Bøger af Robin Bright

The Orphan waved the fingers of his right hand in what was barely understandable, in the swift complexity of his dexterity, as a deliberate symbolic pattern of digital movement that, recorded and decoded, would reveal the secrets behind what had just been conjured into being. For there, in their midst, wearing a secretive smile and darting a forked red tongue between the twin points of its sharply elongated canines, she sat. Sitting slightly forward upon the now apparently solid air through which she had so spontaneously emerged, her tail cracked back and forth over her shoulder in impatient impish glee. The diamond of its tip seemed to take a perverse delight in occasionally entwining about the slender waist of its owner, to faun upon the treasures concealed beneath the peachily purple furze of her perfectly perfect derriére. Laughing silently, tail now snuggling between her legs, she threw back her mane of reddish black hair, revealing small apple tight breasts, the pointy nipple cones thrusting skywards as, throat bared to the heavens, the glee-child, legs now thrown apart in abandonment, exposed the root of her desire.

The immortal machine robot Data, from Star Trek: The Next Generation, is the dream of the human who needs to be cared for as much as humans need the technology of rejuvenation and medical science to prolong life in longevity, but the spirit must be harnessed if such high objectives are to be realized, `I am superior, sir, in many ways. But I would gladly give it up to be human.' Data is a better human because he`s a better machine or robot, but the male oriented fiction demands that Jesus` teachings be understood as human sacrifice, and so Data asks to die, because Star Trek writers represent the false perspective that the physical body isn`t heaven bound; despite hundreds of TOS scenes featuring the transporter of the starship Enterprise teleporting humans from planets to take them through galaxies to other planets, `Mister Spock, the Captain, Lieutenant Uhura, and Chekov. they vanished. They got onto the transporter platform and they just vanished.'

The thirteenth Star Trek movie was released in 2016, Star Trek Beyond, which continued a series of film releases based on the Star Trek (1966-69) television series with a cast that supplied most of the crew of the starship Enterprise in the first movie of the franchise, Star Trek: The Motion Picture (1979), also starring new crew member, shaven headed Persis Khambatta, 1965's Miss India, as Lieutenant Ilia. From what transpires in the plot of the movie, the feminine name, `Ilia`, probably derives from the Greek poet Homer`s Ilium, that is, the city of Troy, as depicted in his poetic narrative of the siege of the Trojan city by the Greeks in his Iliad (760-10 B.C.), so Lieutenant Ilia represents the threat to civilization, culture and art posed by the alien, which is usually extrapolated in science fiction as invading Earth from the planets amongst the stars above. However, as the siege of Troy illustrates, the huge hollow wooden horse that the Greeks leave outside Troy, and that is taken in by the Trojans to where the Greeks emerge to capture the city and enslave the host wombs of the women for homosexuality in pederasty, is the Greek `model` for the spread of war.

The flame-haired symbol of a she-devil appeared in connection with some innocuous brand of cosmetics and, seconds later, the Doc, observing a car with the number FON 2, raised two fingers, giving a V-for-victory sign to the driver, then reversed the signal in that time-honoured Delta-of-Venus gesture suggesting readiness for sex. The creature inside the vehicle couldn't readily be described as ass human. For the thing had no hair and scaley skin of a greenish hue. Leering expansively and using thumb and forefinger, it pointed in the direction of a medieval church some four hundred metres away. Dr Lu spins on hir heel and makes off at a fast clip towards the not-too-distant crenellated rectangle outlined in darker darkness against the darkening sky ...

Outside The Olfactory Ass Spines Manga Babe Movie Company Studios at Long Beach, California, West Coast of the United States of America. Irish production manager, R Smell O` Vision, keeps on glancing fitfully at his watch as the new science fiction canon begins to emerge from the processing apertures of his portable My Little Eye Film Lab. He`s talking like he`s empowered by the Holy Spirit to convince others of his mission. It`s as if he already knows the huge numbers of converts his ambition can be relied upon to make his. He speaks as if to a huge throng even tho` there`s no one there, or as is the case here, a single interlocutor, R Cell O` Vision, Irish productions` manager at Ass Spines Manga Babe in charge of `phone sales.