By Alan Burt Akers
The preferred online game among the peoples of Kregen, global of Antares, is person who resembles chess, known as Jikaida. Jikaida is a conflict of wits and struggle online game items that applicable good the stress charged surroundings that enveloped Dray Prescot. For reconquering Vallia used to be assuming the point of the sort of game--move as opposed to countermove, horde opposed to horde! Then Dray Prescot discovered himself not answerable for only a game--he had turn into a residing chessman on a real-life board on the dreaded area of Jikaida urban. There each circulation used to be followed by way of bloodshed and at the back of each video game may perhaps hold the destiny of a urban, an island, or perhaps a state!
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Additional info for A Sword for Kregen (Dray Prescot, Book 20; Jikaida Cycle, Book 2)
As with many of Lem’s novels, Solaris suggests that this bias makes the prospect of human contact with alien life especially problematic, if not impossible. In fact, one could argue that Lem’s investigation of this frustrated communication constitutes a deﬁning feature of his science ﬁction. But as the truism goes, science ﬁction often presents alien worlds in order to undertake an inward journey, one involving an examination of humanness, including social dynamics and psychological processes. Lem’s interest in contact ﬁts this description inasmuch as the failures of communication with alien life set the stage for an analysis of the troubled human contact evident in Lem’s ﬁctional worlds (contact that is both interpersonal and intrapersonal, as in being in touch with oneself, or knowing oneself).
Levine compellingly demonstrates the profoundly moralistic bent that infuses Victorian science (as noted, a means of reanimating values previously guarded by religious institutions), and Fisher offers something of a corollary as he describes the work of the sublime. In particular, he argues that the sublime “secularized religious feelings of the inﬁnite and of the relative insigniﬁcance of human powers in an attractive way, allowing the modern intellectual to hold onto covert religious feelings under an aesthetic disguise” (Wonder, 2).
Revolver in hand, Prendick mimics Moreau, ordering the beast people in his vicinity to bow down and salute him. The most formidable of these interlocutors, a hyena-swine-man, refuses, answering Prendick with a snarl: “Who are _you_ that I should –” (Island, 161). The gap in the speech is consistent with the truncated style of narration in this section of the story. Presumably, the 42 Suicide and Contemporary Science Fiction unspoken words reference Prendick’s effort to win supplication. If so, the unspoken element represents the human assumption of privilege over animals, a privilege challenged with the shift to Darwin’s conceptual landscape.
A Sword for Kregen (Dray Prescot, Book 20; Jikaida Cycle, Book 2) by Alan Burt Akers