What did they mean by this?

In 2061 men do land on Europa. Can't remember much else.

>What did they mean by this?
you fucking spastic

Ironically, it's the best book in the series (and fortunately, the longest). The book has a secretive Chinese subplot which is highly relevant today, and doesn't have the hackneyed cold-war distrust angle which was shoehorned into the film to make it easily legible to American audiences. All the characters are intelligent, have a good sense of the enormity of what they're doing, and behave appropriately.

I read the whole series once, years ago.
It was pretty litkino but then 3001 shit the bed. Awful.

They meant: come to Europa

In 2010 the Aliens do some grey goo self replicating stuff with their black monolith on Jupiter in order to exponentially augment it's mass and create a new sun, which would warm Europa
I read the first two books while I was in a mental hospital, great read

they also take a look some primitive lifeforms flying around in Jupiter's atmosphere (an experiment of theirs) and decide they're not worth keeping around

I would really love seeing those movies receive a modern adaptation that follows the books
Is 2010 good?

2010 is underrated kino

2010 and 2061 are both good but combining them into a 3 hour epic would be kino of the highest order. I like the 2010 film but it's so watered down and relies far too heavily on 2001.

3001 has the monolith finally receiving a reply from its 'boss' monolith after 900+ years waiting for lightspeed signals to arrive, meaning somehow all the stuff in 2001 with Bowman going into the monolith and the light show didn't even involve anything FTL.

All your worlds are belong to us

The monoliths are autistic.

Arthur C. Clarke explicitly and repeatedly stated that the Space Odyssey books were never meant to be taken as a single, consistent, continuity-error free "fictional universe". Instead, he just took the basic characters and ideas and did variations on a theme, each time. This is how he gets around spergy complaints like these (and if anyone makes spergy complaints, it's sci-fi readers).

Tom Hanks has indicated some interest in backing/participating in adaptations of either/both novels, but it's been in development hell for years. It's probably just as well, but given Yea Forums-land's creative bankruptcy, it's only a matter of time before the already-available material gets adapted.

The second book outright ignore some of the first one's elements (no fly around Jupiter etc)

No gay alien space rectangle tells me what to do

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Correct, this is one of the most obvious differences. The first-novel diversion to Saturn isan anomaly, unique only to that installment (both films and the other three books go with Jupiter and "cohere" around that point). I wonder if Clarke changed that detail for his novel at-the-time, in order to distinguish his personal creation from the joint film project with Kubrick, partly out of frustration/spite.

I do not think the movie and books where written at the exact same time

Clarke is a hack pedophile but if you like the mystery of cinéma destroyed with nuts and bolts hard sci fi, go right ahead

>hack pedophile
I enjoy his novels, what makes you say that?

It was Kubrick that changed it from Saturn to Jupiter. The special effects team couldn't get Saturn to look authentic enough so they changed it to Saturn. Clarke was not really involved with the project after 1966 and had his manuscript finished about a year before 2001 the film came out.

>couldn't get Saturn to look authentic enough so they changed it to Saturn
What did he mean by this?

In the case of 2001, film (the original media franchise installment) and novel(ization) were developed and completed so closely to each other that any delays (a year or two) are in one sense negligible (and in others, not). What I'm suggesting (I don't know) is that maybe Clarke just had his (later) book go to Saturn instead because Kubrick was dreadful to work with and stiffed him at various points. This is only speculation on my part and I'd have to actually look at a timeline/get some articles to build the case for why the creations turned out as they did

Changed it to Jupiter*

Also Clarke was forced to wait for the film to come out before releasing the book.

>hack
Even the novel where they raise the Titanic and spend all their time wanking over the Mandelbrot set and airbrushing smoke out of old movies? It's vaguely interesting when you're in middle school and get bullied a lot, but it ain't fine literature that explores the depths of the human soul.
>pedophile
because he is

Thanks for the helpful timeline details user. So the Clarke/Kubrick story collab was about '65/'66? This would be the initial thing, the screenplay or its working state.

Then, the novel is completed, then, the film drops, then, the novel drops. Or something like that.

I remember the life being plant-like, or at least very slowly moving. But it had built shelters.

The Kubrick/Clarke collab started in 1964 and went to about 1966. After that Kubrick became focused on the technical side of the film. The special effects for the Star Gate took 8 months to complete alone. In all this time Kubrick was making changes to the script and even edited out a chunk of stuff from the premiere version of the film a week before general release. Clarke wanted lots of voiceover dialogue, but Kubrick changed his mind on all that and wanted the film to be as visual as possible.

This. Clarke had the monolith on one of Saturn's moons, Iapetus instead of orbiting as in the film. Then in the 2010 novel he switched it to Jupiter to line up with Kubrick's film and to allow the whole Lucifer 2nd star plot. Clarke wasn't above retconning his story as mentioned above. Continuity wasn't a big deal to him probably because it was fucked from the get-go

based

If it takes 900 years for them to receive and resend instructions to the monolith how'd they genocide those primitive lifeforms on Jupiter and start the new sun

>Clarke wanted lots of voiceover dialogue

Based Kubrick, thank god.

Monolith was racist. Europe, erm, Europa, needs migrants.

see

He sounds like a hack like the other user said

DONT GO TO EUROPA
IT IS SHITTY THERE
IN PARIS AND OTHER BIG EUROPA CITIES, THERE ARE HOMELESS IN TENTS ALL UP AND DOWN THE SIDEWALKS, GARBAGE EVERYWHERE, THEY ARE DANGEROUS AND ON DRUGS
THEY WILL CUT YOU
ATTMPT NO A LANDING THERE

This shows that Kubrick was always the alpha auteur, taking the work of genre jobbers like Clarke and King and spinning them into actual art just to challenge himself

he just didn't care about autistic pedants like you, those are the people that ruined the sci fi genre at every medium

>america cant afford real achievements so they just make fake videos patting themselves on the back for things they will never do instead
sad

>point out glaring plot hole left by a hack level writer
>dude you're a pedant
Also sci fi genre didn't need anyone to ruin it, it's always been garbage from the start and can only be saved by film adaptations like he said

>Jupiter is a star now because of forced fusion in its hydrogen core, following the events of 2010
>Its moons become prime real estate
>Europa is home to primitive organic life, the monoliths are working to uplift them just like they did for humans
>It's a warning not to fuck with the aliens' plans
Did you even read the book, the first book, and the next 2 books?

Clarke and Asimov were the original sci autists

>2010 remake
>EUROPA IS FOR EVERYONE PLEASE COME
>LANDINGS WELCOME

I'd agree that Kubrick's cinematic instincts were way beyond Clarke's (and King's) but that's to be expected. I think Kubrick said in interviews that King was a great "inventor" and he probably felt that way about other authors he adapted. He needed something with ideas pre-existing to work off to spark his imagination like Traumnovelle or The Shining or The Short Timers or Supertoys Last All Summer Long etc. He took what he wanted from the material and injected his own ideas and usually elevated them to something even greater

>ut it ain't fine literature that explores the depths of the human soul.
who cares about that boring old shit, if you want that go read Dostoyevski or something

I like Clarke because he was an actual scientist

JFC... Are you serious?

Don't land on motherfucking Europa, dipshit. It's right there in the text!

kek

>These words make no sense without context.
Aliens are sending you a message in English

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I remember in an interview with Kubrick's secretary he used get in stacks of books and if he didn't like it after the first page, he'd move onto the next one. She remembered the constant thudding if books against the wall. Kubrick definitely couldn't have thought too poorly of the writers he took from.

That's why Lolita can only ever be an interesting failure for trying to adapt one of the greatest works of 20th century literature; a chess game between two equally matched opponents

I agree. I think he knew they (authors) did something he couldn't do and respected them for that. But then he could take their creation and achieve something in the film medium they couldn't. It's why I never understood why King took every opportunity to talk shit about Kubrick. It's different mediums he could have just let it go

Clarke was a much better writer than Asimov. Asimov tried to become a good writer later in his career and failed miserably. He had very good high-concept ideas and he was a prolific author, but his actual ability to construct a gripping and satisfying narrative was not especially impressive.
Don't believe me? Read the 2 Foundation books that come immediately after the main trilogy and read Nemesis. You'll notice the same thing I did: there are sexually aggressive older women and no satisfying conclusions. The end of Nemesis is just shockingly dull. It just sort of...stops. They say "Over time hyperdrive technology will make this rogue star's course through the galaxy change so that it won't fuck up the orbits of the planets in our star system" and the book ends. This wouldn't have been possible if the male protagonist of the book hadn't been sent to convince the aforementioned sexually aggressive dominant old scientist lady to come work for some government organization. Similarly, in Foundation's Edge (I think), the protagonist sleeps with an administrative official lady to get information or access to some McGuffin or other.
Asimov is trash. The Naked Sun is great but most of his stuff can be passed over.

>You'll notice the same thing I did: there are sexually aggressive older women and no satisfying conclusions.
Sounds like Gene Roddenberry.

they meant turn the fuck around niggers

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I like you.

Just reading around, it seems that the look of Saturn that Kubrick rejected turned out to be a pretty accurate depiction of Saturn.

And in 3001 the monoliths had decided the Europa aliens were the better bet than humans.

What depiction would you be talking about? I've never seen it before

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This isn't even a contradiction (I think). 'Our' monolith has the authority to help along the Europans (and it seems 2061 states that igniting a second mini-star fucks up some of Earth's animal life), but has to ask its boss monolith to decide if Europans or humans are going to be the final choice.

Yeah but everybody knows what Roddenberry was because TV as a medium is still not really taken as seriously as it should be. Asimov was a pulp writer who tried to pivot into properly literary SF after the New Wave. He failed. Roddenberry introduced an effective formula for televised SF that changed the way the medium treated the genre.

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>TAKE THAT SPACE NAZI

Was there a mcguffin in Foundation's Edge? I remember at the end Golan or whatever finds out he's some kind of special mind that is given the choice to decide which version of the galactic plan to go with.

Nor me. Just what I've read about in the last hour or so.

wtf why is this shit not in the movie
Why is it instead more focused on weird space-jesus shit

It is though

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>S P A C E K I N O

I had thought the message was self-explanatory. Earthlings can have all the planets and moons in the solar system except Europa.

Not the 'aliens plan' part
Im way more interested in that stuff

There's the panpsychic planet that will one day come to dominate the entire galaxy and make the psychology that the Seldon plan relies on obsolete, since it depends on all humans always behaving as they behaved in Seldon's time, not quite a McGuffin but I really don't remember what the woman was there for. All I remember is that I read it in high school and didn't understand why the protagonist specifically sexually dominated (consensually) a woman in a position of power. It comes out of the blue and Asimov states it very matter-of-factly IIRC.
However, the male protagonist of Nemesis definitely manipulates a vulnerable elderly woman with sex at the behest of the State. I read Nemesis much more recently and it reminded me very strongly of the bizarre pivotal moment in the Foundation series where a man uses his knowledge of psychology to achieve his goals by sexually dominating a woman who wanted to be sexually dominated.

Oh yeah, I wondered if you meant the Seldon alternative planet. Don't remember much about sex in it. Not read Nemesis.

That's because you are a pleb.

Nemesis is good, don't get me wrong. He's way ahead of a lot of SF writers and his place in the 'canon' is well earned. It's just that he falls into the same pitfalls that a lot of SF does and it can be very funny when he does it in ways that weren't possible when he was writing for an audience of 13-year-olds buying pulp magazines at the malt shop.

I recently bought a copy of the original screenplay of 2001. The cuts and changes are plentiful, Clarke was pretty butthurt about it.

Our fake videos are better than your fake videos, suck it nerd