Bio-weapon (Doom Star, Book 2) by Vaughn Heppner

By Vaughn Heppner

People are the warheads in a deadly contest of missiles vs. long-range beams in deep space.

The determined Homo sapiens of Earth release their experimental beamship. It’s ultra-tracking and leap forward know-how permits it to out-range the Doom Stars.

The Highborn wish that send. They ship swarms of missiles, figuring out few will achieve it. within the nosecones are their mystery weapons—Free Earth Corps heroes from the Japan Campaign.

Launched from the enormous missiles like shells in a shotgun, Marten Kluge and his acquaintances needs to experience their torps into the particle shields and typhoon aboard the beamship or die within the chilly vacuum of space.

BIO-WEAPON is the tale of a suicide-ride to hell via a techno snowstorm. BIO-WEAPON is an entire novel, 85,000 phrases in size by way of Vaughn Heppner, Writers of the longer term winner, Vol. IX.

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Extra info for Bio-weapon (Doom Star, Book 2)

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He speaks in the general language of philosophy about deeply human matters. ' Thus the insolence of office, for example, could be taken to refer to Claudius's arrogant assumption of and behavior in the 'office'of King. But to search for such individualized applications in Hamlet's speech seems to go against its grain. Throughout, he strenuously avoids referring to himself. This, again, contrasts with what he does in every other soliloquy he utters. 323). These examples confirm our sense that Hamlet's soliloquies tend to be intensely personal.

Soft you now, The fair Ophelia. 85 4 How Does it Mean? (The Speech as Poem) Looking at what Hamlet's speech means, we were forced to confront how it means. We observed, for instance, its continual restatements and its clarifications that only made things more complex. We saw that its famous first line has a cleverly balanced architecture, dividing in half with each of its halves dividing that way again. We saw the soliloquy mixing homely words like rub and fardels with academic terms, such as question and respect, with religious words, such as consummation and devoutly, and even the commercial-legalistic quietus.

The contrast is between things done with physical weapons and things done (sometimes by omission) through human actions, relationships, and institutions. Throughout this section, he ascribes wrongs to persons and personified agents: time, love, law, office, th' unworthy. In the morality play of life, according to Hamlet, we experience things and individuals acting against us: There s the Rub 31 time [wields] whips and scorns an oppressor [commits] wrong the proud man [exhibits] contumely despis'd love [brings us] pangs law delay[s] [justice or satisfaction] office [shows] insolence th' unworthy [give] spurns [to] patient merit The schematic morality play represented here features, again, a combination of actions and inactions.

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