Tag: sci-fi (page 9 of 35)

Pulp Problems

Courtesy fuckyeahspaceship.tumblr.com

I’ve been struggling to put together the sci-fi serial I want to start. I’ve come at some concepts from a couple angles, but they’ve been either too derivative or too preachy. My desire to brush up a tried-and-true aspect of the sci-fi genre should not have ‘fixing Star Wars’ as an end goal. The end goal should be to tell a good story, right? Right. So why sci-fi adventure?

I think my attraction to it, other than nostalgia, is my appreciation of its narrative simplicity. Buck Rogers, Flash Gordon, and John Carter are extremely similar stories in that an ordinary man is transported to an unfamiliar place and becomes an undisputed hero. They also draw very definite lines between good and evil. There’s a brevity to their construction I can’t help but appreciate. But at the same time, I realize that some of these tales are a bit too simple, and as much fun as they are for me, they don’t necessarily hold up.

I mean, let’s face it. I enjoy Captain America as an old-school adventure yarn, and personally find a straight-arrow character who’s unquestionably virtuous kind of refreshing in a cynical, morally gray world where every hero has to be tortured, conflicted, or shady in some way. However, I can’t deny that putting such a character up against a scientist so evil Hitler kicked him out of the Nazis is a bit laughable. There’s also the fact that his magical bottle superpowers don’t really cost him much, other than some friends dying or going missing, until he wakes up in the 21st century. He becomes, like Rogers and Gordon and Carter, a man out of his element, and sticking to his moral guns brings him into direct contact with many people around him. It’s a far more interesting and involving situation than the clear-cut black-and-white conflict that essentially created him.

The biggest problems with pulp, as far as I can see, are a lack of lasting consequences and the main character’s biggest flaw being they have no real flaws. If our hero is going to get flung across space and time, there should be culture shock involved beyond having to learn some new lingo. It also should not fall to the protagonist to suddenly be the entity to whom everyone turns to get their problems solved. Stories like Avatar (the movie), Dances with Wolves, and The Last Samurai all suffer due to this sort of character insertion. We also can’t have status quo being restored at the end of every week. As far as I’m concerned, in a good serial, the status is never quo. Even if there’s no immediate danger, there should be consequences that linger, situations that feel unresolved, words that go unspoken. How else can you keep the audience coming back for more?

I don’t want to base the story on concepts or gimmickry, though I’m certain the trappings will be there. I would like there to be a narrative through-line other than “Our hero wants to go home,” but I fear falling into one of the aforementioned traps. The shiny, adventurous atmosphere of the raygun gothic aesthetic still calls to me, but I can’t set out to fix what doesn’t work in other stories or try to transmit some kind of message. This needs to stand on its own, as all good writing does.

If you have any thoughts or comments on any of this, I’d love to hear them.

Keeping It Real

Courtesy Fox

I’m a sucker for the fantastical and out-there just as much as any nerd. I grew up adoring the concept of giant fighting robots that disguised themselves as cars. I like faster-than-light travel, I love dragons, superheroes do not seem ridiculous to me, and I believe anything is possible when the human mind is set to a task.

That said, you have to keep it real in some way or another.

It’s one of the reasons I liked Nolan’s take on Batman so much. It completely divested itself of any sort of camp, far-fetched villains, or completely unbelievable science Batman would need to solve his problems. None of the solutions are magical. And while several characters from The Avengers are arguably gods amongst men, they are presented in such a way that they are still characters, using their powers and abilities as tools rather than being defined by them. “Take [the Iron Man suit] away, and what are you?” is a question Captain America could have put to Bruce Banner or Thor, and both of them would have had answers. They’re real characters, even if their powers make them much larger than life.

It can be a fine line to walk, though. You can’t ever let a special power become a one-size-fits-all answer to whatever problem is in front of your hero. Take, for example, the action-comedy-espionage TV series Chuck. For a while, the ubiquitous Intersect computer taking up Chuck’s poor brain is simply an encyclopedic database allowing him to provide vital intelligence and clues to his handlers. However, it later gets upgraded and allows him to, among other things, know kung-fu. After introducing a much more plausible and in-character means for him to step up to the level of the other two leads – a wrist-mounted computer that can hack anything, displays nearby floor plans, and could presumably be worked on by our hero – he’s handed a different means that is mostly used as a deus ex machina to get him out of trouble.

By contrast, consider Fringe. At no point in that show is an answer easily found or invoked to get our characters out of a situation. Choices must be made, actions always have consequences, and the status quo of the show is constantly in question. There’s no magic button to return everything to normal. While the show does have problems of the week, the resolution of the problem does not necessarily mean a happy ending.

It could be argued that Chuck is a comedy and Fringe is not, therefore the former does not need to be taken as seriously or given the same scrutiny, but that argument’s faulty. Giving your characters an easy way out through some artificial or magical means just smacks of laziness to me. If you make such things too prevalent or rely on them to drive your story forward, your characters are going to suffer. This is true no matter what the genre or medium is. Harry Dresden may be a wizard, but never do his powers allow him an easy solution, and all of his actions have consequences, sometimes deadly ones.

I’m in the third season of both Chuck and Fringe (thanks, respectively, to a friend’s DVD collection and Amazon instant video) and the disparity is pretty clear to me. As characters grow and tension mounts in Fringe, I feel characters becoming stunted and stagnant in Chuck. I maintain that you cannot let the trappings of genre and the coolness of powers or gadgetry overshadow the characters or stakes of your story. Even when you’re dealing with the most far-flung of fantasies, you have to keep it real.

Flash Fiction: The Displaced Journal

Courtesy retrothing.typepad.com

This week, Chuck invited folks like me to write on one of my favorite sci-fi subjects: time travel.


The office was everything one could want from upper-crust living. He sat behind a wide desk as he monitored the incoming streams of data from various sources on the screen. That was really a secondary concern, however. Mostly his attention was on the antique clock on his desk.

He turned the key in the top drawer of the desk, opened it, and pulled out the journal within. It was bound in leather, the pages yellowing at the edges, and filled the office with a musty, ancient smell. And yet, for its obvious age, it was amazingly well preserved. He opened it to the page marked with a dark ribbon, produced a fountain pen, and wrote down the current date and time. He recorded his current savings account information, the name he’d taken, the degree he’d pursued, and the occupation he used. Finally, after a moment’s pause, he wrote a single name.

The same name appeared on his planner for a meeting in twenty minutes.

He closed the journal and put it in a static-free bag designed for long-term preservation. Any contents of the bag were extremely resilient against the passage of time. Already, he was thinking of the seemingly abandoned tower in England’s countryside, a crumbling edifice of stone along the Prime Meridian, once used as an observatory by druids. They’d known of the place’s power, even if they never fully utilized it.

The journal spoke of the first trip to the tower. In fact, it contained a few entries from before the tower had been built. Transportation was a great deal easier now than it had been back then. Some of the entries in the journal were simple, one-line mentions of a name and a destination. He got a chill when he thought of some of those sojourns. But the alternative was far more horrifying to contemplate.

He put the journal aside and consulted his map of the building again. After the meeting he would leave the room, walk briskly (but not too quickly) down the hall, take the stairs down, hail a cab, and be on a plane to England inside of an hour. A passport in one of the previous names he’d used had been renewed and would allow him to effectively disappear. It was a solid plan, and he had confidence in it, but he looked at the journal again and felt a stab of fear.

Nobody who found it would understand. It would seem like madness. The significance of the names within would be baffling and obfuscatory. Why weren’t the names of anyone famous in there? They wouldn’t know. But he’d learned all too well that it was those who stayed out of the limelight who shaped the course of the future.

Before destinations, account numbers, or any other information, the journal always contained a statement on how things were at home. The world’s population, the state of its powers, how close things were to collapse, the amount of pollution in the sky. With every new entry, things got a little better. The future was improving, bit by bit. He was making it happen.

And he would continue to do so.

He knew that, no matter what, in – what, a hundred and fifty years, now? – he and his colleagues would find the journal, develop the technology described within, and find the next focal point of change in the world. Political movements, men poised to engineer disaster, overzealous crusades… it was difficult, at times, to determine exactly when and whom to target. And once the time and place and target were chosen, there was no going back.

The man now being shown to the conference room had been married twice, supported one child from a previous marriage, and lived with his current wife and three other children. He knew that sympathy for this one man and his family meant the doom of billions. The tragedies in his past needed to become the formless, unwritten future. He thought of the journal, of the atrocities mentioned that never came to pass because of him.

Or rather, because of where and when he’d decided to go, or would decide to go, in a hundred and fifty years.

He took some painkillers. This always made his head hurt. He focused on the mission, his escape plan. He opened the briefcase, putting the journal next to the stacks of cash he’d collected over the past two months. The savings account that would survive was three names away. Static-free bags in the tower had several lives’ identification, an easy matter to renew. He closed the briefcase, stood, and walked towards the conference room.

Waiting for him was someone concerned solely with profits and income. The meeting was supposed to be about stocks and commodity futures. After this, the profiteer would use his money to fuel a political campaign based on fear-mongering and blatant disregard for the middle class, which would lead to a world-wide economic collapse as the underclasses imploded and the upper class fell, having nobody to support them.

He shook the profiteer’s hand, waited for him to sit, and opened his briefcase.

He produced the pistol without saying a word. The profiteer raised his hands in surrender. He was unarmed. He was about to say something.

The silencer muffled the gunshot. And the Mozambique Drill that followed.

His ears ringing, he placed the handgun beside the body. He closed his briefcase, turned away from the scene, and left the room.

He had taken the stairs many nights before, timing himself with each run. He rounded the corner at the base of the stairs to find the profiteer had brought his own security. He turned to run, hearing the gunshots but not really feeling them until he was a block away.

As he fell, he noticed movement by his side, someone taking the briefcase. He looked up. The figure drew a pistol, fired back at the security, and looked down.

He was looking at his own face.

…At least the journal’s safe…

Writer Report: Getting To Know You

Checklist

I mentioned last week that there’s a notion kicking around in my head for my next project. I also mentioned that I want to ensure the story is about characters, not just the universe and any cool stuff that’s in it. As much as imaginations are captivated by things like Jedi knights, Sith lords, alien beings, and far-off worlds with radical ecosystems, if none of the characters are interesting or appealing you might as well forget trying to tell an actual story and just pitch the setting to a video game company.

You don’t just need characters. You need characters who will be the focus of the action, the ones to whom readers will relate, heroes to cheer for and villains to boo at. And they don’t just spring out of the aether fully-formed and ready to kick ass. They came from somewhere, have reasons for doing what they do, entertain doubts and hold on to dreams. These are all things you should know before you write the first word of your story.

In my case, I’m taking the time to interview my characters. I start out with some basic questions (name, profession, viewpoints on some of the galaxy’s fixtures) and get more personal from there. I’m not sure how many questions is enough – ten? Fifteen? Twenty? Any more than that seems excessive. Naturally, the most interesting part is writing the answers. It helps me nail down the voice of the character, gives me a peek into what makes them tick, and gets me excited to throw them to the wolves prowling around the plot I’m brewing.

How do you get to know your characters?

Through A New Visor

Courtesy NerdyShirts

I’ve had some negative experiences playing Halo in the past, mostly due to the nature of the X-Box Live community. This caused me to hop on the bandwagon of people hating on the games. I picked up the Anniversary Edition of the first game for my wife, and have sat beside her during her first playthrough of the campaign. In retrospect, I may have been too harsh on the game in the past.

It’s easy to see that Halo comes from fertile sources. There are elements of Larry Niven’s Ringworld and Heinlein’s Starship Troopers, though the latter also informed the most direct influence, which was Aliens. I’m sure there are others, but those are the most prominent. Anyway, the game does take steps to do something new with characters like Cortana, Captain Keyes and 343 Guilty Spark. And as a cypher for the player, looking back, I’m kind of amused by the fact that not only is Master Chief taciturn and seen as somewhat foolhardy, he’s also not necessarily the sharpest knife in the drawer.

On top of being planted in fertile source material, the gameplay is solid. Since Halo came to be before the chest-high wall advent of Gears of War and its ilk, it feels, in retrospect, a lot more like Doom or Painkiller, in which our hero fights a seemingly inexhaustible horde of bad guys. Health kits still exist, with the shield being a dubious stopgap between you and certain death depending on the difficulty. Instead of velcroing you to cover, it trusts you have the wherewithal to simply duck out of the way if your shield needs to regenerate. The fact that later games would apply this to your health and undercut their difficulty severely as a result is hardly Halo‘s fault

Despite apparent restrictions, there’s freedom to be found. While having only two available weapons slots can seem a bit of a bummer, you can swap your weapons around at pretty much any time. My wife even demonstrated how to get a weapon you want from a nearby Marine despite the fact this was before the convenient context command to do so. Let’s just say that guy’s squadmates were a bit more afraid of Master Chief afterwards. Anyway, the ability to hijack enemy vehicles as well as drive or man the turrets of your own opened up new ways to deal with one’s opponents. I know this isn’t terribly new for fans of, say, the Battlefield series, but again, Halo can hardly be faulted for the results of its own success.

So why was I harsh? The fans. Consider fans of The Hunger Games, calling for some sort of boycott or action because Rue and Cinna are played by black actors. Or Homestuck fans, many of whom seem fond of depicting 13-year-olds having sex. I could bring up Mass Effect and the failed initiative to “retake” it or even the fans of any given sport who think smashing in the face of a fan of the other team is perfectly justified. Fandom unchecked leads to zealotry and even particular kinds of hatred. Halo is, at its core, a decent series of decent shooters and given the lion’s share of credit for saving the original X-Box. Just as it’s foolish to blame this particular game for every folly in shooters that came after it, it’s foolish to blame the game for the behavior of its fans. That was a mistake I let myself make repeatedly over the last few years.

With the benefit of hindsight and experience, I can say I was wrong about Halo. The first game, at least, holds up on its own with the benefit of a high-quality graphical touch-up. It just goes to show that fans of any stripe, no matter how enthusiastic they might be, need to check themselves. They otherwise run the danger of wrecking whatever the object of their affection might be, as well as themselves.

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