By Larry Niven, Edward M. Lerner
<b>Note: this is often the fifth and ultimate publication in either the <i>Fleet of Worlds</i> and <i>Ringworld</i> series</b>.
For a long time, the spacefaring species of identified house have battled over the biggest artifact—and grandest prize—in the galaxy: the all-but-limitless assets and expertise of the Ringworld. yet abruptly the Ringworld has vanished, forsaking 3 rival conflict fleets.
Something needs to justify the blood and treasure which were spent. If the fallen civilization of the Ringworld can not be despoiled of its secrets and techniques, the Puppeteers should be compelled to give up theirs. we all know that the Puppeteers are cowards.
But the crises converging upon the trillion Puppeteers of the Fleet of Worlds pass some distance past even the onrushing armadas: Adventurer Louis Wu and the exiled Puppeteer identified in basic terms as Hindmost, marooned jointly for greater than a decade, escaped from the Ringworld ahead of it disappeared. And all through these years, as he studied Ringworld expertise, Hindmost has plotted to reclaim his strength ... Ol't'ro, the Gw'oth ensemble mind—and the Fleet of World's unsuspected puppet grasp for a century—is deviously magnificent. And, more and more unbalanced ...Proteus, the substitute intelligence on which—in desperation—the Puppeteers count to control their defenses, is outgrowing its programming. And the intended constraints on its initiative ... Sigmund Ausfaller, paranoid and disgraced hero of the misplaced human colony of latest Terra, understands that anything threatens his followed domestic international. And that it needs to be stopped ...
Achilles, the megalomaniac Puppeteer, two times banished—and two times rehabilitated—sees the Fleet of World's existential quandary as a brand new chance to reclaim ideal energy. regardless of the hazards ... a method or one other, the fabled race of Puppeteers could have come to the tip in their days during this ultimate installment to Larry Niven and Edward M. Lerner's Fleet of Worlds series.
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Additional info for Fate of Worlds: Return from the Ringworld (Known Space: Fleet of Worlds, Book 5)
He tried to do more than just give us faceless unidentified Inuit or Samoans or Irishmen. He pushed film to its filmic specific limit, letting the audience enjoy and identify with a real, albeit exotic, individual. This may be Flaherty’s most important contribution to ethnographic film, and its influence is clear in The Hunters and Dead Birds. It is safe to say that no ethnographic film has suffered from focusing too much on an individual, and many are flawed by not doing so. Flaherty tried to tell a story: not, as in novels or scripted film, a story of human interaction or passion or the search for love or wealth or power, but a story of the individual facing crisis.
Another film called simply Eskimo treats an Inuit love story disrupted by the captain of a trading vessel frozen in the ice near a village. This tradition continues on in the United States with such recent films as the 1974 Inuit story White Dawn and in Canada with the first Inuit-made film, Atanarjuat: The Fast Runner. Other masterpieces of what might be called ethnographic fiction are Satyajit Ray’s Apu Trilogy (Pather Panchali, 1955; The Unvanquished, 1956; and The World of Apu, 1959), which follows Apu and his family from boyhood in a Bengal village to university life in Calcutta (see Wood 1971); and the Algerian-French production Ramparts of Clay (1969), based on Jean Duvignaud’s monograph on a Tunisian village, Change at Shebika (1970).
We will consider this question and its implications in the next chapter. n at iv e fee d b a c k The Flaherty legend relates how Flaherty developed his footage each evening and screened it for his subjects, getting their reactions and advice and thus making them real collaborators in the filmmaking process. This is a fascinating idea. It has the potentially great advantage of making film more truly reflective of the natives’ insight into their own culture. Flaherty may have first showed his footage to his Inuit friends as entertainment.