Lightyear FM

Want a perspective on what flying through space might actually look like?  Here’s one project to give you an idea.  Working on the knowledge that radio waves travel at the speed of light, this simulation shows you the local neighbourhood near Earth (excluding exoplanets) up to the limit of the first Earth radio broadcasts; up to 110 years ago (as of 2015).

Things I learned from this:

  • In general, stars don’t float randomly by themselves.  They appear in clusters.  We’re part of a pretty little cluster of mostly much tinier, dimmer stars than our own, that might look like the Pleiades with a red-shift in someone else’s perspective.
  • We can infer that most of the stars near us are smaller/dimmer than our own because most of them have alpha-numeric names (more on that in a minute).  Also, stars progress from red to orange to yellow to white to blue in terms of brightness and most of the stars around us are more orange than we are.
  • Every once in a while you do get singular stars just floating in a void, but it’s the exception, not the rule.
  • There are two nebulae relatively near to us.  One’s about 40 light years away and the other is about 80 light years away.  Each is about 10 light years across.

Naming conventions of stars:

  • The oldest stars we know about have proper names.  Those tend to be the brightest from our perspective and are typically the ones visible with the naked eye.  Most such names are derived from the Arabic language.  You’ll see relatively few of them in our local neighbourhood (Sirius, Fomalhaut, Pollux, etc.)
  • Sometimes stars are named for astronomers or the people who discovered them.  You’ll see a couple of those in this simulation.  One of them, Barnard’s Star, which you’ll see right after the Centauri stars that are our closest neighbours, blasted right through the edge of our solar system only 70,000 years ago!  Talk about a near-miss!
  • Some stars are catalogued.  The Bayer Designation names stars by a lower case Greek letter generally representing its corresponding number, plus the constellation it appears in. (ie. Sigma Sagittarii).  Once all 26 Greek letters have been assigned, letters of the Arabic-derived alphabet are used (ie. G Scorpii).  Sometimes when concurrent stars were discovered (like, say the smaller star in the Alpha Centauri binary) it was designated with a superscript.  The Flamsteed Designation is used when no Bayer Designation exists or when the Bayer designation uses numeric superscripts, because it’s less awkward.  (ie. 61 Cygni).  These stars are usually visible with a decent telescope.
  • The most recently discovered stars, visible with ultra high resolution or space telescopes and tracked by computers, are named with an alpha-numeric designation based on their position in the sky.  Over 990 million such objects exist.
  • Special cases: Pulsars are designated by the prefix PSR, with a series of hyphenated numbers in which the first indicates its right ascension and the second its degree of inclination.  Supernovae are designated by the prefix SN, plus the year they were discovered in, and if there was more than one, a letter indicating the order of discovery (ie. SN 1987A.)  A few supernovae are known by the year they occurred in (ie. SN 1604, also known as Kepler’s Star).  Novae are usually given a name according to the naming convention of the General Catalogue of Variable Stars, which includes a number or letter designation and the constellation it’s from (ie. V841 Ophiuchi, SZ Persei, T Bootis.)

Here’s a preview to show you what it looks like: you can find the simulation itself at  Note that if you hover your cursor over each celestial body (save the Earth, the Moon and the Sun) it will tell you what it is and how far away from Earth it is.  Enjoy the simulation! – An interactive journey through space, time, & music from chris baker on Vimeo.


Symphonies of the Planets

Although space is a virtual vacuum, this does not mean that there is no sound in space.  Sound does exist as electromagnetic vibrations.

Through specially designed instruments, the Voyager, INJUN 1, ISEE 1, and HAWKEYE space probes used Plasma Wave antenna to record the vibrations of the planets that they visited that are within the range of human hearing (20 to 20,000 Hz).

To be fair, however, they are often quiet; quiet enough that they are difficult, if not impossible, for the human ear to hear.

The recorded sounds are the complex interactions of charged electromagnetic particles from the Solar Wind, ionospheres, and planetary magnetospheres.  Here’s a sample of some of the recordings released by NASA:

Here is a recording (and photos) of the noise of the Singing Comet, 67P, as recorded by the Rosetta spacecraft (though in this case the volume has been increased by 10,000 times):

And here is a full playlist of the Symphony of the Planets.  These five CDs, which are now out of print, were created from the complex sounds recorded by the Voyager probes.

Yes, really.  This is real world stuff I’m talking about, not just Arcane Space!

So if you’d like to imagine what it sounds like aboard a Spelljamming ship, picture that the closer you got to a planetary body, the more of this kind of sound you would hear.  It would start as faint, water-like popping noises.  Then you would wonder when the wind noise had started.  Then you might notice a high-pitched drone like a wet finger on crystal or a Tibetan singing bowl.  In some cases (Suns, large planetary bodies) you might notice a low droning buzz, like the sound of a WWII airplane.  The closer you got to the planetary body, the louder it would get, and when you reached a planetary gravity plane, it would be a veritable cacophony to ears accustomed only to the creak of the ship, the flap of sails and the quiet of the Void; which would fade again into the background once you hit atmosphere and terrestrial noises began to reach your ears.  Or you might be sailing along in space, likely with continual distant popping sounds that would be more rapid the closer you were to the center of the sphere, and all of a sudden a Solar Gale might whip wind and ringing and high-pitched drones through the air envelope.  In which case, a sargasso might be heralded by a sudden, deafening silence.


Book Review: Out of the Silent Planet by C.S. Lewis

Out of the Silent Planet (Space Trilogy, #1)Out of the Silent Planet by C.S. Lewis
My rating: 5 of 5 stars

I have found that in looking at descriptions of this book, it is often “dismissed” as “theology.” I think that does this book a grave disservice. Certainly there are theological themes; it is well known that Lewis was a devout Christian, wrote about it, and his fiction also often focused on Christian themes. But one never hears his classic Chronicles of Narnia being *classified* as “theology,” although of course the main tale is the retelling of Biblical themes in many ways. No one hears that about Lord of the Rings as written by his friend J.R.R. Tolkien either; though literary critics point it out. And in the realm of science fiction, while literary critics, again, do not miss the references, no one *classifies* Ender’s Game or Dune as “theology.” Perhaps this has something to do with the rest of the trilogy, which I have not read, but taken alone I don’t understand this.

Out of the Silent Planet is among the most awesome science fiction books I think I’ve ever had the pleasure to read, and I think the only reason it’s not considered a classic in the field is because of the bias of “pure reason.” Keep in mind that this book was written in 1938, so one cannot expect that it should conform to modern science in the wake of the Space Age. But its science is actually spot on when founded in scientific theories that were, as yet, untested at the time of this book’s writing; much like Frankenstein and War of the Worlds.

The protagonist, a professor of languages named Ransom, finds himself kidnapped in a misadventure to be taken to Mars (called by a different name by its inhabitants) to be offered to those inhabitants as a sacrifice. It turns out that this is not what the inhabitants want him for and a fantastic adventure ensues. I expect that why it’s often interpreted as “theology” is because Lewis uses the Christian mythology as a framework for an extraterrestrial cosmology that involves beings that might possibly be described as “extra-dimensional”. That this extra-dimensional understanding involves godlike beings who are the “lords” of the worlds they inhabit, and that this is fairly consistent as an extraterrestrial interpretation of Christian cosmology, is almost incidental; the moral cautionary tale, however, is not. But if you’re going to not consider a book seriously because there’s a moral cautionary tale hidden in it, you might as well give up on the genre.

Lewis’ Martians are among the most interesting aliens I’ve ever had the pleasure to read about. The cultures he created, and the difficulties in a human trying to understand, and be understood by, an alien culture, is the stuff that we geeks read this genre for. Ransom spends a great deal of time among the Martian cultures and learns their ways and their language (remember that he is a professor of languages) and he develops a close friendship with one member of the three sentient races that inhabit Mars, while in the meantime he is pursued by the two men who brought him to the planet in the first place; one of whom views himself as a man of intelligence and reason who wants to ensure the immortality of humanity — at all costs, including that of the sentient species who inhabit Mars and any others that might exist — and the other of which is interested solely in money. Unlike many other books in which the “peaceful primitives” are overwhelmed by the warlike humans that invade them, thus requiring defense by a violent action-hero protagonist, the Martians find the humans incomprehensible and ultimately silly. This does not make them any less a danger to Ransom, however.

Lewis’ vast alien Martian landscape, as imagined by a man who had only seen a blurry pink image with dark blotches and ice caps on it through a telescope at that point, was an absolute delight. And solar radiation was more potent outside of the Earth’s atmosphere, gravity was minimal and artificially created and air was limited in the spaceship, and Mars was cold, had lesser gravity, and thin oxygen at its higher elevations. Lewis’s low gravity Martian landscape was truly fantastic, more like the crazy surface of comets as we are currently familiar with them. I was taken by its beauty and the scope of its imagination.

In short, read it. It was amazing.

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Book Review: 2001 A Space Odyssey by Arthur C. Clarke

2001: A Space Odyssey (Space Odyssey, #1)2001: A Space Odyssey by Arthur C. Clarke
My rating: 5 of 5 stars

This is the true heady wine of science fiction crafted by the hand of a master. (Quoting Terry Pratchett, which he was saying in regards to “Cities in Flight” by James Blish, but it fits here).

I saw the movie years ago, when I was almost too young to understand it. As always, the book was much better.

I see no reason to reiterate the plot; everyone knows it by now I’m sure. I want to talk about the craft of the writing. The style. The way he writes with a minimalist hand, like Miyamoto Musashi, doing nothing which is of no use.

The first part of the book reads like a spy novel. The second part reads like a space suspense thriller, with the style of the writing being as stark as the setting. Which is why the lush, vividly detailed conclusion is like suddenly really seeing colour after ingesting hallucinogenics; in addition to being mind-blowing in its scope and concept.

The scene where Dave confronts HAL? It’s even creepier in the book than the movie. I felt terrible for a malfunctioning, murderous computer. How do you even do that? That is just good writing.

So even if you haven’t read it because it’s a cultural icon and a classic, read it because it’s just well written. And don’t be discouraged by the title; it reads just as easily today as it did when it was written.

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SJA3 Crystal Spheres at DriveThruRPG!

Traveling the space lanes is risky and mysterious, and danger comes in many forms. The rescue of a tiny ship from pirate attackers leads to the discovery of a monumental, supernatural evil. Nothing is ever routine in space.

Crystal Spheres takes player characters through four unique crystal spheres to battle a powerful force of darkness. Player Characters will find themselves fighting not just for their lives, but the fate of an entire solar system and its millions of inhabitants.

“Crystal Spheres” is an adventure for the AD&D Spelljammer campaign setting. The Spelljammer boxed set is required to play. This 64-page adventure will easily adapt to any campaign world.


Product History

SJA3: “Crystal Spheres” (1990), by J. Paul LaFountain, is the third Spelljammer adventure. It was released in October 1990.

Continuing the “SJA” Series. “Crystal Spheres” continues the Spelljammer adventures. It’s an epic adventure, as was found in SJA1: “Wildspace” (1990): a sphere’s sun is on the verge of being snuffed out, and the players must save it.

Adventuring Tropes. “Crystal Spheres” lies on the line between the adventuring tropes of the ’80s and ’90s. It contains lots of random encounters and mapped locations. However, it also features events that drive players along a path to confront the problems of the underlying storyline.

Expanding Wildspace. True to its name, “Crystal Spheres” does a great job of providing good reasons to adventure across Wildspace from one sphere to another. Along the way it details four new crystal spheres: Herospace (which is for heroic adventures only, with 9 planets divided by alignment); Faeriespace (which is one gigantic community); Greatspace (which is an elder sphere focused on nobility and honor); and Darkspace (which is a sunless, shadowy void).

Unfortunately, one of the problems with Spelljammer was that it never brought together its many spheres into a coherent setting. The Spelljammerboxed set (1989) focused on the Radiant Triangle of Greyhawk, Krynn, and the Realms, but then the six Spelljammer adventures barely touched on those areas. Similarly, the worlds of Darkspace, Faeriespace, Greatspace, and Herospace would never be heard from again.

(Though TSR never created a larger Spelljammer setting, some fans have taken the next step, compiling all the spheres of Wildspace into a cohesive whole.)

“Crystal Spheres” also includes a beautiful chart comparing the sizes of the many spelljamming vessels revealed to date — including the Hummingbird from this very adventure.

About the Creators. LaFountain did a scattering of TSR work in the early ’90s. This was his premiere freelance work; he’d later contribute to MC8: “Monstrous Compendium Outer Planes Appendix” (1991), SJR3: “Dungeon Master’s Screen” (1991), and some supplements for the Buck Rogers XXVC RPG.

About the Product Historian

The history of this product was researched and written by Shannon Appelcline, the editor-in-chief of RPGnet and the author of Designers & Dragons – a history of the roleplaying industry told one company at a time. Please feel free to mail corrections, comments, and additions to