Everything before "It all started" is (to me) boring description. Nothing is happening; it's merely discursive. As soon as we get to "It all started" things perk up immediately; we have a mystery, we have interaction. In an earlier note I commented that the writer needs to pull the reader along; the canonical technique is some mystery, some bit of something that arouses the reader's curiosity. The writer tried at the beginning -- we were to wonder what made the sun go nova; for me that didn't work. But the mystery computer craft was (for me) much more interesting; in part this was because it presented several mysteries (where was it from? what did it want? how could it talk to him?) and in part because it was cute that it talked his language. That was very nice and then I really started reading from interest rather than duty.
One minor point regarding diction: the decision to have a first-person narrativ with "tough-guy" diction is fine, but then you must avoid using a word like "crimson," which is jarring in this context. The writer should pick a color simile in keeping with the diction.
The ending doesn't quite carry the story -- I felt betrayed, because the craft seeking help was interesting, and I wanted to follow up on that. It is mildly amusing that the sentry is worried only about the chewing out he will get, when the home planet has been destroyed, but it is obvious that the home planet is not of much interest to him or to the former inhabitants, so it is not of much itnerest to me the reader either. Moreover, the nova resulting from the computer craft crashing into it is either (a) meaningless coincidence, in which case his worry about his role is trivial and a misunderstanding, or (b) due to strange and unexplained powers of the craft, which makes me wish all the more that the story had followed a different direction, in which the narrator does get involved with the computer craft. There is even some obvious tension in that direction: go help, when help might be important, and violate the sentry's oath, etc.?, or stick with the oath, even though the job is trivial, and let a bunch of computers or people or whatever face their problem without the help he could provide? It is from such tensions that stories gain motive power.
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