This is why I could never be a film director. I’m just not this visual.
I find this stuff super-interesting, though.
This is why I could never be a film director. I’m just not this visual.
I find this stuff super-interesting, though.
6) How Alfred Hitchcock blocks a scene. Video. I’m really loving this genre of short documentaries about filmmaking techniques.
7) “The Worst Game I’ve Every Played.” Video. Bought off of Steam, this game is amazingly shoddy work.
I was sort of excited to stay up all night and binge-watch season two of DAREDEVIL, even though I expected it to be a disappointment. What can I say? I like staying up.
First thing: the show is really good.
Second thing: except for the parts that aren’t.
Third thing: the good parts outweigh the bad by a lot. A whole lot.
The first episode of the season was by far the worst. It wasn’t just that it was unimaginative; it looked weird, too, like cheap video. Were some scenes shot on someone’s phone? I couldn’t tell.
The first, second, and most of the third episodes were also full of bullshit about What It Means To Be A Hero. You know what? At the start of the season, I don’t want to hear two vigilantes have a philosophical discussion. I just don’t.
Then, near the end of the third episode, the show gives us another of its excellent fight scenes, and it seemed to find its groove again.
Part of the problem is the costume. When it showed up at the end of season one, I was upfront about how much I disliked it. The full red suit from the comics would look ridiculous, and while the devil suit at the end of S1 is an improvement, it still doesn’t work. I suspect the showrunners realized this, because they contrived to change it slightly. That’s another improvement, but it still doesn’t quite work.
What’s more, I don’t think they quite understood how to make a live-action masked superhero story really work. Basically: use the mask as little as possible.
The best and cheapest special effect a show can have is an actor’s face, and most masks that are reasonably faithful to their comic book versions look flat and silly on screen even after you’ve been awake for 27 hours and have been watching a show for ten. So I’m not really a fan of actors wearing their supers costumes when they’re not a) hurrying to the rescue, b) scaring the hell out of a bad guy or c) beating the hell out of a bad guy. Action scenes. That’s what masks are for. Otherwise, give us human expressions.
Because a dude in a superhero costume just standing around having a conversation looks like a grade A fool. For example, if a costumed vigilante is going to have a conversation with someone, it should not look like this:
Yeah, that’s a bit dark, but you can see Daredevil on the right standing face-to-face with Turk on the left. Just two dudes standing around chatting, except one is wearing a horned helmet.
This is a much better choice:
In case it isn’t clear from this single shot, the man foregrounded on the left is on his back, slightly raised off the floor. The background is the roof.
It’s an unusual framing. It’s interesting. It’s dynamic. It’s not two dudes chatting.
Oh, one last thing: Hey Karen Page, is season two filled with bloody violence and hair-raising sound effects just like season one?
Again we get great performances and fast-moving plots with lots of twists. Also, instead of a mini-boss structure like season one, there are two separate ongoing plots for each of the featured guest stars that compete for Matt’s attention.
Like other Netflix shows about superheroes, this is more like a miniseries than a weekly program, so get ready to binge or follow a complicated plot over an extended period of time.
So, despite a shaky start and a costume that doesn’t quite work, season two of Daredevil is fantastic. Check it out.
A spoiler post will be forthcoming, I expect.
With the second season of everyone’s favorite blind masochist about to air, it’s time I finished this post:
I’ve watched Marvel’s Netflix series JESSICA JONES all the way through three times. Twice on my own and once with my wife. I’ll say this: It’s very good. Flawed, but very very good.
For kindness sake, I’ll do a brief recap on the assumption that there’s one or two people reading this who haven’t heard of the show: it’s a 13 episode Netflix Original series that’s loosely adapted from the comic book ALIAS, which launched in 2001 as part of Marvel’s MAX line. Basically, it’s an R-rated comic, where characters can say Fuck and occasionally do fuck. Nothing ground breaking about that, except that this comic also featured Captain America and a bunch of other characters from the main branch of Marvel publishing, where the Comics Code mentality still had a lingering influence.
The lead character was created at the last minute for the comic; originally, it was supposed to be Jessica Drew, aka Spiderwoman, but Marvel’s editors decided to use her for something else, so Brian Michael Bendis created Jessica Jones to replace her. Jones’s story in the comics: After a traffic accident with a truck full of chemicals (like Daredevil) she gained superstrength, limited invulnerability, and the ability to fly (awkwardly), so she did what she thought she was supposed to do. She put on a costume and fought crime, taking the name “Jewel”.
Then it went all wrong. She fell under the sway of mind-controlling villain The Purple Man for months. When she finally broke free, her life was ruined. What’s more, she realized that she had vanished for months but no one had noticed. She threw away the costume and, with her anger and pain and PTSD, became a hard-drinking private investigator.
It’s a great idea: a super-powered private eye in the Marvel comics, which is a world where superpowers have been around for generations and there are a whole lot of people with dearly held secrets.
For the TV show, Jessica is pretty much the same but the setting is not. Jessica still has powers (superstrength and superjumping, with a smidge of toughness thrown in) and she’s still self-medicating for her PTSD from her clash with a mind-controlling villain, but she inhabits a world where superpowers are a rare thing, largely hidden and mysterious to the public at large.
So the show has some superhuman abilities, but there are no costumes, no masks, no secret identities, and no thwarted bank robberies. Instead, it has great characters. Yeah, the pacing falters late in the season, but those characters carry it through.
Spoilers after the cut
On Tuesday, I hit 100K words on the work in progress, currently titled ONE MAN, so I thought I’d take a few minutes to assess where things stand in a general way. No encouragement or advice, please, especially about the medical stuff.
I turned 50 last year, which I guess is supposed to be a big thing but it didn’t feel like it. Mostly, it felt (and continues to feel) like a timer ticking down. As more and more of “my” pop culture figures pass away (and more and more of them are closer to my own age) I’ve become increasingly aware that my own time is growing short. Right now, somewhere inside me, I probably have a cancerous tumor that’s lying quiet, small for the moment, but ready to expand aggressively under the right circumstances. If I’m very very lucky, I’ll live long enough to see my son married and living a stable life, to have earned a sense of accomplishment with my work, and to feel as though I’ve lived enough.
I can’t really imagine that, but that’s my hope.
The petty medical issues that have plagued me since 2012 haven’t gone away, but I’ve decided to work through them to focus on my weight. I’m down 10lbs in the last two weeks and plan to continue. The first few are always the easiest, of course. We’ll see.
Finally, for a long time I’ve pretty much avoided social situations. I talk to my wife. I talk to my son. I order coffee at the cafe. Beyond that, it’s extremely rare for me to speak to anyone aloud; all my interactions have been online. I guess the only exceptions have been the two-hour SF2W meetups that Django Wexler arranges, and I’ve been to, I think, two in the past year. Once in a rare while a reader drops me a note and we’ll meet face to face. Very rare.
Aside from that, I’ve been actively avoiding social events. I don’t go to conventions. I haven’t contacted the roommates I had 20 years ago to suggest we grab lunch. It’s been a very quiet life, and I like it.
But a week ago I cashed in the Christmas gift that my niece gave me: a tour of some of her favorite brewpubs in Ballard. It was extremely mellow, and we got the chance to just hang out and talk, which I don’t do much.
The following Friday, I had the event at the UW Bookstore, where a number of authors in the anthology Unbound signed books for readers. I suspect most of them were there to see Terry Brooks, but people were nice and it was good to talk to them. It had no noticeable effect on my book sales, but I enjoyed myself, and I enjoyed hanging out with the other authors afterwards. (What I could hear of it, anyway. People in bars are noisy.)
So I’m thinking I should put more energy into that sort of thing. Talking to people. I dunno. Maybe.
My wife is doing pretty well, especially now that she has an APAP machine to help her sleep through the night, which she can do now, sometimes. She’s also spending more of her time painting. Making art was hard for her after her father died. She and her siblings inherited his canvases, which no one outside the family wanted and no one inside could bear to dispose of.
She began to feel the same way about her own work. Our apartment is already crowded, and she didn’t see a point to creating more stuff that her kid will have to deal with when we die. Slowly, she’s moved past that and is doing the work for its own sake, which is fantastic and makes me very happy. She’s also gotten into a couple of shows. Did I say it makes me happy? It really really does. Now I just need to write a hit book so we can afford a place with a studio. North-facing, naturally.
My son turned 14 a few months ago and starts high school in the fall. Homeschool is coming to an end, and I’m hoping that a) he’ll make more real life friends and b) I’ll have more writing time. It’s going to be a rough transition, but he’s ready for it. His sleep schedule might not be, but he is.
I’m still playing Sentinels of the Multiverse on Steam. In fact, I’m playing it too much. I should probably download a program that will block Steam for most of the day. I’d get more done, and do less obsessive clicking.
BUT! I should say that, when I’m playing SotM, I don’t feel hungry, or itchy, or sad. I’m almost completely absorbed, even moreso than when I’m writing. It’s worth keeping around just for that. I just wish it was less irresistible.
After several years of feeling burned out on reading inside the fantasy genre, I’m finally feeling burned out on crime and mystery. It doesn’t help that I tried to shift from old classics to books that are popular and current, and really really did not enjoy them.
Django Wexler’s The Thousand Names, which I picked up solely out of a sense of gratitude for the social events mentioned above, is a flintlock fantasy that I enjoyed way more than expected. Recommended. At the moment, I’m reading Steven Erikson’s Gardens of the Moon because everyone on reddit loves those books passionately. I’m 80 pages in and mostly enjoying it, despite the fact that I’m not usually fond of high magic settings.
I took the family to DEADPOOL, which is an objectively bad movie, but hugely enjoyable anyway. It’s been a while since I saw a modern Hollywood film (that wasn’t SPY) that made me laugh really hard. Now I hear that the people behind Batman v Superman are planning an R-rated version, because… I don’t know, they think it was the rating that made DEADPOOL a hit and not the humor? Don’t know. Don’t care all that much.
I’ve also dropped a number of TV shows that I was watching through sheer momentum, not because I enjoyed them. Most of what I found compelling in season one of ARROW is long gone, and I just don’t have space for it anymore. After trying both LUCIFER and LEGENDS OF TOMORROW, I’ve decided that they aren’t going to do that Star Trek thing where it takes them a little while to find their rhythm and they become awesome. Both are dropped. At this point, I’m only watching ELEMENTARY, FLASH (which has been way less fun this season) and AGENTS OF SHIELD (which has been improbably improving).
I’m looking forward to season 2 of DAREDEVIL, even though it will probably be a disappointment. We’ll see.
No one in my family is remotely interested in the upcoming DC adaptations. We’ll see, redux.
As I mentioned above, last week I crossed the 100,000 word mark of ONE MAN. What I didn’t mention is that last August 26th, I was at 31,000 words.
I know this because of this horrible new record-keeping that other authors suggested I do. All it does is tell me things that make me unhappy.
For example, last fall I took a month-long trip to Portugal, and my plan to squeeze out a few pages during quiet moments never worked. I got zero new words done that month.
After Thanksgiving, I stopped writing the first draft and went back to revise what I had. Revise it extensively, which took a month and a half.
When that was finished, I realized the game supplement I promised my Kickstarter backers was way overdue, and I spent three weeks revising that.
When I returned to ONE MAN, I re-outlined the rest of the book (using the virtual whiteboard app Scapple, which I like) and now things are tearing right along.
It’ll take another long revision process, and it’s going to be a long-ass book: at 100K words, I’m still looking ahead to the beginning of the climax. Still, I feel like this is good work. I just hope the market agrees.
I haven’t decided what I’m going to work on after that. The next book in the series is TWO DRAGONS, but I have a short story due for an anthology (soon) and I might want to write something else in between. Plus there’s that game supplement.
I wish I could be more prolific.
And that’s where things stand.
The more I learn about the way Netflix determines their categories, but more convinced I am that they’re doing something really useful that will soon apply to all entertainment media. To summarize the article briefly: not only have they created over 75,000 separate “genres” (called “altgenres” at the company) but they rate and categorize films according to a very complex system of metrics. How gory are they? How romantic? Where are they set? What job does the protagonist hold? How happy is the ending?
Hiding behind those 75+K genres are all sorts of ratings that Netflix pays careful attention to. If you watch a lot of movies in the Action categories but consistently turn off the gory ones before the end, Netflix will stop suggesting action movies with a high gore rating to you. Other kinds, sure, but not that one.
I’d hoped books could get a system like this with Game of Books, but they didn’t deliver. The project was sold or abandoned, and backers’ pledges were returned.
I still interested in a system that could do something similar with books. Bleak mysteries with an honest detective and a sad/tragic ending ought to be easier to find than they are, but the personal recommendations I get through social media haven’t scratched that itch. Those books were one disappointment after another. Would the Game of Books have managed it? Would “Netpages”?
Obviously, a system like this would never be perfect; Netflix’s certainly isn’t. That’s why I miss Netflix’s “Random” category, since my recommendations are now swamped with kung fu movies and British crime shows. (And why not? Love ’em!) Random allowed me to see recs beyond what the algorithm thought I wanted.
For Netflix to survive, it has to connect subscribers with shows they love over the long term, but sometimes its recs are so narrow that we only get to see a thin slice of what they offer. Basically, they hide most of their library. Before she moved in with us, my niece thought she’d seen everything of interest the streaming service offered. Now she’s binging on all sorts of shows. That suggests that Netflix’s algorithms are too restrictive right now. More variety is needed.
As for books, well, variety is not the problem. Covering them all would be the problem. Still, I think it’s inevitable.
I know there are people who will recoil instinctively from the idea of breaking down books into component parts in order to categorize them, but I can’t help but think that, if readers were able to look for “Contemporary Fantasy Crime Fiction with a Sad Ending”, I might still be writing Ray Lilly novels.
Genres are just descriptions for the marketing department, after all. I suspect we’re coming to a time when book classification is going to have to get much more granular.
This is my annual repost of my favorite version of A Christmas Carol, animated for TV.
If the embedding doesn’t work, the link is here.
It’s only 25 minutes long, but it’s full of amazing creative choices: Scrooge’s candle on the dark stair, Ignorance and Want, the transitions that Scrooge takes with the Ghost of Christmas Past, the hands, the waves and clouds, and so many other things.
Really beautiful. If you haven’t seen it before, treat yourself.
With all the terrible news in the world right now (along with the deeply awful responses) I’m going to write about some personal stuff.
1. One of the regular features of this blog is the recurring Story Seeds posts: when I get a story idea that starts taking over too much of my thinking, I give it away here on my blog for anyone to use. Well, as I mentioned before, a writer ran with one of those ideas and sold his story. And now the anthology is out: Caped: An Anthology of Superhero Tales. His name is Stephen Kotowych. Check it out.
2. Everyone’s buzzing about the latest new awesome video game, so let me mention one I played right before my Portugal trip: it’s called PORTAL. Very fun and funny! I played Portal 2 immediately after, which was also fun and funny, although not as much. The cake is a lie! Right?
My kid has other ideas, and convinced me to preorder Fallout 4 for him. With our terrible internet, it took 2 days to download, but he’s been playing it regularly ever since and he loves it. Do you love post apocalyptic settings? You might like it, too, but if you wait ten years you can probably pick it up cheap and play it on an old computer.
3. For the first time ever, I figured I’d try NaNoWriMo, because I was having trouble getting momentum on the book after a month away. I’m supposed to write 50,000 words during November, and today is the 15th. The halfway mark. How many words have I gotten done? 8,000.
That would be fine if they were all excellent words in great scenes, but there’s at least one pivotal scene that I know I screwed up in a big way.
4. I mentioned this on social media, but I’m almost psyched to watch Jessica Jones on Netflix. I say “almost” because I don’t really have strong expectations, and might be deeply disappointed, but I still plan to start watching at midnight when it airs, just as I did for Daredevil.
This is the way I enjoy big corporate entertainments: I see them as quickly as I can, with little to no enthusiasm. This lack of excitement is why I usually find myself deep in online discussions of movies or shows without feeling even remotely like a “fan.” I think it’s also why online disagreements about a show, which usually feel clinical to me, can be so upsetting to other people, especially now that everyone has decided that casual conversations are “attacks from fans”.
5. The other video game that is taking over my life is Sentinels of the Multiverse, which started as a cooperative card game but was turned into a virtual card game last year. It’s a complex game, and frankly I found all the conditions impossible to keep track of when I had to jot them on pieces of paper. I much prefer to have the software keep track of all that for me, not to mention how much easier it is to read the cards on my screen.
Steam assures me that I’ve played this game for 83 hours this year, which doesn’t cover the many hours I played the version on my wife’s iPad. And while the graphics are colorful and the knock off superhero characters (pseudo-Flash, pseudo-Iron Man, etc) are cute, the different decks interact in interesting ways. Winning games becomes a matter of working out each deck’s strengths.
Anyway, Handelabra has created a free version of the game that you can download. You can play the free version with a tutorial that teaches you the game or you can turn that off. And while the paid version of the game comes with four villains, four environment decks, and ten hero decks, the free one has only a single villain and environment deck, with four heroes to oppose him.
So if you want to see not-Superman, not-Flash, not-Batwoman, and not-Iron Man take on not-Lex Luthor on Dinosaur Island, try out that game for free. There’s no time limit on it and you can play it as many times as you like.
Somewhere in my list of incomplete blog posts I have a piece I’ve started months ago about forgiving the shows you enjoy. Everyone does it. Everyone has to. A terrific show has a weak episode, or a joke that’s in bad taste, or a special effect that looks fake as hell, and you shrug it off, because the rest is worthwhile.
Well, this post is going to be about TV shows I watch(ed) on Netflix that were in some ways wonderful, but which have flaws that are so egregious that I don’t recommend them to anyone. First up:
An Iraqi veteran receives a head injury that changes his personality and thought processes so that he can discern connections other people would never notice, making him a savant when it comes to finding lost items and people.
Geoff Stultz is fantastic as Walter, the veteran who has been so completely changed that he cares about almost nothing except whatever he’s obsessed with finding at the moment. The late Michael Clarke Duncan is wonderful as the kind-hearted, staunchly ethical friend and business manager. Like a lot of shows, the relationship between the regular characters is what sells it. Walter is brilliant and erratic, but once he starts searching for something, he becomes obsessed and can’t stop. He has also lost much of the social skills he used to have, so the people around him are always trying to protect him, especially from himself.
And yeah, it’s a bit of a Sherlock Holmes thing, but with actual humor and some irrational processes. The lost items Walter is sent to find is usually a person, but not always. The walk-on roles for each episode have complexity to them, and the show benefits from not having the same old same old in every episode. Great idea for a premise, well executed.
Why I Don’t Recommend it:
That would be the vicious racism. Note for creative people of all types: “gypsy” is not synonymous with “gangster” or “career criminal”.
DEATH IN PARADISE
A humorless, uptight detective from London finds himself transferred to an island paradise in the Caribbean, and he hates it.
Most TV shows sink or sail based on the relationships between the main cast, and this fairly standard episodic whodunnit (complete with a “gather all the suspects to reveal the murderer” climax) leans heavily on the main cast. But it works. DI Richard Poole hates the heat, sun, sand, and relaxed lifestyle of the Caribbean–he even hates the run down (but beachfront! with gorgeous view!) house assigned to him. He insists on clinging to the symbols of his authority–especially the jacket and ties–because he just can’t adapt.
It’s a funny show. Not in a “hilarious belly-laugh” sort of way, but they’ve cast charismatic actors (including the guy who played Cat on Red Dwarf) and everything clicks. They even play fair with the clues. There’s some unfortunate stuff with the lead actress–TV is always trying to cram romantic story lines where they don’t belong–but it didn’t work and they recognized that and backed off.
Plus: gorgeous scenery.
Why I Don’t Recommend It:
The pilot episode starts with the current DI being murdered, and Poole is sent to investigate, then trapped in the assignment. However, as the third season started, the actor playing Poole wanted out (apparently for personal reasons: too much time shooting on the islands away from his family). So, to bring in a new DI, they did the same thing as in the pilot: they murdered the old one.
Some shows kill off characters all the time. Game of Thrones kills characters you love and hate every episode, it seems. But this? Not that kind of show. DI Poole is a comic figure, and we like him, and seeing him murdered, up close, with an ice pick… well, let’s just say the fun was spoiled.
Of course they had to bring in a replacement lead, and he had to not quite fit in without being identical to the previous character’s predicament. While it’s not the actor’s fault, the new character is ridiculous and the rhythm is ruined.
Maybe watch the first two seasons and pretend the rest doesn’t exist? Or not.
THE GOOD GUYS
Fussy, rule-abiding Detective Jack Bailey is partnered with old-school rule-breaking Detective Dan Stark because the whole department hates them both, and no one can stand to have them around. They’re given the pettiest, most bullshit crimes to investigate which always leads to a major case.
Jack thinks it’s a good idea to correct his superiors’ grammar, and Dan won’t stop talking about the time he and his old partner saved the governor’s son back in the 80’s (and that there was a TV movie of the week made about it). Together they’re an excellent double act (straight man and comic) and the show is pretty funny, even though it doesn’t have as many laughs as it probably should have.
The crimes the leads are given to investigate–smashed vending machine, stolen dry cleaning–are handed out like insults, but somehow the people involved always connect to a huge crime that no one else in the department knows about. The plots are structured like a farce, and each episode wraps up with an extended comic action scene like a shootout or car chase.
The villains are also great characters, from the vegan bank robber to the good old boys who think it’s their patriotic duty to steal cars from British criminals. Really, as fun as the plots can get, and as strong as the two leads are in their roles, it’s the attention to creating interesting, quirky villains in the Elmore Leonard mode that makes the show work.
Why I Don’t Recommend It:
The moment for a show like this has passed, hasn’t it?
It’s one thing to feature a comicly ridiculous rule-breaking cop to make fun of the trope of the renegade cop, but we’ve seen rule-breaking cops in real life, and the effect they have is anything but comic. So, it’s a fun show, but some people will take it with a heavy dose of ick.