| Massacre in Tibet |
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"Admiral Curtiss tried to process the incredible scene. The landscape would have been beautiful if not for the four huge funnels of black smoke and the thousands of vultures he saw swirling through the sky. He looked closer. On the open hillsides were hundreds of dead bodies. What was happening here? Sky burials. Tibetans didn’t bury their dead, they laid them out on the ground, prayed, and sang mantras while the vultures came and devoured the remains. But how many people must have died to bring so many of them?" (Art by Amara Checchio) |
The Project Begins: |
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"Jack felt small and insignificant as they approached the huge hangar. In the growing darkness, the colossal structure reminded him of something out of a science-fiction movie, a monochromatic plated beast, one of the great sandworms of Dune. As its huge doors began to spread open, light poured over them, dazzling the three men and bleaching them in whiteness. Jack raised his hand to shield his eyes." (Art by Josh Newton) |
| The Point of No Return: |
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"Jack stared in sheer amazement at the great cathedral of light. It was breathtakingly beautiful, but he still felt uneasy. Taken all together, the symbolism of the place could not have been clearer: the three pillars of science inside a military womb. You should never have agreed to this, a voice in his head said. This is not what science is for." (Art by Josh Newton) |
| The Chase in the Fog: |
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"The wreckage was like nothing Admiral Curtiss had ever seen—at least fifteen mangled cars and trucks filled with dead and injured. But he couldn’t deal with them now. Pistol in hand, he leaped onto the hood of a Chevy, across a stretch of the median guardrail, and onto the side of the overturned panel truck. In the distance, limping along on two flat tires, was the gold Cadillac SUV. Wounded but alive. He raised his pistol and took aim, but before he could fire, the fog enveloped the Caddy and his last chance of rescuing his men was gone." ( Art by Josh Newton) |
A big thanks to Josh Newton and Amara Checchio for bringing these scenes to life. |
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