May 19, 2017

Political Post: As Cherry Pie



One of my writing goals has been to try to focus my political thoughts into essays that I submit elsewhere.

My first piece is up at https://riserevolt.org/.

And before you go read it, because I have a good feeling it's gonna anger a lot of people, here’s what I’m trying to get at it with it—I'm not advocating violence, what I'm trying to point out to you is that wishing something isn’t so, doesn’t make it so.

The elites want you locked into a mode of thinking, right? About everything. It’s only when you’ve acknowledged the truth, that you can deal with something meaningful--in this case, that's having a conversation about how to get around violence effectively.

Because what most people do when they "protest" is mimic a fictional construct, so it’s utterly meaningless and mostly accomplishes nothing other than maybe making them feel better.

Read my thoughts here: 




May 17, 2017

Marvel Flavored Dreams




When I daydream about writing comics, if the dream is Marvel flavored, it's either this: 





Or this:


May 12, 2017

The Mummy and the Universal Monsters Universe


The Mummy? Hmmm… I get it. I do. These sorts of “creative” decisions about properties come down to simply what the suits think will make them the most money, right? What you as fan think will make a good story doesn’t matter. What you as a fan think about the integrity of the characters doesn’t matter. Kill your internal monologue—it’s always what the execs think is going to pull in the most money.

Universal looks around, they see all these connected film franchises that regularly pull in around a billion dollars, and so they naturally want their cut and their monsters movies seem like a good place to start.

Once they start looking, what do they see? Del Toro’s Crimson Peak was a complete failure, Dracula Untold with Luke Evans fizzled at the Box Office, The Benicio Del Toro attempt at The Wolfman was another flop, all their big plans for Hugh Jackman’s Van Helsing (including a TV show called Transylvania) were shelved after those box office returns, and finally they come to The Mummy franchise with Brendon Fraser.

So next it becomes, “…all those superhero films are action heavy and so is Star Wars…” So naturally, they decide to kick off their Universal Monster Movie franchise with an action-adventure The Mummy with some horror elements.


But here’s the thing: yeah, I think the new version of The Mummy looks like a fun action-adventure film with some horror elements. And Tom Cruise is the male hero so I’m sure they’ll be at least one really-involved and cool stunt sequence that he and Christopher McQuarrie came up with and that Cruise trained for 6 months to be able to pull off. But despite all that…

...I’m not really sure if this is the best way to kick off a successful Universal Monster Movie franchise. The big problem is there really is nothing unique to the Universal Monsters. Anyone can make a Dracula film, a Frankenstein film (like Fox did with their version of Frankenstein that featured McAvoy and Radcliffe), or a Mummy movie without any interference from Universal as long as they’re not plagiarizing a script or using those unique character looks that they’ve trademarked (so no green skin, flat-topped Frankenstein with neck bolts or black beehive with white streaks, gossamer-gowned Bride of Frankenstein unless you want to get sued).

This is why I don’t think too many people are exactly scrambling for a new classic monster movie that wasn’t born out of something fresh…like Penny Dreadful which made use of all those same classic monster characters pretty expertly in a character-driven story that included some great takes and new twists. Plus, Penny Dreadful’s story was cohesive and complete instead of being cobbled together by a bunch of different writers hired for different parts of your franchise.

There's also the issue of the action-adventure focus over the horror, the modern setting over the past. Seems like a sure-fire way to disappoint people who might want a classic monster movie that’s maybe scary…? I mean, do you really want to see Frankenstein smashing through a tank when you have The Hulk? Besides that, I'm pretty sure that Fox is working on another version of The League of Extraordinary Gentlemen.

Lastly, starting right away at the big scale we see in The Mummy trailers means you’re either going to have to keep upping the ante for each successive film before you’ve built real interest or you’re going to start big and then have to backpedal to something quieter. These sorts of films with tons of effects and big action sequences all lead to big budgets which mean the films must get big box office returns to even break even. So I'm not sure I see all this really leading anywhere except for maybe another couple of action-y movies for Tom Cruise to star in.

What would you do with the Universal Monsters franchise?

May 11, 2017

Nephilim: Occult Roleplaying





I know it's had multiple editions in France and I remember reading something about a legal issue with the rights after the original company went out of business, but, man, someday I'd love to work on a new English edition of Nephilim.



May 10, 2017

The Problem With Doctor Who





The 10th season of the new Doctor Who is now underway. Despite tons of buzz about this seasons being the best DW has been in a long time, it will be the last with both Capaldi and Moffatt.

As we get closer to a new Doctor and a new showrunner, I see a lot of talk about what went wrong with DW and why the ratings have declined. Most of the talk seems to center around either the writing under Moffat or the Doctor as played by Capaldi, or some combination of both with varying degrees of chief responsibility.

I know both contributed to my decision to stop watching DW until there was a new Doctor and a new showrunner--(the stupid, stupid scene with the Doctor playing electric guitar on a tank was when I decided I was done even trying). A few articles have also mentioned the trouble with the companions under Moffat (the most insightful one I saw wisely pointed out that Moffat spent too much time making Clara special and not enough time making her likeable). And one mentioned what they considered to be timeslot mistakes by the BBC.

Truthfully, it’s probably a combination of all those. But something else that I don’t think has been discussed really is the general lack of understanding how an audience likes to consume it’s entertainment. Splitting seasons up and having large gaps of time between episodes or specials or even the next season isn’t conducive to binging, especially considering a show doesn’t appear on a streaming service until quite sometime after the entire season is done. With so much good programming to binge, having huge gaps of time between seasons of show makes it lose both excitment and interest. And speaking of streaming services—the absolutely biggest mistake, I think, the BBC has made in ensuring the continued success of DW was signing that exclusive contract with Amazon Prime for American streaming rights and removing DW from Netflix and Hulu.


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