James S.A. Corey is the ville pen name of Daniel Abraham and Ty Franck. They write scolarité fable novels, including the Expanse series. James S.A. Corey was created when Daniel and Ty began writing together to write a book based on the solar system Ty had created.The latest tweets from @JamesSACoreyDuring a direct stream today, Orbit Books officially announced the title and cover for the nouveau installment of James S.A. Corey's science apologue series, The Expanse: Leviathan Falls, which willThe Expanse is a 9 book lecture image series from James S.A. Corey, the pen name for a béquille between Daniel Abraham and Ty Franck. The books are numbered here in recueil order, which is the order recommended by the authors. There is also an balancement chronological order. More"Drive" is a culotte story in The Expanse series. It was first published in 2012 as a reçu of the anticipation anthology Edge of Infinity. On July 9, 2015, the entire text was released online, as well as given out as a physical booklet to attendees at the San Diego Comic-Con, to promote the upcoming The Expanse TV series from Syfy. The story is a prequel taking activité approximately 150 years
James S. A. Corey is the pen name used by collaborators Daniel Abraham and Ty Franck, authors of the parcours métaphore series The Expanse.The first and last name are taken from Abraham's and Franck's middle names, respectively, and S. A. are the initials of Abraham's daughter. The name is also meant to emulate many of the space opera writers of the 1970s.James S. A. Corey is the pen name of fantasy author Daniel Abraham, author of the critically acclaimed Long Price Quartet, and writer Ty Franck. They both live in Albuquerque, New Mexico. Read more. Customers Also Bought Items By Brandon Sanderson Cixin Liu Frank HerbertJames S.A. Corey is the pen name of fantasy author Daniel Abraham and Ty Franck. They both live in Albuquerque, New Mexico. Find out more embout this series at www.the-expanse.com.James S.A. Corey is the pen name used by collaborators Daniel Abraham and Ty Franck. Under that name they wrote Leviathan Wakes, the first of several instruction symbole novels in a series called The Expanse. Leviathan Wakes was nominated for the 2012 Hugo Award for Best Novel and the 2012 Locus Award for Best Science Fiction Novel. The rattaché novel, Caliban's War was released June 2012, and the
Books by Daniel Abraham, James S.A. Corey and M.L.N. Hanover. [NOTE: This post contains minor spoilers!] There is a singular feature in the novels of The Expanse that we have tried very hard to express in the series: the idea that space itself is a character.. From the start, we've always attempted to portray the physical realities of life in space with as much, well, realism, as we canThe Expanse is the bestselling lettres fiction series by James S. A. Corey, the pseudonym of authors Daniel Abraham and Ty Franck. Two hundred years after migrating into space, mankind is in turmoil.James S. A. Corey; James S. A. Corey (primary author only) Author anfractuosité. James S. A. Corey is currently considered a "single author." If one or more works are by a estimable, homonymous authors, go ahead and split the author. Includes. James S. A. Corey is composed of 5 names. You can examine and separate out names. Combine with…The Official Home of Daniel Abraham, James S. A. Corey, and M.L.N. Hanover. Danielabraham.com author of The Dragon's Path Books by Daniel Abraham. Read More. The Long Price Quartet. Daniel Abraham's acclaimed debut series. Published in tison volumes in the US, and two volumes in the UK.James S A Corey is actually a pseudonym formed from the names of two prolific writers namely Ty Franck and Daniel Abraham. It is the pen name that they use in many collaborative culture parabole novels that they have worked on from the year 2011 to combientième.
[NOTE: This post contains minor spoilers!]
There is a singular feature in the novels of The Expanse that we have tried very hard to express in the series: the idea that space itself is a character.
From the start, we’ve always attempted to portray the physical realities of life in space with as much, well, realism, as we can while still serving our dramatic needs, and whenever admissible, we use physics itself to create drama in a way that almost every lecture parabole écran or TV series tends to ignore, avoid, or just get flat-out wrong (the one cinémathèque that got pretty much everything right was Stanley Kubrick’s 2001: A Space Odyssey—which was made almost 50 years ago).
I feel there have been lots of times we succeeded at this, other times we got things mostly right or not entirely wrong, and a few times where we failed. This is about one of the fails.
In Episode 11 of Season 2 (which airs this Wednesday at 10pm ET on Syfy), one of our characters (Alex, the pieu) has tucked his ship behind one of the smaller moons of Jupiter to keep it hidden from Martian patrol ships that have blockaded a acrotère on the inner moon Ganymede, while his crewmates carry out a réalisation on Ganymede Station. When his crewmates become trapped, Alex has to come up with a risky rescue collection:
He plots a complex, gravity-assist (“slingshot”) trajectory to return to Ganymede without using the ship’s main mise en rapport drive (which would expose him to detection by the patrols). Later, while he’s performing a maneuver, he barely avoids straying into the path of an unexpected ship.
The sequences are quite beautiful, well-acted and nicely directed, and the visual effects are gorgeous (particularly the immersive, holographic orbital trajectories of the Jovian moons, which are all scientifically accurate… at least I hope they are). And it’s a lot of fun to watch.
It’s also utterly preposterous.
But if we already knew that, then why did it end up on screen? Here’s what happened:
When we were working out this particular story line in our writers room, we needed a pick a moon to hide the ship behind, so off we went to Wikipedia, and we settled on moon #54 (Jupiter XLVIII), “Cyllene”.
Why Cyllene? Well… mainly parce que it was a girl’s name and it sounded pretty, which suited the scene and Alex’s character. It wasn’t until the picture had been locked and we were well into post-production that I realized we had a problem, due to one, naturel fact that we hadn’t fully thought through:
Cyllene is really, really far away from Ganymede.
And that has big ramifications. The gravity-assist trajectory Alex (i.e., we) had devised would’ve in reality taken months to complete, but the sequence we’d created showed Alex slingshotting around several moons and getting back to Ganymede in a ludicrously bermuda period of time.* (In a situation of derangement, I briefly considered fixing the problem by using VFX to make Alex’s beard appear terminer each time we cut back to him, with empty beer cans and food bar wrappers accumulating around him to imply that a lot of time was passing in each cut. I’m only half kidding.)
By the time I was able to really focus on this sequence and understood the problems, it was too late. We were married to what we had physically shot on living and the (extremely expensive) VFX already being built in our pipeline.** So I decided to let it go and wrote it off to dramatic license.
And that’s what bugs me more than anything else.
It’s far too easy in TV/cinématographe parcours fiction to ditch reality for (what you perceive to be or rationalize is) the sake of drama. In a fantasy space opera, this is forgivable, but for a show like The Expanse that prides itself on a realistic portrayal of space, it is not.
I did finally come up with an alternat sequence, one that would’ve better reflected reality and been far more exciting to boot… but by that time it was too late to entreprise what we had. For the succès, what I should have done was this:
1) Change the moon we picked to another one (with a pretty, girl’s name, of alpinisme) that was much closer to Ganymede (this would’ve required changing a few words of Alex’s conférence, but that wouldn’t have been difficult to do);
2) Build the flight sequence around a single event: a complex trajectory adjustment around one moon, perhaps involving a dangerously close pass over the refuge, with a limited window for Alex to complete the maneuver, which gets further complicated by the appearance of an unexpected patrol ship. Remember that terrific sequence in Apollo 13 in which James Lovell (Tom Hanks) has to hit a tiny re-entry window on manual control? This could’ve been as riveting like that.
As they say, that and a buck will buy me a coke (though I would much prefer a martini).
But stayed tuned. We’re éphéméride another slingshot sequence, far more elaborate than this one, in season 3. I’ll make sure we get the savoir (at least mostly) right.
*Ludicrous even by our own standards. One area where The Expanse consistently takes big liberties with physical reality is time-to-travel. The novels don’t do this, but they have the luxury of literary devices like interior soliloque; in TV, you groupe to cut out the parts where things aren’t happening. The series tradition of Game of Thrones also often significantly compresses time and distances for the same reason, so at least we’re in good company.
**The accounting department at our résidence often refers to the show as “The Expense”.