Life Unconstructed


So after having studiously avoided it, I finally watched Batman v Superman: The Dawn of Justice, since it was only $4 on iTunes.

The initial impression: Zach Snyder and Chris Nolan need to be booted from the production of these movies. Second impression: it wasn’t as bad as I expected. Granted, cockroaches and our current presidential frontrunners are about the only things I have lower expectations from, so that wasn’t hard.

Let’s start with the good:

Affleck. Seriously, he’s a good Bruce Wayne, which is essentially to being a good Batman. He’s working his ass off in the role, and it’s probably one of his better acting gigs. Which brings us to Batman — they let him do detective stuff. They show him exercising like crazy to keep in shape. They point out his incredible luck at still being alive. They also give him some solid fight scenes that look like the comics — he uses his environment, his gadgets, and his wits.

This was a great Batman flick. It’s a shitty Superman flick — more in a moment.

Alfred. Jeremy Irons does a great job, and they make Alfred a partner in crime to Batman, not just a sage advisor.

Wonder Woman. She’s the best part of the film. Gal Gadot has her looking like she’s enjoying the hell out of the fight scenes. She feels like a Amazon come to play rough.

The bad: The dream sequences Batman is having. They’re distracting, and for many viewers, I suspect they were confusing. They detracted heavily from the story.

Speaking of — the entire gods among us motif got old about halfway through the first time they brought it up. While the political class of the world would undoubtedly want to find a way to shackle a creature like Superman, I found the incident to question his motives shoddy and forced.

The writers, Snyder, Nolan — they don’t get Superman. They’re looking to do high art, and they’re so busy trying to be deep and subtextual that they miss the chance to shake up the feel of the movie by having Batman’s pessimism and doubts be countered by the optimism and faith in people that Superman embodies in every rendering except the Zach-verse. He’s not dark. He can have a bad day, doubt himself, but in the end he’s that kid from Kansas who thinks you can and should do good.

Which brings us to the worst of the film — Lex Luthor. The kid from Zombieland just doesn’t cut it, but it’s not his fault. The writers were looking for somethig edgy and differennt, and instead we got the same kind of riff that Sherlock gave us with their shitty version of Moriarty. Smart, sure. Nuts, yup. But engaging and cool, or frightening, or funny…nope.

In short,  all the Superman stuff sucks in the movie, from the big man himself to his villain, to this Lois Lane. The Batman stuff was good, and Wonder Woman steals the show.

So is it worth it? On my scale of “I wouldn’t borrow it from the friend” to “See it full price multiple times”, I place it on a rent, maybe a matinee.

I finally finished my Luke Cage binge last night, so let the reviewing begin!

I’ve been bouncing back and forth on whether this is the best of the Marvel shows on Netflix, but by the end of the season, I’d have to go with “yes.” Here’s why:

Harlem. They take a real place and they make it the focus of the show. Daredevil tried this in the first season, as well. Hell’s Kitchen, however, is a weird mix of 1980s crack-period Hell’s Kitchen, and the gentrified version of today. This is necessary for the show to keep the Miller/Mazzuccheli flavor they were going for. Luke Cage‘s Harlem is much closer to the real thing, and the importance of the place to black history, culture, and identity is front and center throughout the show.

Blackness. Connected to that, and a defining subtext of the show is blackness. Cottonmouth Stokes, the crime boss who could have been something else; Mariah Dillard, the all-too-realistic politician; Misty Knight, the honest cop who knows everyone in the neighborhood; and Luke Cage, the stoic, hard-working everyman…who just happens to be damned near indestructible all are aspects of the black community, and their conflict mirrors the conflicts of the black professional, the gangster culture, and the middle-class. The music, the location, and the casting all make this a sharply different view of America than Daredevil and Jessica Jones.

The women. There are a lot of important female characters in the show — Mariah Dillard (Alfrie Woodard), Misty Knight (played superbly by Simone Missick), Inspector Pricilla Ridley (Karen Pittman stuck in a stereotypical annoying commanding officer role), and Claire Temple (Rosario Dawson, stealing scenes again..) — the women in the show are integral parts of the drama and plot. They’re not weak. They’re not victims. And none of the important players are young. They’re mature women. It’s refreshing.

Mike Colter. Sweet Christmas this guy’s got charisma. He was the best part of Jessica Jones (my opinion) and he does good work here. There are a lot of great performances in the show, Mahershala Ali’s Stokes is especially good, but COlter manages to hold the spotlight whenever he’s onscreen.

The surprises. (Yeah, spoilers. Shut up.) The decision to take Cottonmouth off the board halfway through the show was an excellent move, and made the show seem less contrived. That said, exchanging Ali for Erik LaRay Harvey’s Diamondback took away an excellent, and somewhat sympathetic villain for a less interesting creature. Diamondback, despite their best efforts, never feels like anything more than the crazed murdering baddie. That’s not Harvey’s fault; the writing on his is a bit lazy, and that’s probably the worst aspect of the show.

Mariah Dillard’s rise to crime boss is the exact opposite. She’s a compelling and realistic character, not entirely competent or comfortable in her new role, but Woodard’s steady move from pawn to queen is well executed by both writers and actress. Did I mention the women in this show knock it out of the park? They do.

A side mention for one of the better supporting cast has to go to Frank Whaley. Who? you ask. You’ve seen him in just about every damned TV show in the last ten years, and a few movies. He plays Scarfe. (Oh, that guy!) His performance is subtle and nuanced. He feels like a 20 year vet of the NYPD who does his job, and just that; he knows his job barely matters and it makes his corruption seem natural.

Lastly…Method Man. I’m not a hip-hop or rap fan. I barely know who the guy is. He steals all the scenes he’s in. There’s a great moment between he and Cage where the superhero geeks out at meeting the musician. It’s one of the best moments in the entire show and feels right.

The bad — ’cause there always is some bad.

Diamondback. The character is a leering psycho whose character development shows him to be a whinging teen with daddy issues. It’s unoriginal and uninteresting. The Bible-quotes and half-assed philosophizing never rises to the levels that Cottonmouth and Mariah have.

While the final fight between he and Cage is beautifully done, it’s really only good to show Cage to be no martial arts master, no skilled bad-ass, but a dude that simply is very strong and impervious to most damage…why would he need to be a fighter? (Throughout the show, the guy doesn’t fight, so much as sort of push and slap his way through the mooks.)

The first episode. It’s a slow episode, mostly for the work it’s doing setting up Harlem as a character, as much as introducing the leads. Wade through it.

So is it worth it? Hell, yes. Go quit your job and stream this thing, right now.

An old space probe returns to Earth to find a lone survivor…

Here’s a nice sci-fi short. The lead does a great job.

Here’s a nice take on the Seven Dwarves…

The reading thing doesn’t tend to surprise me, especially as I’ve gotten older. There are a lot of folks that have cruised through life without reading important pieces of literature, so I don’t tend to be surprised when I ask if they’ve read X and they say no.

Movies, on the other hand, are a modern phenomenon that does surprise when someone hasn’t seen a classic blockbuster. Star WarsBlade Runner? Any iteration of Star Trek? These are so ubiquitous and culturally ingrained that it’s surprising when someone references one of these (or others) but hasn’t seen it. “Game over, man! Game over!” “I love Aliens!” “Never seen it.”

There are classic bits of cinema that I think everyone should have seen, but I rarely expect them to have.

 

After decades of punching out good adventure scenarios that only see the light of day with my groups, and to a lesser extent the readers of this page, I decided to attempt to do more with these games than reminisce…

And so, Black Campbell Entertainment has gotten it’s federal and state business licenses, so we are officially in business! Right now, we’re concentrating on getting out a series of pulp-oriented game modules or adventures or whatever the hell we’re calling them these days.

The first is The White Apes of the Congo. This will be a 35ish page adventure book that will come in a few flavors — Ubiquity (Hollow Earth Expedition), Fate (Spirit of the Century), and Savage Worlds — with cover art by comic artist Bill Forster.

After that, we will have a 1936 spy adventure, and another set in Shanghai where the players are looking for a mystical, or cursed, MacGuffin.

Following these baby steps, we’re looking at period-specific setting books: 1930s Shanghai and Istanbul, noir Los Angeles, Victorian London… And in the offing, a modern espionage game.

We’re also working on a screenplay.

Stay tuned. Big changes coming sometime around October.

So, we’re on the Modiphius playtest for the upcoming John Carter of Mars RPG, and finally got a chance to play the packet of rules they’d sent to us. My interest and hopes for the game were quickly dashed by an absolutely disastrous experience.

Straight off, the packet did not specify how the main core die mechanic worked; I had to open the Conan quickstart file, which — while indisputably beautiful — is a monstrously large file due to this and was absolutely killing the iPad, speed-wise. I thought I had that simply basic rule down, but the players were continually asking the same question about it, so I second-guessed myself and that was that. What had started out at a good clip quicklyy bogged down to my flipping back and forth and trying to read through the dense colors of the highlighting the design team had throughout the playtest file.

Professional tip for developers/editors of any type #1: when sending something to a group of people, keep the highlighting colors as low contrast as possible. It’s damned near impossible, for instance, to read black type through a deep red highlight.

Professional tip #2: When describing a process, be specific, be simple, and assume congenital idiocy. No, most of your audience isn’t stupid, but they might be busy, as many of us are, or they’re former PhD students who no longer can stomach reading after 400 books in 3 months, and they’ve only skimmed the file. “That’s their fault!” you cry. Nope. Be simple, direct, and specific. How does the die mechanic work, in this case.

So, 2d20 is actually relatively simple, but describing it might be hard. In the case of this game you add two stats and try to get below their total. If you do, it’s a success; if you’re below the highest attribute on any die (or is it on all dice — this is where they fell down) you gain two successes; below the lowest stat, three successes. Say you need four successes (which they did not bother to explain was what D4 meant), you roll two dice and hope you get low enough on one or both dice to get four successes. So you could, in theory, get upwards of six successes on 2d20, or more with use of “momentum” (More on that in a moment.)

Really not that complicated. Any extra over what you need is “momentum”, which can be spent for yet another d20 on a following action, on damage, or a number of other things. Damage comes off of the attribute/stats you used to defend. The mechanics aren’t that bad, but the packet was a hot mess to read through. You should not have to go to another playtest book on another related game to understand what you’re doing. (Yes, it’s a work in progress, but assume no one has read your other stuff.)

Strangely, my five year old immediately grasped the rules. She wanted to play desperately, but when things bogged down, she got bored and wandered off. Shortly after, I pulled the plug on continuing and we pivoted to Hollow Earth Expedition for the rest of the night.

Which bring me to a sidenote, as I am working through product development, myself: Conan, both the Quickstart packet and the book in development are beautiful. A lot of the new RPG books are full-color, loaded with graphics, art, and high-quality layout work. They really are gorgeous. But they are 1) expensive, 2) staggeringly heavy on the pdf file sizes, and 3) for all this is supposed to help set the tone for players…I’m not so certain this isn’t working against some of the publishers.

The expense of making these books is high. The art costs, the layout costs, the fine paper and full color costs, the hardcover costs, and they’re often bloated 300+ things of late, so they’re heavy — which makes shipping (especially international) cost-prohibitive in the extreme. (Drop over to Fred Hick’s blog to read more on how shipping can crush a successful Kckstarter.) I love to love and feel of these books, as well as others…but part of me wonders if this focus on the aesthetic over the substance isn’t becoming a problem.

Some of these fancy products mean counter-productive color choices where contrast between text and background color or patterns interrupt the ability to read the rules. The focus on sounding appropriate to the setting (Firefly was a good example of this) can help set the mood, but make understanding how the hell the rules work difficult. You don’t want to sound repetitive or boring to the reader, but you are also describing a process — it’s technical writing, really — and clarity, brevity, and simplicity rule the day when teaching something to a person.

So I suppose my question is — do we need all these gorgeous books, or do we need a return to more simple layouts, good clear writing that cuts the size of a game book from a 300 page, $60 tome to something more in lines of 150 pages and $25-30? Maybe grayscale will do. Maybe black and white, save for a few color plates, will do. (It would certainly make the pdfs easier to use!) Maybe softcover will do.

So…I’m having no issues with game prep, even though I’ve been having trouble making time for it. The game is fun, the ideas are flowing…but for the last three months, I’ve been trying to keep the game running due to scheduling conflict. Everyone, it seems — myself, included — has had some kind of issues. I’ve had a spate of last minute no-shows. Rarely have I had scheduling issues crop up like this outside of when I was in the service.

So when I got another “Hey, I can’t make it Thursday” email, even though I kind of remembered there was another conflict this week, or next, or both, I realized — looking at my calendar — that I was “the guy” that usually/always coordinates these things.

We’ve got a family health emergency that puts pressure on the spouse’s scheduling, and she has work obligations — I’m not the only one that gets affected when we can’t keep a schedule; I’m trying to start a new business and get product ready; I have an attention-hungry five-year old who, during school time, needs time stability. This week, for the first time, I was tired of being “the guy.”

It really surprised me how hard this hit.

I told the others to work it out and let me know. I feel guilty about dropping the ball on them, and it probably came off snarky, but I’m a bit overwhelmed with all the other life shit. Maybe people just got so used to me saying, “Sure, whaddya need?” that they assume I don’t have stuff to do.

So how do others handle this?

Well, the LLC is working its way toward conclusion, so I feel pretty comfortable in announcing that — years late, thanks to a break to raise a kid — Black Campbell Entertainment is in the offing.

We are planning on starting with short adventure modules that will be system-neutral, some that will be using the Fate and Ubiquity systems, and barring abject failure, I hope o have several setting books for ’30s pulp games out by next year. Additionally, there are two other projects currently in the works for a Fate-based spy-fi game, and a in-house espionage game that has developed from what was going to be a retro-clone of the old James Bond:007 RPG (but I got beaten to it by Expeditious Retreat).

Cruachan!

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