is about Thomas Richard Jackson, a mild-manner man living a boring life, who breathes the spirit of low self-esteem. One day, during a horrific episode, which highlights his meekness, he is snatched from Earth and transported across the universe onto a ship. There he befriends an alien, Likir, and Likir’s servant, Coowald. Likir tells Thomas that he is destined to save Earth. However to do it, Thomas must assassinate a great and powerful leader of an interstellar empire. Together, in order to build his mind, body and spirit into a warrior, Likir and Coowald train Thomas in military fighting, leadership and strategic planning. Soon after, Likir tests Thomas in a live-fire exercise, which stresses Thomas to the breaking point. The knowledge that he must survive so he can save Earth, fuels him to keep going.Chronicle of the Liberator is a self-awakening story, showing playing it safe in the journey of life isn’t really living. Ronald lightly seeds Thomas’ character with internal and external prominence and like a master, magnificently steers the reader through ebbs, swirls and surges of his growth. Ronald designs a powerful backdrop of believable military campaigns, battles and techniques in which Thomas thrives and eventually leads to his rebirth as a battle-tested combat-forged leader. Watching this unfold in the pages of this book was both enjoyable and heart-wrenching at times.I enjoyed reading the battle scenes and compared the combat strategies to present day teachings. As a military veteran, experience in military planning and strategy, I found this book to be on target. I recommend this book to all sci-fi enthusiasts, but especially those with a penchant for military sci-fi.Malcolm “RAGE” Pettewaywww.ragebooks.nethttp://malpetteway.blogspot.com/http://osguards.com/
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My Voting Story is in Essence!

Posted by Valjeanne Jeffers on November 17, 2009 at 11:12pm
OK it's not really a story -- more like a blurb -:) And it's beside I'm sure countless others. But my feelings on the night Brother President was elected were (and are) heartfelt and I'm so proud!!Here's the link:The Obamas: Portrait of America's New First Family: From the Editors of Essencehttp://www.amazon.com/s/ref=nb_ss?url=search-alias%3Daps&field-keywords=Valjeanne+Jeffers&x=13&y=24P.S. I sure wish Brother President would pick up a copy of Immortal -- he likes Harry Potter (laugh)!
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Theyre all mine!

Posted by Open World Comics LLC on July 31, 2009 at 3:32pm
Just finished the script on the third installment of my new webcomic titled they're all mine. My kids make my job so easy...they just keep coming up with material. We put aside a few of our other projects to finish this because its been so fun to write but I think we will be releasing out next straight to mobile comic sometime in September so stay tuned for some behind the scene looks at the creation process on that one.
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Ain't The Twenty-First Century Fun?

Posted by Whiyayul & Diop Malvi on November 1, 2009 at 4:27pm
Hearing what that Fat sack of festering feces ( Rush Limpburger) burbled on the propaganda network about President Obama and his appearance at the final coming home at Dover AFB of the Afghan War's dead, and thefact that none, zero, nein, there callled him out on it, fills me with a disgust. The mainstream news media allows such hatewhippers as Limperoo to getaway with this by allowing them to mask themselves with "political entertainers." They held themselves shocked with the same froth when Pres. Carter called the nation out for its flareup of racism. Pres. Obama an example of being a centrist politician tried not to give the befouled furtherammunition by being called an angry Black Man by agreeing with Pres. Carter openly. And if he called the backward Dems and the reprehensible Lieberman out on health reform, the backlash would be fevered if he did so forcibly and in public. Those registered "Uncle Toms" inc. Ron Good Colored man Elder, Foureyed Beanhead Ron Christy and that Mikey Rusted Steele, would be screeching how ashamed they are of the President and by the way he's uppity. And let's not forget Armmmy "Weak" Williams that bought off 'ho who didn't gag when he said he counted the King of the Dixiecrats, as his mentor. Vile, Vile, Vile ConstipatedRepoobs Coloreds are vile. We see the content of their character, what ever Boss Moneybags thinks theys sho nuf should be. And if some bloated bag of... slanders the President, well massa got the 'nawledge and I beleef what he say. Bastards.
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Chat Anyone?

Posted by Administrator: Jarvis Sheffield on October 23, 2009 at 12:00pm
Hello everyone,
I see a few brave souls have joined us on in our Black Science Fiction virtual online space on small worlds. Make sure to sign the guestbook when you login. If you need help just send me a quick note. I want to start the weekly chat sessions back up and this would be a good place to do it. Send me your suggestion for a convenient time to have the weekly chats.
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Older Writers' Grant Looking for Applications

Posted by Malon Edwards on March 18, 2009 at 6:01pm
The deadline for the Speculative Literature Foundation's Older Writers' Grant is fast approaching! The grant of $750 is available to any writer of speculative literature of 50 years or older at the time of application who is just beginning to work professionally in the field. There are no restrictions on the use of the grant money.Applicants are asked to submit a brief autobiographical statement, a writing sample, and a bibliography. For full details on how to apply for the grant, please see the SLF web site: http://www.speculativeliterature.org/Grants/SLFOlderWriters.php, or email olderwriters@speclit.org. Applications must be received by March31st 2009. The successful applicant will be announced on June 1, 2009.
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Call for information: SciFi and Fantasy

Posted by Carole McDonnell on March 6, 2009 at 9:14am
Call for Information: Sci-Fi and Fantasy-- Publishers Weekly, 3/2/2009 12:31:00 PMFeature: Science Fiction & FantasyIssue: April 13Deadline: March 20Needed: Publishers’/editors’ written comments on the state of this category: latest trends, bestsellers, effects of the recession, etc. Particular attention to themes of apocalypse/dystopia/global warming etc.; non-white and non-Western authors and characters; and short-story collections and anthologies. We’ll be looking at titles pubbing between March 1 and November 30. Story and sidebar ideas are welcome. E-mail submissions strongly preferred, to rose.fox(AT)reedbusiness.com; or mark packages "SF/Fantasy Issue" and send to Rose Fox, PW, 360 Park Ave. South, New York, NY 10010.http://www.publishersweekly.com/article/CA6641114.html
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Introduction of the Osguards

Posted by Malcolm Dylan Petteway on March 8, 2009 at 7:43am
Hello,My name is Malcolm Petteway and I'm new to the group. It is wonderful to network with other Black Science Fiction fans. I am a up and coming science fiction author, who has written four novels and published three of them through the "small press" Iuniverse. Presently, my novels are not available while I again search for a traditional publisher.Let me tell you my first search for a traditional publisher was frustrating. All the rejection notices had the same theme; 'there is no market for a science fiction novel with Black protagonist.' One publisher even offered to take another look if I made the characters White.So I went the self-publishing route, and did faily well with the first book. I had a small fan base of White consumers. So that only goes to show, that a good story crosses all racial barriers. Unfortunately, I had a smaller fan base of Black consumers, which supported the rejection letters.Now I am represented by Tee C. Royal of Royal Literary Management and we are tackling the traditional publishers again.Let me tell you about my Novels. It is a four book series called the Osguards. Osguards is a gripping ride through time and space detailing the horrors of American slavery, the rise of racism during the post reconstruction era, the grit of U.S. urban life at the turn of the century and ultimately the terror of an escalating war played out in the heavens—all surrounded by complex military and political stratagems for power.Osguards contains flash and technical wizardry, thrilling suspense, and historical intrigue. The difference from other books in this genre is that Osguards revolves around the present day with African Americans as the lead characters. The historical subplots are critical, giving birth and allowing resolution to the main characters' inner and outer conflicts.The Osguards are descendants of twin princesses from the planet of Chaktun. Over one hundred years ago, the sisters escape to Earth, a former Kulusk prison planet. They arrive in the state of Virginia, just prior to the United States Civil War. The sisters, Laurona and Nausona Osguard, are enslaved, beaten and raped prior to their rescue and return to their home planet of Chaktun. Unable to save their children, they leave them to mature in the post-civil war United States. Michael Genesis and his cousins are the present day descendants, who have become the leaders of their ancestors' organization, the Universal Science, Security and Trade Association of Planets (USSTAP). Each Osguard is a Commander and Chief of an individual galaxy with signatory planets to the organization.If you want to learn more, please visit www.osguards.com.I'm looking forward to being a member of this group.ThanksMalcolm "Rage" Pettewaywww.osguard.comwww.malpetteway.blogspot.com
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3D Prototype of Earth Squadron Game Is Ready For Download and Testing

Posted by TheDigitalBrothers on February 10, 2009 at 8:00am
My 3D Prototype of Earth Squadron Game Is Ready For Download and Testing. It's been about 10 years since my last video games so I'm ramping my skills back up for the Earth Squadron 3D Shooter Video Game. This is just a one room demo. Right now it's PC only. The faster your computer the better. To Check it out go to www.EarthSquadron.com

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