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Course 6402 Sec. 640
March 3, 2011

Science Fiction and Beyond: Escape to Mars (Research Paper)
Science Iiction embodies the 'what iI. What iI pollution. global warming. or a nuclear war
made it impossible to live on Earth? What if it were possible to live on Mars should Earth
become uninhabitable? This paper examines how science fiction, hypothetically, could make
Planet Mars the next home for human life.
Science Fiction
Science fiction, in a nutshell, is fiction literature that incorporates science and/or innovative
technology. It deals with the impact of imagined innovations in science or technology, often in a
futuristic setting. Science fiction stories are largely based on writing rationally about alternative
possibilities (Wikipedia, n.d.). These stories could very well be possible within the realm of
science, but they could also be stories that defy the very laws of nature.
Settings are important in science Iiction and are varied based on the writer`s preIerence. The
settings may range from a setting in the future, to alternative timelines, to outer space, to time
travel, or worlds involving aliens. The settings, many times, are contrary to known reality
(Wikipedia, n.d.). Famous science fiction films include Star Wars Trilogy IV-VI, Aliens, Jurassic
Park, Back to the Future, Planet of the Apes, The Terminator, E.T.- The Extraterrestrial,
Independence Day, Metropolis, The War of the Worlds, The Time Machine, and Men in Black.
Despite elements that seem far-fetched, science fiction narratives, at times, include
scientific information that contain futuristic ideas and/or scenarios that are realistic.
Characteristics of Mars
The Iourth planet Irom the sun. Mars is one oI Earth`s nearest neighbors. Colder than Earth
and just over half its size, Mars is otherwise remarkably similar to our planet (Davis, 2001).
Research also reveals that Mars has clouds which are formed and disappear just as clouds
do on Earth. Vast dust storms occur quite frequently, obscuring large areas of the surface with
winds up to 100 miles per hour (Matz &Weaver, 2002).
Space expeditions have revealed a lot about the surface of Mars, as well. Mars has numerous
craters. Trace gases such as carbon monoxide, oxygen, ozone, and hydrogen have been found in
the planet`s atmosphere (Matz & Weaver, 2002).
It is known that reddish, rust-brown areas cover most of Martian surface. They are dry,
desertlike regions covered by dust, sand, and rock. The surface material seems to contain
limonite. which is Iound in the Earth`s deserts (Davis. 2001).
Another similarity between Mars and Earth is the presence of a moon. In fact, Mars has two
tiny moons, which are called Phobos and Deimos. Phobos races around the planet in eight hours,
while Deimos goes around it in 30 hours.
Other interesting facts are that a year on Mars would equate to 687 Earth days and that Mars
is around 2.5 billion years old. The shortest distant the planet is from Earth is 34,600,000 miles,
while the longest distance is 248,000 miles.
While Mars has some favorable qualities for possible habitation, there are many complex
problems that still need to be ironed out. Travel time to the planet is one major concern. Mars is
about two thousand times farther than the distance between the Earth and the moon. A Mars trip
would take at least six months (Davis, 2001).
The cold temperature on Mars is yet another factor, scientists would have to consider when
looking at the possibility oI humans living on the 'Red Planet. Despite these obstacles.
advocates for space exploration are still searching for possible options.
Reasons to Leave Earth
Pollution, global warming, and the threat of nuclear war are three factors that can have a
devastating impact on life on Earth.
Pollution poisons our air, land and water. One type pollutant - chemicals have harmed
humans, wildlife, and plant life, on land, sea and air (Web of Creation, n.d). Air pollution, has
been, particularly harmful. The World Health Organization reports that 3 million people now die
each year from the effects of air pollution. This is three times the 1 million who die each year in
automobile accidents (Web of Creation, n.d.) Pollution is classified as point source and nonpoint
source. Point source pollution is specific, coming from places such as a sewage treatment plant
or an industrial site. Nonpoint pollution results from rainfall or melting snow depositing
contaminants into bodies of water.
Another endangerment is global warming. which impacts the Earth`s atmosphere, as well.
Over the past 100 years, the global average temperature has increased by approximately 0.6 C
and is projected to continue to rise at a rapid rate (Root et al., 2003). The increase of the
temperature has a negative effect on both humans and animals. This rapid rise of temperature
could result in numerous extirpations and possibly extinction (Root et al., 2003).
Global warming also heats our oceans. Since hurricanes derive their power from warm
waters, scientists expect more ferocious hurricanes. Scientists also say wildfires, droughts, and
higher risks of floods are linked to increased warming of the earth (Environmental Defense
Fund, n.d.).
Another serious threat is nuclear war, which has the potential to eradicate life as it is known
on Earth today. Such a war, with the release of radiation into the atmosphere, could have a
devastating impact for years to come. All three factors, again pollution, global warming, and
the threat of a nuclear war could make Earth uninhabitable.
Survival Skills on Mars
Humans have basic needs that must be met, no matter where they live. To exist on Mars,
humans require food, water, oxygen, light, clothing, and shelter.
Filmmaking
Aside from distribution of the movie, filmmaking, in the traditional sense, involves four key
stages: development, pre-production, production, and post production. The development stage
includes among other things, two key points: a decision on which genre that will be used and the
writing of the script. It is impossible to have a great film without having a great story, so
choosing the right materials is more important than anything else (Stoller, 2009).
Once the story idea is in place, the writer starts scripting. An easy method to create a movie
is to write a screenplay with three acts. The first act introduces the main character (s) and sets the
story into motion; the conflict intensifies in the second act and the antagonist comes into play,
while in the last act, the conflict comes to a climax and the problem is resolved (Stoller, 2009).
Producing a short film is a good way to start with filmmaking. A short film usually lasts 3-
20 minutes and includes an entire story arc, from beginning to end. If films are 1-4 minutes long,
they lend themselves well to the new technology of streaming over such Internet sites as
YouTube (Stoller, 2009).
The pre-production stage involves the selection of the crew and the casting of the actors and
actresses. When that stage completed, it is time to shoot the film, which is the production stage.
The director prepares and directs the actors as the cameras roll.
During post-production, the staff edit the film, add soundtrack, and post credits. The final
stage of film production is the distribution of the product. Appropriate individuals prepare press
kits, advertising materials and posters to promote the film. Lastly, they send the film to the
cinemas. Middle school students may consider teacher or student-friendly educational websites
for distribution.
An animated science fiction movie, detailing humans living on Mars, can be made with
a program called Xtranormal. This online video editing program is different from the traditional
movie making because it combines steps and simplifies the methods for movie production. It
puts direction right into the hand of the user. The user can select a limited number of characters,
type and assign text for the characters, creating audible voices for them. Xtranormal allows
plenty of creativity because of the simplicity of the program. The producer of the movie can
spend more time working with the script and the lines of the actors and actresses because there is
less to do with setup of characters and scene changes as is required with some of the other online
movie maker software.
Once the user selects the characters for the animated movie, the editing screen comes up,
providing tools to edit, change camera angles, move the characters, and change their expressions
(Online Tech Tips, 2003). Xtranormal also has the capability to let the user to change the scenes
and to add a soundtrack.
This latest technology, combined with researched information on Mars and the trigger
factors for leaving Earth, offers the movie producer tools to create a mini science fiction movie
that outlines how humans can live on Planet Mars.







References
Davis, K. C. (2001). Dont know much about the universe. New York, N.Y.: HarperCollins
Publishers, Inc.
Environmental Defense Fund (n.d.). Retreived from http://www.edf.org/page.cfm?tagID=1405
Matz, L. & Weaver, J. H. (1989). The unfolding universe. Cambridge, Mass.: Perseus Publishing.
Online Tech Tips. (2008, May 7). How to Make Your Own Animated Movie on Line.
Retrieved from http://www.online-tech-tips.com/cool-websites/create-animated-movie-
online/ (2011, March 3).
Root, T. L., Price, J. T., Hall, K. R, Schneider, S. H., Rosenzweig , C. & Pounds, J. A. (2003).
Fingerprints of global warming on wild animals and plants. Nature!421, 57-60.
Science Fiction. (n.d.). In Wikipedia The Free Encyclopedia online. Retrieved from
http://en.wikipedia.org/wiki/Science_fiction
Stoller, B. M. (2009). Fil mmaking For Dummies. Wiley. Retrieved 26 February
2011, from <http://lib.myilibrary.com.jproxy.lib.ecu.edu?ID=194649>
Web of Creation, (n.d.) Retrieved from
http://www.webofcreation.org/Earth%20Problems/pollution.htm.


!






Unit Topic Connects to Odyssey Theme

The unit on Mars. titled 'Science Fiction and Beyond: Escape to Mars. ties in neatly

with the Odyssey theme for the 2011 summer camp for gifted students. Odyssey, as we define it,

is a quest for information and a probe for answers that could address and resolve a world

problem. and consequently result in beneIicial changes Ior the world population. The 'odyssey

experience should help students to think, critically, about significant contributions they can make

to the world they live in.

The unit provides a challenge for young scholars to investigate information from

various media as they consider whether Mars is a suitable habitat for humans to live. They will

not only explore the topography and environment of Mars, but present solutions for building

homes and communities and meeting all the other needs for human existence in a production of

an animated science fiction movie. As a precursor to the film production, students will examine

three factors that could trigger the exit from Earth: pollution, global warming, and nuclear war.

One of these or a combination of these factors could make Earth obsolete and make relocation

an absolute necessity.

Another manner in which the topic connects to odyssey is in the complex twists and turns

students must take to find a way to live on Mars. While Mars shows potential for life, there are

many obstacles that could deter living on the red planet. Discovering adequate oxygen, water,

and food supply are just a smidgen of the obstacles humans must overcome to live on Mars.

Although answers will not come easy, students will conduct an in-depth study and collaborate

with one another until they reach a workable solution. Integrating the technology of computer

programs, such as Xtranormal, will enable students to detail their solution through a mini,

animated, science fiction movie.

I nfused Technology Paper
Earth is a life sustaining planet, if humans continue on the path of destruction what
options for survival will they have? Presently we are faced with global warming, pollution, and
global unrest (which could possibly lead to nuclear war). If Earth became uninhabitable humans
would need another planet on which to live. When would the great human migration take place
and where would it lead them? The closet planet to the Earth is Mars; is it a suitable location for
humans?
NASA and other space exploration entities around the world have been interested in Mars
and the possibilities of life on this particular planet. People of all ages especially young students,
have been interested in space exploration. Mars is the planet closet to the Earth. Scientist
continues to make new discoveries related to the possibility of life on Mars.
Science fiction has been a great creative tool used to express one`s views to a particular
topic. In this camp unit students will use science fiction combined with computer animation to
describe a fictional human migration to Mars. Students will use the content learned during
camp along with their own hypothesis to determine the best options for Mars inhabitation.
A mini science fiction animated movie developed using Xtranormal along with the State
add on software will describe their journey and new home. State gives Xtranormal users
additional animation options normally unavailable. Xtranomal combined with State is an
animation software which incorporates computer generated characters and scenes. Xtranomal
and State software combined also allows students to include video or image overlays. This
software allows students to include more characters and backgrounds. Xtranormal animated
movies may also be uploaded to YouTube, Facebook, and Twitter. Over the duration of this
course campers will develop this animation, based on the real world problem (the slow death of
Earth) with a fictional solution finding a new habitation for the human race. As students learn
new information about Earth and Mars they will need time to collaborate. Piratepad is a great
collaboration tool. Students can use Pirate Pad throughout camp week. Camp participants from
each section can discuss and plan their movies. They will be able to post comments, ideas, and
links to websites they may want to use during the development stage of their animated movie.
Once completed the students` animated science Iiction movie can be uploaded to
YouTube as well as sent to university scientist, science museums and Go-Science to be used as a
learning tool for those interested in science fiction and space exploration.











Content Outline
Science Fiction and Beyond: Escape to Mars
Ethel Hunter and Venisha Murphy

I. Key Elements of Science Fiction
A. Know the Genre - What is science fiction?
1. Science fiction is imaginative; answers the 'what iI`?
2. Science fiction focuses on the future
a. uses futuristic technology
b. stories of impossible quests
c. explores distant planets.
B. List of Science Fiction Movies that Exemplify the genre

II. Characteristics of Mars
A. Similarities to Earth
B. Topography of Mars
1. Contains numerous craters
2. The planet has desert like regions
C. Mars has trace gases such as oxygen, ozone, and hydrogen


III. Reasons Humans are Leaving Earth
A. Pollution
B. Global Warming
1. Causes Ferocious Hurricanes
2. Creates Conditions for More Droughts
C. Nuclear War

IV. Necessities for Survival on Mars
A. Food Sources
B. Water
1. Body is comprised mostly of water; an essential element
2. Losing too much water leads to dehydration and possibly death
C. Oxygen
D. Energy Source
E. Clothing
F. Shelter

V. Traditional Filmmaking - The Stages to Create a Movie
A. Development
1. The produces decides on a story which may come from a book, film,
or original idea.
2. The producer collaborates with writers to determine a theme.
3. Writers develop a script.


B. Pre-production
1. Mapping Out Steps of the Movie
a. The tasks of the director
i. Responsible for storytelling
ii. Responsible for creative decisions
b. Casting director`s iob
i. Determines which acting roles are needed
ii. Decides on the actors to fill the roles in the movie
c. Duties of the director of photography
i. Supervises the photography for entire film
ii. This individual is also know as a cinematographer
d. Duties of the director of audiography
i. Supervises the sound for the film
ii. Edits sound for film; ensures all scenes have top
quality.

/ C. Production
1. The video/film is create and shot
a. Actors play their respective roles
b. Director makes decisions about acting scenes

D. Post-production
1. The film is edited
2. The soundtrack and video are combined
3. The final version of the film is previewed before release for specified
audience.

VI. Using Technology to Create a Science Fiction Animated Movie
A. Technology Simplifies Steps of Traditional Movie-Making
B. Types of Movie Making Computer Programs

VII. XtraNormal Brings Mars Movie to Life
A. Developing storyline
B. Writing the Script
C. Selecting the characters
D. Directing the acting
1. Adding sound to the actors
2. Adding movement and motion to actors
E. Editing
F. Adding music or soundtrack



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Note: This story will be handed out to students as a homework assignment.

DARK THEY WERE AND GOLDEN-EYED

BY RAY BRADBURY

This story shows the effects of their strange new surroundings on a family
of travellers to Mars. It is also a suspense story. Ray Bradbury's description
of Mars and the reactions to it of the Bittering family give warning that
something could go wrong. The atmosphere is one of apprehension and
foreboding. Slowly but surely, the circumstances tighten around Harry
Bittering. Perhaps, too, the story is a parable, illustrating the ways that
people respond to the environments in which they find themselves.

THE rocket's metal cooled in the meadow winds. Its lid gave a bulging pop.
From its clock interior stepped a man, a woman, and three children. The
other passengers whispered away across the Martian meadow, leaving the
man alone among his family.
The man felt his hair flutter and the tissues of his body draw tight as if
he were standing at the centre of a vacuum. His wife, before him, trembled.
The children, small seeds, might at any instant be sown to all the Martian
climes.
The children looked up at him. His face was cold.
'What's wrong?' asked his wife.
'Let's get back on the rocket.'
'Go back to Earth?'
'Yes! Listen!'
The wind blew, whining. At any moment the Martian air might draw
his soul from him, as marrow comes from a white bone.
He looked at Martian hills that time had worn with a crushing pressure
of years. He saw the old cities, lost and lying like children's delicate bones
among the blowing lakes of grass.
'Chin up, Harry,' said his wife. 'It's too late. We've come at least sixty-
five million miles or more.'
The children with their yellow hair hollered at the deep dome of
Martian sky. There was no answer but the racing hiss of wind through the
stiff grass.
He picked up the luggage in his cold hands. 'Here we go,' he said a
man standing on the edge of a sea, ready to wade in and be drowned.
They walked into town.

Their name was Bittering. Harry and his wife Cora; Tim, Laura, and
David. They built a small white cottage and ate good breakfasts there, but
the fear was never gone. It lay with Mr Bittering and Mrs Bittering, a third
unbidden partner at every midnight talk, at every dawn awakening.
'I feel like a salt crystal,' he often said, 'in a mountain stream, being
washed away. We don't belong here. We're Earth people. This is Mars. It
was meant for Martians. For heaven's sake, Cora, let's buy tickets for
home!'
But she only shook her head. 'One day the atom bomb will fix Earth.
Then we'll be safe here.'
'Safe and insane!'
Tick-tock, seven o'clock sang the voice clock; time to get up. And
they did.
Something made him check everything each morning warm hearth,
potted blood-geraniums - precisely as if he expected something to be
amiss. The morning paper was toast-warm from the six a.m. Earth rocket.
He broke its seal and tilted it at his breakfast plate. He forced himself to be
convivial.
'Colonial days all over again,' he declared. 'Why, in another year
there'll be a million Earthmen on Mars. Big cities, everything! They said
we'd fail. Said the Martians would resent our invasion. But did we, find any
Martians! Not a living soul! Oh, we found their empty cities, but no one in
them. Right?'
A river of wind submerged the house. When the windows ceased
rattling, Mr Bittering swallowed and looked at the children.
'I don't know,' said David. 'Maybe there're Martians around we don't
see. Sometimes nights I think I hear 'em. I hear the wind. The sand hits my
window. I get scared. And I see those towns way up in the mountains
where the Martians lived a long time ago. And I think I see things moving
around those towns, Papa. And I wonder if those Martians mind us living
here. I wonder if they won't do something to us for coming here.'
'Nonsense!' Mr Bittering looked out of the windows. 'We're clean,
decent people.' He looked at his children. 'All dead cities have some kind of
ghosts in them. Memories, I mean.' He stared at the hills. 'You see a
staircase and wonder what Martians looked like climbing it. You see
Martian paintings and you wonder what the painter was like. You make a
little ghost in your mind, a memory. It's quite natural. Imagination.' He
stopped. 'You haven't been prowling up in those ruins, have you?'
'No, Papa.' David looked at his shoes.
'See that you stay away from them. Pass the jam.'
'Just the same,' said little David, 'I bet something happens.'

Something happened that afternoon.
Laura stumbled through the settlement, crying. She dashed blindly on
to the porch.
'Mother, Father - the war, Earth!' she sobbed. 'A radio flash just
came. Atom bombs hit New York! All the space rockets blown up. No more
rockets to Mars, ever!'
'Oh, Harry!' The mother held on to her husband and daughter.
'Are you sure, Laura?' asked the father quietly.
Laura wept. 'We're stranded on Mars, for ever and ever!'
For a long time there was only the sound of the wind in the late
afternoon.
Alone, thought Bittering. Only a thousand of us here. No way back.
No way. No way. Sweat poured from his face and his hands and his body;
he was drenched in the hotness of his fear. He wanted to strike Laura, cry,
'No, you're lying! The rockets will come back!' Instead, he stroked Laura's
head against him and said, 'The rockets will get through, some day.'
'In five years maybe. It takes that long to build one. Father, Father,
what will we do?'
'Go about our business, of course. Raise crops and children. Wait.
Keep things going until the war ends and the rockets come again.'
The two boys stepped out on to the porch.
'Children,' he said, sitting there, looking beyond them, 'I've something
to tell you.'
'We know,' they said.

Bittering wandered into the garden to stand alone in his fear. As long
as the rockets had spun a silver web across space, he had been able to
accept Mars. For he had always told himself: Tomorrow, if I want, I can buy
a ticket and go back to Earth.
But now: the web gone, the rockets lying in jigsaw heaps of molten girder
and unsnaked wire. Earth people left to the strangeness of Mars, the
cinnamon dusts and wine airs, to be baked like gingerbread shapes in
Martian summers, put into harvested storage by Martian winters.
What would happen to him, the others? This was the moment Mars
had waited for. Now it would eat them.
He got down on his knees in the flower-bed, a spade in his nervous
hands. Work, he thought, work and forget.
He glanced up from the garden to the Martian mountains. He thought
of the proud old Martian names that had once been on those peaks.
Earthmen, dropping from the sky, had gazed upon hills, rivers, Martian
seas left nameless in spite of names. Once Martians had built cities, named
cities; climbed mountains, named mountains; sailed seas, named seas.
Mountains melted, seas drained, cities tumbled. In spite of
this, the Earthmen had felt a silent guilt at putting new names to these
ancient hills and valleys.
Nevertheless, man lives by symbol and label. The names were given.
Mr Bittering felt very alone in his garden under the Martian sun, bent
here, planting Earth flowers in a wild soil.
Think. Keep thinking. Different things. Keep your mind free of Earth,
the atom war, the lost rockets.
He perspired. He glanced about. No one watching. He removed his
tie. Pretty bold, he thought. First your coat off, now your tie. He hung it
neatly on a peach tree he had imported as a sapling from Massachusetts.
He returned to his philosophy of names and mountains. The
Earthmen had changed names. Now there were Hormel Valleys, Roosevelt
Seas, Ford Hills, Vanderbilt Plateaus, Rockefeller Rivers, on Mars. It wasn't
right. The American settlers had shown wisdom, using old Indian prairie
names: Wisconsin, Minnesota, Idaho, Ohio, Utah, Milwaukee, Waukegan,
Osseo. The old names, the old meanings.
Staring at the mountains wildly he thought: Are you up there? All the
dead ones, you Martians? Well, here we are, alone, cut off! Come down,
move us out! We're helpless!
The wind blew a shower of peach blossoms.
He put out his sun-browned hand, gave a small cry. He touched the
blossoms, picked them up. He turned them, he touched them again and
again. Then he shouted for his wife.
'Cora!'
She appeared at a window. He ran to her.
'Cora, these blossoms!'
She handled them.
'Do you see? They're different. They've changed! They're not peach
blossoms any more!'
'Look all right to me,' she said.
'They're not. They're wrong! I can't tell how. An extra petal, a leaf,
something, the colour, the smell!'
The children ran out in time to see their father hurrying about the
garden, pulling up radishes, onions, and carrots from their beds.
'Cora, come look!'
They handled the onions, the radishes, the carrots among them.
'Do they look like carrots?'
'Yes . No.' She hesitated. 'I don't know.'
'They're changed.'
'Perhaps. '
'You know they have! Onions but not onions, carrots but not carrots.
Taste the same but different. Smell: not like it used to be.' He felt his heart
pounding, and he was afraid. He dug his fingers into the earth.
'Cora, what's happening? What is it? We've got to get away from this.'
He ran across the garden. Each tree felt his touch. 'The roses. The
roses. They're turning green!'
And they stood looking at the green roses.
And two days later, Tim came running. 'Come see the cow. I was
milking her and I saw it. Come on!'
They stood in the shed and looked at their one cow.
It was growing a third horn.
And the lawn in front of their house very quietly and slowly was
colouring itself, like spring violets. Seed from Earth but growing up a soft
purple.
''We must get away,' said Bittering. 'We'll eat this stuff and then we'll
change -who knows to what. I can't let it happen. There's only one thing to
do. Burn this food!'
'It's not poisoned.'
'But it is. Subtly, very subtly. A little bit. A very little bit. We mustn't
touch it.'
He looked with dismay at their house. 'Even the house. The wind's
done something to it. The air's burned it. The fog at night. The boards, all
warped out of shape. It's not an Earthman's house any more.'
'Oh, your imagination!'
He put on his coat and tie. 'I'm going into town. We've got to do
something now. I'll be back.'
'Wait, Harry!' his wife cried.
But he was gone.

In town, on the shadowy step of the grocery store, the men sat with
their hands on their knees, conversing with great leisure and ease.
Mr Bittering wanted to fire a pistol in the air.
What are you doing, you fools! he thought. Sitting here! You've heard
the news - we're stranded on this planet. Well, move! Aren't you
frightened? Aren't you afraid? What are you going to do?
'Hello, Harry,' said everyone.
'Look,' he said to them. 'You did hear the news, the other day, didn't
you?'
They nodded and laughed. 'Sure. Sure, Harry.'
'What are you going to do about it?'
'Do, Harry, do? What can we do?'
'Build a rocket, that's what!'
'A rocket, Harry? To go back to all that trouble? Oh, Harry!'
'Here you are, Harry.' Sam handed him a pocket mirror. 'Take a look
at yourself.'
Mr Bittering hesitated, and then raised the mirror to his face.
There were little, very dim flecks of new gold captured in the blue of
his eyes. I
'Now look what you've done,' said Sam, a moment later. 'You've
broken my mirror.'
Harry Bittering moved into the metal shop and began to build the
rocket. Men stood in the open door and talked and joked without raising
their voices. Once in a while they gave him a hand on lifting something. But
mostly they just idled and watched him with their yellowing eyes.
'It's suppertime, Harry,' they said. His wife appeared with his supper
in a wicker basket.
'I won't touch it,' he said. 'I'll eat only food from our deep-freeze. Food
that came from Earth. Nothing from our garden.'
His wife stood watching him. 'You can't build a rocket.'
'I worked in a shop once, when I was twenty. I know metal. Once I get
it started, the others will help,' he said, not looking at her, laying out the
blueprints.
'Harry, Harry,' she said, helplessly.
'We've got to get away, Cora. We've got to!'

The nights were full of wind that blew down the empty moonlit sea-
meadows past the little white chess cities lying for their twelve-thousandth
year in the shallows. In the Earthmen's settlement, the Bittering house
shook with a feeling of change.
Lying abed, Mr Bittering felt his bones shifted, shaped, melted like
gold. His wife, lying beside him, was dark from many sunny afternoons.
Dark she was, and golden, burnt almost black by the sun, sleeping, and the
children metallic in their beds, and the wind roaring forlorn and changing
through the old peach trees, the violet grass,
shaking out green rose petals.
The fear would not be stopped. It had his throat and heart. It dripped
in a wetness of the arm and the temple and the trembling palm.
A green star rose in the east.
A strange word emerged from Mr Bittering's lips.
'Iorrt. Iorrt.' He repeated it.
It was a Martian word. He knew no Martian.
In the middle of the night he arose and dialled a call through to
Simpson, the archaeologist.
'Simpson, what does the word "Iorrt" mean?'
'Why that's the old Martian word for our planet Earth. Why?'
'No special reason.'
The telephone slipped from his hand.
'Hello, hello, hello, hello,' it kept saying while he sat gazing out at the
green star. 'Bittering? Harry, are you there?'

The days were full of metal sound. He laid the frame of the rocket with the
reluctant help of three indifferent men. He grew very tired in an hour or so
and had to sit down.
'The altitude,' laughed a man.
'Are you eating, Harry?' asked another.
'I'm eating,' he said, angrily.
'From your deep-freeze?'
'Yes!'
'You're getting thinner, Harry.'
'I'm not!'
'And taller.'
'Liar!'

His wife took him aside a few days later. 'Harry, I've used up all the
food in the deep-freeze. There's nothing left. I'll have to make sandwiches
using food grown on Mars.'
He sat down heavily.
'You must eat,' she said. 'You're weak.'
'Yes,' he said.
He took a sandwich, opened it, looked at it, and began to nibble at it.
'And take the rest of the day off,' she said. 'It's hot. The children want
to swim in the canals and hike. Please come along.'
'I can't waste time. This is a crisis!'
Just for an hour,' she urged. 'A swim'll do you good.'
He rose, sweating. 'All right, all right. Leave me alone. I'll come.'
'Good for you, Harry.'
The sun was hot, the day quiet. There was only an immense staring
burn upon the land. They moved along the canal, the father, the mother,
the racing children in their swimsuits. They stopped and ate meat
sandwiches. He saw their skin baking brown. And he saw the yellow eyes
of his wife and his children, their eyes that were never yellow before. A few
tremblings shook him, but were carried off in waves of pleasant heat as he
lay in the sun. He was too tired to be afraid.
'Cora, how long have your eyes been yellow?'
She was bewildered. 'Always, I guess.'
'They didn't change from brown in the last three months?'
She bit her lips. 'No. Why do you ask?'
'Never mind.'
They sat there.
'The children's eyes,' he said. 'They're yellow, too.'
'Sometimes growing children's eyes change colour.'
'Maybe we're children, too. At least to Mars. That's a thought.' He
laughed. 'Think I'll swim.'
They leaped into the canal water, and he let himself sink down and
down to the bottom like a golden statue and lie there in green silence.
All was water, quiet and deep, all was peace. He felt the steady, slow
current drift him easily.
If I lie here long enough, he thought, the water will work and eat away
my flesh until the bones show like coral. Just my skeleton left. And then the
water can build on that skeleton - green things, deep-water things, red
things, yellow things. Change. Change. Slow, deep, silent change. And isn't
that what it is up there?
He saw the sky submerged above him, the sun made Martian by
atmosphere and time and space.
Up there, a big river, he thought, a Martian river, all of us lying deep
in it, in our pebble houses, in our sunken boulder houses, like crayfish
hidden, and the water washing away our old bodies and lengthening the
bones and -
He let himself drift up through the soft light.
Tim sat on the edge of the canal, regarding his father seriously.
'Utha,' he said.
'What?' asked his father.
The boy smiled. 'You know. Utha's the Martian word for "father".'
'Where did you learn it?'
'I don't know. Around. Utha!'
'What do you want?'
The boy hesitated. 'I - I want to change my name.'
'Change it?'
'Yes.'
His mother swam over. 'What's wrong with Tim for a name?'
Tim fidgeted. 'The other day you called Tim, Tim, Tim. I didn't even
hear. said to myself, That's not my name. 've a new name want to use.'
Mr Bittering held to the side of the canal, his body cold and his heart
pounding slowly. 'What is this new name?'
'Linnl. Isn't that a good name? Can I use it? Can I, please?'
Mr Bittering put his hand to his head. He thought of the rocket,
himself working alone, himself alone even among his family, so alone.
He heard his wife say, 'Why not?'
He heard himself say, 'Yes, you can use it.'
'Yaaa!' screamed the boy. 'I'm Linnl, Linnl!'
Racing down the meadowlands, he danced and shouted.
Mr Bittering looked at his wife. 'Why did we do that?'
'I don't know,' she said. 'It just seemed like a good idea.'
They walked into the hills. They strolled on old mosaic paths, beside
still-pumping fountains. The paths were covered with a thin film of cool
water all summer long. You kept your bare feet cool all the day, splashing
as in a creek, wading.
They came to a small deserted Martian villa with a good view of the
valley. It was on top of a hill. Blue marble halls, large murals, a swimming
pool. It was refreshing in this hot summertime. The Martians hadn't
believed in large cities.
'How nice,' said Mrs Bittering, 'if you could move up here to this villa
for the summer.'
'Come on,' he said. 'We're going back to town. There's work to be
done on the rocket.'
But as he worked that night, the thought of the cool blue marble villa
entered his mind. As the hours passed, the rocket seemed less important.
In the flow of days and weeks, the rocket receded and dwindled. The
old fever was gone. It frightened him to think he had let it slip this way. But
somehow the heat, the air, the working conditions -
He heard the men murmuring on the porch of his metal shop.
'Everyone's going. You heard?'
'All right. That's right.'
Bittering came out. 'Going where?' He saw a couple of trucks, loaded
with children and furniture, drive down the dusty street.
'Up to the villa,' said the man.
'Yeah, Harry. I'm going. So is Sam. Aren't you, Sam?'
'That's right, Harry. What about you?'
'I've got work to do here.'
'Work! You can finish that rocket in the autumn, when it's cooler.'
He took a breath. 'I got the frame all set up.'
'In the autumn is better.' Their voices were lazy in the heat.
'Got to work,' he said.
'Autumn,' they reasoned. And they sounded so sensible, so right.
'Autumn would be best,' he thought. 'Plenty of time, then.'
No! cried part of himself, deep down, put away, locked tight,
suffocating. No! No!
'In the autumn,' he said.
'Come on, Harry,' they all said.
'Yes,' he said, feeling his flesh melt in the hot liquid air. 'Yes, in the
autumn. I'll begin work again then.'
'I got a villa near the Tirra Canal,' said someone.
'You mean the Roosevelt Canal, don't you?'
'Tirra. The old Martian name.'
'But on the map - '
'Forget the map. It's Tirra now. Now I found a place in the Pillan
mountains - '
'You mean the Rockefeller range,' said Bittering.
'I mean the Pillan mountains,' said Sam.
'Yes,' said Bittering, buried in the hot, swarming air. 'The Pillan
mountains. '
Everyone worked at loading the truck in the hot, still afternoon of the
next day.
Laura, Tim, and David carried packages. Or, as they preferred to be
known, Ttil, Linnl, and Werr carried packages.
The furniture was abandoned in the little white cottage.
'It looked just fine in Boston,' said the mother. 'And here in the
cottage. But up at the villa? No. We'll get it when we come back in the
autumn. '
Bittering himself was quiet.
'I've some ideas on furniture for the villa,' he said, after a time. 'Big,
lazy furniture.'
'What about your Encyclopaedia? You're taking it along, surely?'
Mr Bittering glanced away. 'I'll come and get it next week.'
They turned to their daughter. 'What about your New York dresses?'
The bewildered girl stared. 'Why, I don't want them any more.'
They shut off the gas, the water, they locked the doors and walked
away. Father peered into the truck.
'Gosh, we're not taking much,' he said. 'Considering all we brought to
Mars, this is only a handful!'
He started the truck.
Looking at the small white cottage for a long moment, he was filled
with a desire to rush to it, touch it, say goodbye to it, for he felt as if he were
going away on a long journey, leaving something to which he could never
quite return, never understand again.
'Where did they go?' he wondered. He glanced at his wife. She was
golden and slender as his daughter. She looked at him, and he seemed
almost as young as their eldest son.
'I don't know,' she said.
'We'll go back to town maybe next year, or the year after, or the year
after that,' he said, calmly. 'Now - I'm warm. How about taking a swim?'
They turned their backs to the valley. Arm in arm they walked silently
down a path of clear running spring water.

Five years later, a rocket fell out of the sky. It lay steaming in the
valley. Men leaped out of it, shouting.
'We won the war on Earth! We're here to rescue you! Hey!'
But the American-built town of cottages, peach trees, and theatres
was silent. They found a half-finished rocket frame, rusting in an empty
shop.
The rocket men searched the hills. The captain established head-
quarters in an abandoned bar. His lieutenant came back to report.
'The town's empty, but we found native life in the hills, sir. Dark
people. Yellow eyes. Martians. Very friendly. We talked a bit, not much.
They learn English fast. I'm sure our relations will be most friendly with
them, sir.'
'Dark, eh?' mused the captain. 'How many?'
'Six, eight hundred, I'd say, living in those marble ruins in the hills, sir.
Tall, healthy. Beautiful women.'
'Did they tell you what became of the men and women who built this
Earth settlement, Lieutenant?'
'They hadn't the foggiest notion of what happened to this town or its
people.'
'Strange. You think those Martians killed them?'
'They look surprisingly peaceful. Chances are a plague did this town
in, sir.'
'Perhaps. I suppose this is one of those mysteries we'll never solve.
One of those mysteries you read about.'
The captain looked at the room, the dusty windows, the blue
mountains rising beyond, the canals moving in the light, and he heard the
soft wind in the air. He shivered. Then, recovering, he tapped a large fresh
map he had thumb-tacked to the top of an empty table.
'Lots to be done, Lieutenant.' His voice droned on and quietly on as
the sun sank behind the blue hills. 'New settlements. Mining sites, minerals
to be looked for. Bacteriological specimens taken. The work, all the work.
And the old records were lost. We'll have a job of remapping to do,
renaming the mountains and rivers and such. Calls for a little imagination.
'What do you think of naming those mountains the Lincoln Mountains,
this canal the Washington Canal, those hills - we can name those hills for
you, Lieutenant. Diplomacy. And you, for a favour, might name a town for
me. Polishing the apple. And why not make this the Einstein Valley, and
further over ... are you listening, Lieutenant?'
The lieutenant snapped his gaze from the blue colour and the quiet
mist of the hills far
beyond the town.
'What? Oh, yes,
Sir.'
!
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Science Fiction Worksheet (KWL)

Write what you know about science fiction in the box below.

Write what you would like to know about science fiction in the box below.


After teacher presentation, write three pieces of information you have learned in the box below




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4. AnlMA1Lu S1C8? 8CA8uS 10-lnS18uC1C8S WlLL LxLAln 1C S1uuLn1S
PCW 1PL? WlLL uSL S1C8? 8CA8uS AS l8AMLS 1C W8l1L 1PLl8 SC8l1 lC8
1PL SClLnCL llC1lCn MCvlL.

k1kANCkMAL 1U1CkIAL (30 MINU1L5)
1. ln18CuuCL S1uuLn1S 1C x18AnC8MAL Sl1L. 1PlS Sl1L lS A 1CCL S1uuLn1S
WlLL uSL 1C C8LA1L An AnlMA1Lu SClLnCL MCvlL A8Cu1 MlC8A1lnC 1C
MA8S
2. CC CvL8 vluLC C1lCnS Anu lnS18uC1lCnAL PAnu-Cu1S.
3. lAClLl1A1L S1uuLn1S SPC81 8AC1lCL 8un Cn 1PL Sl1L.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!1LMLA1L ICk ACADLMICALL kIGCkCU5 LNkICnMLN1 LL55CN!
LL55CN LAN DA 3
IkAk CN A 8UDGL1
I. DLIINL 1nL CCN1LN1
LL55CN C8ILC1IVL:
51UDLN15 WILL DIkLC1 AND kCDUCL AN ANIMA1LD 5CILNCL IIC1ICN MCVIL 1nA1 CU1LINL5 5CLU1ICN5 ICk LIVING CN MAk5.

LL55CN CIN1 1C CNDLk: (kLMLM8Lk 1nI5 I5 A 51A1LMLN1 1nA1 5nCULD LLICI1 CCNVLk5A1ICN, 1nINkING AND DL8A1L. 1nI5 I5
NC1 A CUL51ICN.)
1nLkL I5 CNL CNL GCCD 5CLU1ICN ICk LVLk kC8LLM.


II. kLLANNING: 8LGIN WI1n 1nL LND IN MIND
A. WnA1 3 I1LM5 AkL WCk1n
kNCWING?
(1nINk A8CU1 1nL CCN1LN1 CU
nAVL 5LLLC1LD. WnA1 I5 IMCk1AN1
ICk 51UDLN15 1C kNCW?)

Al1L8 1PL LLSSCn,
S1uuLn1S WlLL knCW 1PA1 ln SCML CASLS 1PL8L lS nC 8lCP1 C8 W8CnC AnSWL8, !uS1 A
ulllL8Ln1 vlLW

S1uuLn1S WlLL knCW 1PA1 A SClLnCL llC1lCn S1C8? CAn 8L An Lx1LnSlCn Cl A SClLn1lllC
luLA.

S1uuLn1S WlLL knCW 1PA1 C8LA1lvl1? lS A SCLu1lCn.

8. WnA1 3 I1LM5 AkL IMCk1AN1
ICk 51UDLN15 1C 8L A8LL 1C DC?
(DLIINL WnA1 51UDLN15 5nCULD 8L
A8LL 1C DC A5 A kL5UL1 CI CUk
LL55CN.)

Al1L8 1PL LLSSCn,
S1uuLn1S SPCuLu 8L A8LL 1C uLvLLC An AnlMA1Lu MCvlL.

S1uuLn1S SPCuLu 8L A8LL 1C MAnluLA1L CPA8AC1L8 MCvLMLn1S Anu Lx8LSSlCn.

S1uuLn1S SPCuLu 8L A8LL 1C uLSlCn MuL1lLL SCLnLS.

C. WnA1 AkL 1nL LNDUkING
UNDLk51ANDING5 1nA1 51UDLN15
5nCULD 1AkL AWA IkCM 1nL
LL55CN? (DLIINL 1nL 8IG IDLA5.)

Al1L8 1PL LLSSCn,
S1uuLn1S WlLL unuL8S1Anu 1PA1 SClLnCL llC1lCn lS A WC8k ln 8CC8LSS CCn1lnuCuSL?
LvCLvlnC

S1uuLn1S WlLL unuL8S1Anu 1PA1 1LAM WC8k lS vl1AL 1C A SuCCLSSluL 8CuuC1.

S1uuLn1S WlLL unuL8S1Anu 1PA1 CCLLA8C8A1lCn 8LSuL1S ln A S18CnCL8 8CuuC1.


III. LANNING
D. L55LN1IAL CUL51ICN:
(CNL CVLkAkCnING LL55CN
CUL51ICN )
PCW WlLL ?Cu uSL x18AnC8MAL SCl1WA8L 1C uLvLLC A SClLnCL llC1lCn
MCvlL?
L. A55L55MLN1:
(LkICkMANCL 1A5k) WnA1 WILL
1nL 51UDLN15 DC 1C 5nCW CU 1nA1
1nL MA51LkLD 1nL CCN1LN1?
S1uuLn1S WlLL uLvLLC A luLL AnlMA1Lu lLA1u8L. lnS18uC1C8S WlLL ASSLSS
S1uuLn1S Wl1P 1PL llnAL 8CuuC1 8u88lC.
I. CCN1LN1
LI51 1nL CCN1LN1 ICk 1nI5 LL55CN
CNL.
(CU1LINL 1nL CCN1LN1 CU WILL
1LACn 1CDA-1nI5 MA CCML IkCM
CUk CCN1LN1 CU1LINL)
LxLAln 1PL8L CCuLu 8L vA8lCuS SCLu1lCnS lC8 CnL 8LAL 8C8LLM.
lnS18uC1C8S WlLL luLn1ll? Anu LLC1u8L Cn WALL-L Anu AvA1A8 AS LxAMLLS
Cl SClLnCL llC1lCn MCvlLS Wl1P ulllL8Ln1 SCLu1lCnS.
G. nCCk:
(DL5CkI8L nCW CU WILL GkA8
51UDLN15 A11LN1ICN A1 1nL
8LGINNING CI 1nL LL55CN. 8L
CkLA1IVL.)
WALL-L vL8SuS AvA1A8
SPCW S1uuLn1S A A81lCuLA8 SCLnL l8CM LACP MCvlL 8C1P lCCuSlnC Cn
LA81PS lnA8lLl1? 1C luLL? SuS1Aln LllL.

1WC vL8? ulllL8Ln1 SCLu1lCnS lC8 CnL 8C8LLM

n. IN51kUC1ICN:
(1LLL, 51L-8-51L, WnA1 CU WILL
DC.)
kCDUC1 DLVLLCMLN1 DI5CU55ICN(15 MINU1L5)
1PL8L WlLL 8L vL8? Ll11LL lnS18uC1lCn Anu MC8L lAClLl1A1lnC 1PlS uA?.
1. ulSCuSS Wl1P S1uuLn1S 1PL ulllL8Ln1 ln1L88L1A1lCnS Cl 1PL SAML
8C8LLM.
2. 8C8L S1uuLn1S lC8 1PLl8 vlLW Cl 1PL 1WC MCvlL C1lCnS.

INDLLNDLN1 kCDUC1 DLVLLCMLN1(50 MINU1L5)
1. 8LLLASL S1uuLn1S 1C CCn1lnuL 8CuuC1 uLvLLCMLn1
2. MCnl1C8 Anu lAClLl1A1L S1uuLn1 AC1lvl1lLS.
3. S1uuLn1S WlLL WC8k 1C CCMLL1L 1PL Ln1l8L MCvlL SC 1PA1 Lul1lnC
MA? 1AkL LACL Cn uA? lCu8.
S1uuLn1S WlLL WC8k Cn SC8l1S, SCunu, SCLnL8?, AC1C8S SLAklnC
A81S, L1C.



1LMLA1L ICk ACADLMICALL kIGCkCU5 LNkICnMLN1 LL55CN
LL55CN LAN DA 4 1PL ul8LC1C8S Cu1
I. DLIINL 1nL CCN1LN1
LL55CN C8ILC1IVL:
51UDLN1 WILL LLAkN nCW 1C LDI1 IILM5.
LL55CN CIN1 1C CNDLk: (kLMLM8Lk 1nI5 I5 A 51A1LMLN1 1nA1 5nCULD LLICI1 CCNVLk5A1ICN, 1nINkING AND DL8A1L. 1nI5 I5
NC1 A CUL51ICN.
DIkLC1Ck5 5nCULD nAVL GCCD IUDGMLN1 1C LIILC1IVLL LDI1 A MCVIL.!!


II. kLLANNING: 8LGIN WI1n 1nL LND IN MIND
A. WnA1 3 I1LM5 AkL WCk1n
kNCWING?
(1nINk A8CU1 1nL CCN1LN1 CU
nAVL 5LLLC1LD. WnA1 I5 IMCk1AN1
ICk 51UDLN15 1C kNCW?)

Al1L8 1PL LLSSCn,
S1uuLn1S WlLL knCW 1PA1 Lul1lnC lS An LSSLn1lAL A81 Cl MAklnC A MCvlL.

S1uuLn1S WlLL knCW 1PL lMC81AnCL Cl 1LAM WC8k Anu 1PL CCLLA8C8A1lCn 8CCLSS.

S1uuLn1S WlLL knCW PCW 1C 8CuuCL An AnlMA1Lu MCvlL uSlnC x18AnC8MAL
SCl1WA8L.

8. WnA1 3 I1LM5 AkL IMCk1AN1
ICk 51UDLN15 1C 8L A8LL 1C DC?
(DLIINL WnA1 51UDLN15 5nCULD 8L
A8LL 1C DC A5 A kL5UL1 CI CUk
LL55CN.)

Al1L8 1PL LLSSCn,
S1uuLn1S SPCuLu 8L A8LL 1C unuL8S1Anu 1PL lMC81AnCL Cl CCCu Lul1lnC.

S1uuLn1S SPCuLu 8L A8LL 1C Lul1 1PLl8 AnlMA1Lu MCvlL.

S1uuLn1S SPCuLu 8L A8LL 1C 8CuuCL 1C llnAL 8CuuC1 1C SPA8L.

C. WnA1 AkL 1nL LNDUkING
UNDLk51ANDING5 1nA1 51UDLN15
5nCULD 1AkL AWA IkCM 1nL
LL55CN? (DLIINL 1nL 8IG IDLA5.)

Al1L8 1PL LLSSCn,
S1uuLn1S WlLL unuL8S1Anu 1PA1 MCvlL Lul1lnC lS An lMC81An1 1CCL WPlCP CAuSLS
C8LA1 uL8A1L ln 1PL MCvlL uLvLLClnC 8CCLSS.

S1uuLn1S WlLL unuL8S1Anu 1PA1 CCCu 1LAM WC8k PAS A C8LA1 LllLC1 Cn 8CuuC1
8CuuC1lCn.

S1uuLn1S WlLL unuL8S1Anu 1PA1 vALuL Cl A CuALl1? 8CuuC1


III. LANNING
D. L55LN1IAL CUL51ICN:
(CNL CVLkAkCnING LL55CN
CUL51ICN )
PAvL S1uuLn1S 8CvluLu A 8LASCnA8LL SCLu1lCn 1C 1PL 8C8LLM uSlnC
SClLnCL llC1lCn?
L. A55L55MLN1:
(LkICkMANCL 1A5k) WnA1 WILL
1nL 51UDLN15 DC 1C 5nCW CU
1nA1 1nL MA51LkLD 1nL CCN1LN1?
8LvlLW llnAL 8CuuC1S
I. CCN1LN1
LI51 1nL CCN1LN1 ICk 1nI5 LL55CN
CNL.
(CU1LINL 1nL CCN1LN1 CU WILL
1LACn 1CDA-1nI5 MA CCML IkCM
CUk CCN1LN1 CU1LINL)
S1uuLn1S WlLL
1.AnAL?ZL CCCu Lul1lnC 8AC1lCLS
2.LvALuA1L LllLC1S Cl Lul1lnC 1L8MS ln 1PL MCvlL MAklnC
8CCLSS
3.llnALlZlnC CAM 8CuuC1
G. nCCk:
(DL5CkI8L nCW CU WILL GkA8
51UDLN15 A11LN1ICN A1 1nL
8LGINNING CI 1nL LL55CN. 8L
CkLA1IVL.)

vlLW uLLL1Lu SCLnL l8CM AvA1A8 ln WPlCP 1Su1L? lS u?lnC Anu PL ASSLS
1PL 18l8AL S1All 1C !AkL ACCL1lnC PlM AS PlS 88C1PL8 Anu lu1u8L LLAuL8 Cl
1PL nAvl

n. IN51kUC1ICN:
(1LLL, 51L-8-51L, WnA1 CU WILL
DC.)
MCVIL LDI1ING 101(15MINU1L5)
1. ulSCuSS 1PL lMC81AnCL Cl MCvlL Lul1lnC
2. lnS18uC1C8 WlLL uLllnL Lul1lnC 1L8MS 1PL 1L8MS WlLL lnCLuuL 1PL
lCLLCWlnC WC8uS: Cu1, !uM Cu1, SMASP Cu1, lAuL, ulSSCLvL Anu
SC8LLn WlL.
3. lnS18uC1C8 WlLL SPCW S1uuLn1S A CLl l8CM AvA1A8 ul8LC1C8 !AMLS
CAML8Cn LxLAlnlnC 1PL ullllCuL1 CPClCL PL MAuL WPLn PL Cu1 1PlS
A81lCuLA8 SCLnL
4. lnS18uC1C8S WlLL LxLAln 1PL CA8L nLLuLu ln Lul1lnC Cu1 SCLnLS.
IINAL kCDUC1 kCDUC1ICN(50 MINU1L5)
1. S1uuLn1S WlLL Lul1 Anu llnALlZL 1PLl8 llnAL 8CuuC1 uSlnC CnL Cl 1PL
Lul1lnC 1LCPnlCuLS (Cu1).
2. lnS18uC1C8S WlLL lAClLl1A1L uu8lnC 1PL llnAL 8LA8A1lCn S1ACLS Cl
llnAL 8CuuC1.
CAM CLC5UkL VIDLC VILWING
(5 MINU1L5)
1. S1uuLn1S WlLL vlLW 1PLl8 llnAL 8CuuC1 Anu CS1 C8 SLnu 1PLM 1C
SClLnCL MuSLuMS ln 1PL S1A1L Anu CC-SClLnCL ln C8LLnvlLLL, n.C.
I|na| roduct kubr|c
4 - Lxemp|ary 3 - Accomp||shed 2 - Deve|op|ng 1- 8eg|nn|ng
5tory||ne
Comprehens|ve
Mov|e


SLudenLs
produced a
comprehenslve
mlnl sclence
flcLlon movle
deLalllna llfe on
Mars.
SLudenLs
produced a mlnl
sclence flcLlon
movle wlLh solld
sLorvllne abouL
llvlna on Mars.
SLudenLs
produced a
sclence flcLlon
movle wlLhouL a
sLrona sLorvllne.
SLudenLs
produced a
sclence flcLlon
movle wlLh a
confuslna
sLorvllne.

keso|ut|on |s
found |n sc|ence
f|ct|on mov|e

SLudenLs ouLllned
a wav(s) people
can llve on Mars
and Lhe
resoluLlon ls
easllv ldenLlfled
ln Lhe movle.
SLudenLs showed
how people can
llve on Mars, buL
resoluLlon ls noL
clear.
SLudenLs
demonsLraLed
vaauelv how
people can llve
on Mars.
SLudenLs dld noL
demonsLraLe how
sLudenLs can llve
on Mars.
Creat|v|ty




SLudenLs showed
excellenL
creaLlvlLv ln Lhe
selecLlon of
scenerv,
characLers, scrlpL,
and overall
producLlon of Lhe
movle.

SLudenLs showed
a loL of creaLlvlLv
ln Lhe selecLlon
of Lhe scenerv,
characLers, scrlpL,
and overall
producLlon of Lhe
movle

SLudenLs showed
llmlLed creaLlvlLv
ln Lhe selecLlon
of Lhe scenerv,
characLers,
scrlpLs, and
overall
producLlon of Lhe
movle.
SLudenLs showed
llLLle or no
creaLlvlLv ln Lhe
selecLlon of Lhe
scenerv,
characLers,
scrlpLs, and
overall
producLlon of Lhe
movle.
1|me Irame SLudenLs adhered
Lo Lhe Lhree
mlnuLe Llme
frame.
SLudenLs sLaved
wlLhln 4 seconds
of Lhe alloLLed
Llme frame.

SLudenLs sLaved
wlLhln 3 seconds
of Lhe alloLLed
Llme frame.

SLudenLs sLaved
wlLhln 6 seconds
of Lhe alloLLed
Llme frame.
Ld|t|ng


SLudenLs
demonsLraLed
clear
undersLandlna of
edlLlna process
and made one Lo
Lwo cuLs.
SLudenLs showed
a aood
undersLandlna of
edlLlna process
and made one
cuL.
SLudenLs showed
undersLandlna of
edlLlna process,
buL made no
cuLs.

SLudenLs dld noL
undersLand Lhe
edlLlna process
and made no
cuLs.
I MPORTANT NOTE: The following are attached in a separate file 1) science fiction
PowerPoint, 2) unit outline, 3) storyboard handout, and 4) Xtranormal tutorial.
Unit Title: Science Fiction and Beyond- Escape to Mars
Title Content Hook Proposed Activities
Day 1
Monday
Third and Fourth
Rocks from the Sun
Global Warming
and Pollution
Earth's slow death.
Mars Is It
Inhabitable?
Sci-fi Genre

Students will.
1. Be able to determine major
reasons Earth Could become
uninhabitable. Identify human
needs for life.
2. Understand the topography of
Mars
3. Determine any life sustaining
traits of Mars.
4. Gain knowledge of science
fiction genre for use in animation
development

Xtranormal Video Clip
introducing students to the
real world problem needing a
solution.
Earth is a life sustaining
planet, if humans continue on
the path of destruction what
options for survival will they
have?
Is life on Mars possible?












Students will view music
video "30 seconds to Mars-A
Beautiful Lie on effects of
global warming.
ABC brainstorming activity-
students will discuss possible
necessities for life in groups.
Mars Web quest
investigation-determine mars
topography and life
sustaining characteristics.
Mars Short Story "Dark They
Were And Golden Students
will determine the validity of
Dark They Were and
Golden(What's based on
Fact what's pure science
fiction) and Pirate Pad
Introduction to Pirate Pad
Post questions on Pirate Pad
for tomorrows expert.


Day 2
Tuesday
Lights Camera
Animation!!!
Students begin the
developing stage of
their Sci-fi
animation
Students will.
1. Be introduced to Xtranormal
animation software and its many
options.
2. Learn and develop a science
fiction script
3. Design sets and characters
using Xtranormal
4. Have an open discussion with a
science expert.
Short Movie Maker video- A
collection of Science Fiction
clips scrolling with Star Wars
theme in the background.
Discuss variations in science
fiction.



Xtranormal Tutorial
Script Development Stage-
Students plan story boards.
Xtranormal Exploration and
character and set
development. Guest Speaker
via Skype
Guest Speaker via Skype

Day 3
Wednesday
Pixar on a budget
Mars Migration
Animation
Student animation
production
continued

Students will.
1. Continue developing Xtranormal
Animation
Wall-E and Avatar Video clip
Two very different
interpretations
Product Development
Day 4
Thursday
The Director's Cut
Finalize Animated
Movie for
publication
Students will.
1. Determine the importance of
editing and finalizing movies
Avatar-deleted scene
Discuss why it was cut

Product Development
Editing Film for publication
Unit Goals:
1.Students will understand three major reasons Earth could become uninhabitable, thereby requiring humans to find another habitat
2. Students will determine if living on Mars is just science fiction or if the planet can actually sustain human life
3. Students will understand the process of sci-fi film making
4.Students will develop a science fiction animation depicting a human Mars migration

An Exciting Adventure!
Science
fiction is one
of many
types of
literature
It is a genre (or
category) of fiction
that considers the
impact of science
and/or people.
Science fiction has
connection to science
in that the imaginary
elements could
possibly happen
through scientific
developments.
The Time Machine by
H.G Wells
Jurassic Park by
Michael Crichton
The Strange Case of Dr.
Jekyll and Mr. Hyde by
Robert Louis
Stevenson
Frankenstein by Mary
Shelley
The War of the Worlds
by H.G Well
E.T.
Metropolis
Planet of the Apes
Alien
Star Wars: The Empire
Strikes Back
2001: A Space
Odyssey
Avatar
Iron Man
Robot
I, Robot
MAJ102XtraNormal.comTutorial
Page1of2

MAJ102XtraNormalTutorial
IfYouCanType,YouCanMakeMovies

ThislessonwillintroduceyoutothefeaturesinXtraNormal.com,a
websitethatallowsyoutocreateshort,basicanimatedmovies.Forthis
tutorial,wellcreatea2charactersceneknockknockjoke.

Step1:
Visitwww.xtranormal.comandclickonCreateAccountintheupperrightcorner.

Step2: ChoosethePlaygoz/2Actorsset.

Step3: Customizeyourscene

Clickheretochangethe
Scene,MusicandyourActors
Scriptyourscenehere.
Camera
Animations
Expressions
Looks
Points
Pauses
Sounds
PressActiontorender
yourscene
MAJ102XtraNormal.comTutorial
Page2of2

Choosebackgroundmusic,IntroorOutrotracks

Step4:StartScriptingYourMovie

Typethescriptdialogueforyouractor,thenclick
the+signtoaddthenextscript.

Yourfinishedscriptshouldlooklikethis

ToPREVIEWyourmovie,pressACTION.(Itwill
takeashortwhiletorender.Bepatient.)
Digital Storytelling Storyboard 1 www.jasonohler.com/storytelling



DIGITAL STORYTELLING STORYBOARD TEMPLATES

The templates in this packet have been adapted from traditional storyboard
materials for use with digital storytelling projects. The templates are in
two forms: 1 screen per page and 2 screens per page. They have been
created with Word tables and are very adaptable. Feel free to reconfigure
as needed. If you have the PDF version and need the
Word version (or vice versa), please let me know.

Jason
www.jasonohler.com/storytelling | jason.ohler@uas.alaska.edu




Digital Storytelling Storyboard 2 www.jasonohler.com/storytelling

PAGE: DATE: PROJECT NAME:

AUTHOR:
FRAME/EVENT DESCRIPTION MEDIA LIST


Here you describe:
what will appear on the screen (picture,
clip, graphic or other kind of visual)
what listeners will hear (music, narrative,
sounds)
your directors comments about what you
are trying to achieve and communicate



Here you list the specifics of every piece
of media you will need; this will help you
gather materials before beginning story
construction; it also serves as a works
cited list for copyright purposes
Music, songs, sounds, voice recordings
Pictures, graphics, diagrams
Video clip
Text, titles, transitions

NARRATION:

Here you write out or describe the narrative



NARRATION:


Here you do a quick sketch
of what will appear at this
point in your digital story
you can also paste a graphic
or photo heredo whatever
works to remind
you of what s
going on
Digital Storytelling Storyboard 3 www.jasonohler.com/storytelling

PAGE: DATE: PROJECT NAME:

AUTHOR:
FRAME DESCRIPTION MEDIA LIST AND DESCRIPTION



NARRATION:





NARRATION:


Digital Storytelling Storyboard 4 www.jasonohler.com/storytelling

PAGE: DATE: PROJECT NAME:

AUTHOR:
FRAME DESCRIPTION



NARRATION:


MEDIA LIST: