Star Trek: The Original Series: Shadow of the Machine, by Scott Harrison
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Star Trek: The Original Series: Shadow of the Machine, by Scott Harrison
Download Ebook Star Trek: The Original Series: Shadow of the Machine, by Scott Harrison
An all-new original e-novella set in the Original Series universe—taking place immediately after the events of the 1979 film Star Trek: The Motion Picture!After its recent encounter with V’ger, the U.S.S. Enterprise has returned to dry dock to finish its refit before commencing its second five-year mission. The crew has been granted a two-week period of shore leave before preparations for their next voyage begins. Shaken by their encounter with V’ger, Kirk, Spock, and Sulu travel to their respective homes and must reflect upon their lives—now forever changed.
Star Trek: The Original Series: Shadow of the Machine, by Scott Harrison- Amazon Sales Rank: #150038 in eBooks
- Published on: 2015-03-09
- Released on: 2015-03-09
- Format: Kindle eBook
About the Author Scott Harrison is a UK-based scriptwriter, novelist, and playwright. He has written novels and audio plays for Big Finish, short stories, comic book scripts, and stage plays that have been produced in both the US and the UK.
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Most helpful customer reviews
6 of 6 people found the following review helpful. Touchy-feely hand-wringing that goes nowhere By Alt Kirk is brooding because he blames himself for the deaths of Decker and Ilia even though they were absorbed by or merged into V'ger and are probably having wild alien datastream sex which is more than sulky Kirk is doing. Kirk's moodiness is intensified by a letter from home that sends him back to the old Iowa farm of his childhood. Scotty is supervising the finishing touches on the latest Enterprise, as always, but everyone else goes on shore leave.On shore leave --- After the premature birth of his baby, Sulu gets into a bar fight- Spock goes to Vulcan to confront his identity crisis while explaining his decision not to finish the Kolinahr ritual- McCoy gets cranky before disappearing from the story- Kirk bonds with his insecure nephew in a touchy-feely moment of mutual heroismThe entire story, in fact, is touchy-feely, yet it does little to add to characterizations or Star Trek lore. Even Spock acts like a marriage counselor.Worse, the story is dull. Any story with a bar fight should at least have an interesting moment, but the fight isn't described. When Scott Harrison needs to fill pages, he writes about the characters' dreams or nightmares, a sure sign that a writer has run out of ideas that might actually advance the plot. But since there is no plot, Harrison had nothing to advance.The prose is awkward and unpolished with undue reliance on cliché. The story has an unfinished feel, probably because there's nothing to finish. This is just a lot of hand-wringing that goes nowhere.
4 of 4 people found the following review helpful. Adequate Short Story By Molly Merrill This book was okay, but not outstanding. The author seems a little unfamiliar with the Trek universe. For one thing, he had Spock behaving out of character more than once. His writing of the other characters was better, if not inspired. The story was alright for a short novel, if a trifle trite. I would like this author immerse himself more in the TOS world and then try along novel. He has potential.
3 of 3 people found the following review helpful. Pale imitation of TNG's "Family" By Eston Melton I was really excited about this novella, the first Star Trek work I’ve read in almost 10 years. I started thinking about this review about halfway through the book, and mentally clocked it in as a three-star. Unfortunately, at the end, it’s came down a peg. Overall, I don’t recommend this book.This book very much reminds me of the Next Generation episode "Family": three main plots about rediscovering one-self: Kirk/Picard's self-doubt (and time with a nephew to boot), Sulu/Wesley contending with opposite ends of daddy issues, and Spock/Worf coming home to uncertain reception after a potential shaming. Both the episode and the novella even manage to tell the whole tale without stepping onto the Enterprise bridge. However, "Family" has energy and heart, while "Shadow" is ... merely a shadow.There were some things I liked about each thread, but those were exceptions. Kirk's flashbacks to his childhood integrate nicely with the contemporaneous story; Harrison relates well the notion of having a fleeting flashback to the past without awkwardly offsetting it from the main text. I like the communique Kirk gets from Carol Marcus about their son, and Kirk's mindfulness that "he's already made a complete mess of it" with David. I credit Harrison for his research around The Motion Picture: he read or got notes from the Roddenberry/Foster novelization (and I think some other Trek novels) and mentions the name of the *other* transporter accident victim, Admiral Ciana. Harrison's choice, but I thought it odd to pick up that detail but not carry on with the notion from previous Trek texts that Ciana was in a relationship with Kirk. That extra layer of anxiety might've complicated the tight narrative the novella calls for, but after name-dropping the character I was expecting some follow-through with what other authors had done with her and Kirk. But, disappointment aside, I understand the reason for not piling on. Just as plausible: he reused the name but just changed the nature of the character (NB the same-name/different-person path with Sulu’s wife).However, the conflict Harrison chooses to address, i.e. Kirk's self-doubt, is depicted more like "The Cage"'s Captain Pike than our own Kirk. At least, it's presented poorly: Kirk presents his self doubt as being "just not sure that [he] can be trusted with so many lives." After so many years as captain, though, that just doesn't make sense, or at least is too cliched for us to latch onto. Perhaps if Harrison had more tightly anchored it to wondering whether *taking command back* were a good idea, revisiting the very doubts about his capacity to lead that Decker had raised just days before -- that would be interesting and believable. But the internal conflict here is neither. A small detail, but I also find unbelievable Kirk’s belief “that the awkwardness between himself and Spock was his [Kirk’s] fault.” It seems clear in The Motion Picture, with its own awkwardness between the men, that it’s Spock who’s more out of alignment from his own friend.The lack of believability plays out, too, in his conflict with Peter. Even the setup doesn't make sense: Kirk's uncle says he thought it would be "unfair to drag [Kirk] halfway across the quadrant" to help with Peter, but that "when [they] heard that the Enterprise would be coming home," he relented and agreed to invite Peter's uncle over. The problem is, Kirk had been on Earth for months, working as chief of operations for Starfleet; his absence from Earth was just a few days. It doesn't compute. It might have been interesting for explore why it is Kirk has been so close to family -- a stone's throw away, relatively speaking on 23rd-century Earth -- yet not part of their lives. But, that's not the case here.Sulu's thread at least is the most down to earth. Harrison again did well by fans to reference previous Trek novels to use the same name previously established for Demora’s mother’s name, even if the follow-up details differ. Unfortunately, Sulu is pretty well useless in resolving his own problem: instead, we have a Deus ex Spock pick him up from jail and drop him off outside his wife’s home to make things right. We aren’t even treated to that scene of reconciliation/understanding between the two.And Spock. Always an interesting character. As others noted, he seems awkwardly written in this novella. I’m inclined toward giving Harrison some leeway and maybe even credit: Spock just a few days before tore off to catch up with the Enterprise, abandoning his studies, and getting swept up in a bevy of emotions. Spock cries in The Motion Picture; I can understand some emotionalism and waywardness just a few days after. Still, Spock at times seems mis-written as Data, especially with his unnecessary and thankfully curtailed sidebar about Mark Twain. Ditto his comment that he can “see how a double meaning could be extrapolated from” a punny statement. I could hear Data saying this, maybe even Star Trek IV Spock, but not really this character we’re meant to imagine here. Still, to Harrison’s credit, Spock gets the most insightful line of the story: Spock admits he has “denied the principle of IDIC” and “set aside [his] own diversity.” I had a hard time reading the temperature of the Spock-Sarek relationship: warmer than “Amok Time,” but it seems prematurely cordial for anything before The Search for Spock. But maybe that’s just me.Overall, probably what I found most bothersome about this story is that virtually nothing is un*said* — there’s no subtlety, no room for inference. Beyond that, the conflicts are simplistic. At one point, Sulu laughs, “feeling a bit self-conscious that every time he opened his mouth he kept spouting clichés.” I wish a bit more self-consciousness about the text as a whole could’ve led to more texture, more compelling conflict, and better character development/insight than what is offered here.
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