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"For the sciences, the way to change science's perception of things is to wait until all the old farts have died off."
- Larry Niven
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| New Moon Casino Satellite | ||
| An enormous artificial moon, it was far easier to get to than the Old Moon. |
Before the glittering New Moon, there was the first new moon:
The wondrous artificial satellite, first opened to the public a decade ago, had replaced a whole fleet of luxury liners that once had circled just outside the laws of Earth. The financial rating of the syndicate was still somewhat uncertain—Hannas had been called, among many other things, a conscienceless commercial octopus; but the new resort was obviously a profitable business enterprise, efficiently administered by Hannas and his special police.
His enemies—and there was no lack of them—liked to call the man a spider. True enough, his sign in the sky was like a gaudy web. True, millions swarmed to it, to leave their wealth—or even, if they accepted the dead-black chip that the croupiers would give any player for the asking, their lives.
Jack Williamson proved himself to be a master of imagination in the domain of space; compare this creation to the city of space from his earlier classic story The Prince of Space (1931).
The first New Moon had been the battered hulk of an obsolescent space liner, towed into an orbit about the Earth twenty years ago. The charter somehow issued to the New Moon Syndicate hi the interplanetary confusion following the First Interstellar War had given that gambling ship the status of a semi-independent planet, which made it a convenient refuge from the more stringent laws of Earth and the rest of the System. Caspar Hannas, the head of the syndicate, had defied outraged reformers—and prospered exceedingly.
| The New Moon was really new—a glittering creation of modern science and high finance, the proudest triumph of thirtieth century engineering. The heart of it was a vast hexagonal structure of welded metal, ten miles across, that held eighty cubic miles of expensive, air-conditioned space.
Far nearer Earth than the old Moon, the new satellite had a period of only six hours. From the Earth, its motion appeared faster and more spectacular because of its retrograde direction. It rose in the west, fled across the sky against the tide of the stars and plunged down where the old Moon had risen. The New Moon was designed to be spectacular. A spinning web of steel wires, held rigid by centrifugal force, spread from it across a thousand miles of space. They supported an intricate system of pivoted mirrors of sodium foil and sliding color niters of cellulite. Reflected sunlight was utilized to illuminate the greatest advertising sign ever conceived. |
| Technovelgy from One Against The Legion,
by Jack Williamson. Published by Astounding in 1939 Additional resources -
|
Here's a bit more detail:
As an entertainment venue, compare to the orbital retirement hotel from Contact (1985) by Carl Sagan and the Freeside orbital resort from Neuromancer (1984) also by Gibson.
As a space station, compare to the brick moon from The Brick Moon (1869) by Edward Everett Hale, the city of space from The Prince of Space (1931) by Jack Williamson, the asteroid space station from Misfit (1939) by Robert Heinlein, the Venus Equilateral Relay Station from QRM - Interplanetary (1942) by George O. Smith, Wheelchair from Waldo (1942) by Robert Heinlein, the space transfer station from Between Planets (1951) by Robert Heinlein, the Sargasso Asteroid from The Stars My Destination (1956) by Alfred Bester,
the tether space station from Tank Farm Dynamo (1983) by David Brin and the high orbit archipelago from Mona Lisa Overdrive (1988) by William Gibson.
The mighty Inflexible slipped gently into a berth against one of the six vast tubular arms of the New Moon’s structure. Massive keys locked her trim hundred thousand tons of fighting strength into position. Her valves opened, to communicate with the artificial satellite.
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'If the biological robots were not living creatures, they were certainly very good imitations.'
"Everybody and his dog, it seemed, wanted to live out in the country; transportation and communication were no longer isolating factors."
'... the new typewriter that could be talked to, and which transposed the spoken sound into typed words.'
'... underneath they consisted of networks of cooling tubes against the skin.'
'My cars talk to one another. I have no doubt about it...'
'... the imprint of her image on the telephoto cell.'
