February 9, 2013

Gods Among Men: Excerpt Chapter 10



[In the distant future, a race of super-humans have evolved, and have built a utopic city along the west coast of the U.S. called Theopolis.  It is protected by super-humans in an organization called the Panthron.  Troy Gaines wanted to become a Pantheon hero, so he was sent to investigate a potential threat to the city.  Accompanied by a rookie hero named Ohm, they followed their leads to the wasteland.  Deep in the desert, they accidentally came across a mine field, and were captured by a group of crazy bandits…]

When they were alone, Ohm relaxed in his imprisonment, and Troy remarked, “I never thought I’d end up like this…held prisoner by the carnival from Hell.”
“I’m sorry,” Ohm expressed. “I should have done something more when the mines went off.  I should have absorbed all that static energy, or rebuffed it, or something.  I don’t know, it just happened too fast, and I didn’t know what to do.”
“Don’t worry, this is how we learn.  Neither one of us could have predicted that the Carnival would be out here, with such an elaborate trap.  Where would they find the power for that minefield anyway?”
“It’d be easy to rig up a solar panel and a sensor of some kind.  They probably had a thermal-optic sensor set up that could see us coming, and it automatically set off the mines.  Even degenerate freaks like these guys could scrap it up from the ruins around here.”
After a moment’s reflection, Troy admitted, “You know, this is much more my fault than yours.”
Ohm waved his hand dismissively, “It doesn’t matter now.  We better stop worrying about the blame and think more about how we’re going to get out of here.”
Troy continued regardless, “There is a reason why I’m vulnerable to electronic discharges and energy fields…my power is not natural.  It’s purely mechanical.  I have no superpower of my own, just a teleportation device.”
Glaring at Troy through the bars, Ohm barked, “What?”
Taking off his vest and shirt, Troy revealed his teleporter.  He fingered the broken tubes, where blue fluid continued to leak out of it.  He remarked, “I paid a lot of money to an inventor in the wastelands.  He was probably the smartest man I ever met; he made this thing using every scrap of advanced technology he could scavenge.  It works so effectively, I’ve forgotten how vulnerable it is to physical damage.  Back at Skiapolis, Mandy took out the device’s recharger unit.  Physical movement usually regenerates its power pretty fast, but now…”
“Troy, if and when I get out of this damned cage, I’m going to kill you,” Ohm grumbled. “I can’t believe this…you really think you can join the Pantheon with some magical vest that makes you jump around as a ghost? What the Hell were you thinking? You’re not a superhero! Thanks to you, we’re both stuck out here in the middle of nowhere, with no backup, and we’re going to be killed by a psycho carnival! You killed us, Troy! This is all your fault! I wasn’t even supposed to be out here; I hate the wasteland!”
Ohm continued to rant and shout for nearly thirty minutes.  He finally ended the raving with, “You can take that teleporter of yours and shove it where the sun doesn’t shine!” He followed it up with a curt and vulgar curse.
Troy asked, “Finished?”
After a moment’s silence, Ohm replied, “Yeah.  I feel better now.  Got the hate out of my system.”
“Good.  For what it’s worth, I am sorry I got us into this, and got you involved in my own problems.  From what I can tell, my teleporter still works, it just can’t recharge.  Can you harness any electricity in this area and pump it into this vest.”
“Troy, if I could, I would pump 100,000 volts into your idiotic skull! The thing is, I can’t sense much power in this camp.  The solar panels these guys use are so dirty, I don’t even think they can power a wristwatch.  I don’t even think these people use electricity at all, they seem to make do without it.”
“What about all their cars? Or the taser that midget had?”
“Yeah, I saved a little bit of that taser’s energy when that little bastard zapped me,” Ohm informed. “It really isn’t much power, so I really want to save it for when we really need it.  I’m not sure how much power your suit uses, but I’m guessing it would only be enough for one quick jump.”
“I think you should harness more,” Troy suggested. “It takes a little more energy to transport both of us together.  And the more power I get, the farther I can go.”
With a sigh, Ohm warned, “We may have to consider the possibility that only one of us will make it out of here alive.  If it comes down to it, I expect that I’ll give you the energy, so you can make a clean escape.  You’d have to leave me behind, so I don’t weigh you down.”
Glaring at Ohm, Troy insisted, “I refuse to accept that possibility.  We’re both going to make it out of here.”
“Things can’t always go the way we plan, that’s a hard lesson you have to learn.”
“I’ve learned it, believe me.  But if it does come down to it, I won’t leave you behind.”
“Well, I appreciate the concern.”
“It’s more than concern.  You are a real Pantheon hero:  you should know that all lives are worth saving, and given the choice, we always choose to preserve life.  That is the prerogative that befits a hero, or a god.  For if we are gods among men, is it not our duty to protect each other, and our fellow men?”
“Yeah, I know,” Ohm said. “That’s why I’m trying to look out for your hide.”
“As I am looking after yours.”
“Well, I guess that makes us really swell partners after all.  But why you? What do you want to be a hero so bad? Do you really want to go down as some kind of martyr?”
“Not necessarily, but I’ll do what I have to.  Just like my father.  If it wasn’t for his sacrifice, I wouldn’t even be alive today.  Although, considering all the trouble I caused in the first place, I often wonder if he would still be around today if I was gone.”
“It’s funny how things work,” Ohm shrugged.
“Ohm...what is your real name?”
“Victor Henke.”
“Victor…you’ve never lived in these wastelands before, have you?”
“No, thank god.”
“I was born and raised in this desert.  A few hundred miles east of here, actually, in a small town just south of the Bread Basket trade route.  It was a wretched place, very run-down, and we were all very poor.  We had just enough to get by, but I used to spend endless hours staring at the lights of Theopolis glowing in the distant horizon.  I used to fantasize about being in the city, being a man of power, a man of wealth, and a man of respect.  I looked up to people like you and Link and Eva and everybody else, marveling at your powers and coveting them.”
“So, you went and bought your teleporter.”
“Yes, but not all at once, you know.  You remember that I told you about the man who invented this:  a very sharp and shrewd man.  He lived in the town with the rest of us, but he was mostly regarded with disdain.  Everybody thought he was just an eccentric lunatic.  My own parents thought he was dangerous, and told me to stay away from him.  But when I saw the teleporter he invented, and saw what it could do, I couldn’t resist.  I had to have it.  I did the only thing I could do best:  I gambled what little I had, hoping to double my money and earn just enough for it.”
“I didn’t take you for a gambler.”
“I was only fifteen at the time, so I really wasn’t supposed to.  In my foolish youth, I always feared my parents finding out about my vices, but I should have been worried about the men I was playing against.  I won nearly two thousand dollars in gold and silver from the wealthiest man in the area:  Bearly Buchanan, though you might recognize him as Buck.”
“Buck? As in, Buck the Red-Skinned?”
“Yeah.”
“You took money from the biggest, most feared gangster in the wasteland?”
“I won it fair.  I may have marked a few cards, but they were surely doing the same.  When it was clear that I had won too much from them, Buck gave me a stern warning.  He said that accidents will happen.  I didn’t listen:  I went straight to the inventor to buy his teleporter.  When I returned home, I found my family was taken hostage.  Buck’s men had them all tied up, and were demanding a two thousand dollar ransom.  It was money I had already spent.
“I only had one choice:  I had to release my family without Buck’s men seeing it.  So I made a distraction that drew them away, and I untied the ropes they had around my mother, my father, and my two sisters.  We all made it out of the house.  We didn’t make it out of the town.  Buck had men in the streets, patrolling around in cars.  We took a car and drove into the desert, but they followed us.  We were outnumbered and outgunned.  That was why my father had to make the choice between his life and our freedom.  He had me teleport my mother and sisters to safe spot, while he turned the car around.  He hit Buck’s vehicle head-on.  Neither one of them survived that explosion.”
After a moment’s silence, Victor said, “Sorry, man.  It must have been hard to witness that.”
“I think my father meant for it to be inspiring,” Troy reflected. “He knew who I was, and what I could have become.  We both knew that it was all my fault, because I was being selfish and greedy.  He taught me that only selflessness and sacrifice can make things right; I just wish I didn’t have to lose him to find that out.”
“Be grateful you actually knew your father long enough to miss him in his absence.  I never met my father.”
“The thing I learned from the teleporter itself is that everything in this world is transient.  It all comes and goes, and all I can do is take it all as it comes.  Yes, I am grateful for everything.  Even this moment:  as dire as it seems, at least we’re still alive.”
“Not for long,” Victor scoffed, regarding the corpse in the next cage.

February 8, 2013

Film Review: Ai no Mukidashi (Love Exposure)

“Being a pervert is just one way of life.” – Takahiro Nishijima

Truly a one-of-a-kind experience: this is a massive epic that weaves an impressively deep and invoking story, which includes the search for true love, coming-of-age themes, family values, kung-fu, cross-dressing, upskirt photography, perverts, religion, sin, fanaticism, and dangerous cults. Only in Japan...

You'd think that a four hour movie (yes, FOUR hours! To think the film was originally going to be six hours) would get tiresome, but surprisingly, Love Exposure never once drags. Somehow, it strikes a perfect pace, never too fast and never too slow. It'll have scenes that are so wild and crazy that they're hilarious. It also has scenes that are somber and poetic. Overall, the film takes its time to let the story and characters breathe, making the story and characters easily accessible and relate-able, and it does so without being boring or overdone.

You'd also think that this film could be cut down further, but strangely, the story actually benefits from its lengthy runtime, and uses up every minute of it. It goes through three, four, five or so different characters, all with their own crazy and insightful backstories, who inevitably collide and create interesting new plot complications. With so many issues at work with so many characters, the film creates many complex relationships, and uses them to weave a tight and dense plot. The manner in which this plot is presented makes it pretty easy to comprehend, allowing the viewer to fully understand one strand of the plot before diving into another. It's also very effective at getting the viewer to care about the characters, even if they are crazy or violent or freaks. With such an ambitious plot structure at work, the film manages to dig up some important themes regarding love, life, and religion, and possibly other things.

The film is shot and edited in an interesting manner; at times, the way it frames and puts images together reminds me a lot of an anime series. As such, it is a stylish film with purposeful composition.  The camera work can be erratic at times, appearing like a documentary, but not to a sickening degree.  Acting is pretty decent all around, and the writing is great. This production makes the best out of its utilitarian sets, props, and costumes. Music, while brusquely used, is strangely addictive and effective.

It's a long and crazy film, just as I expected, but it's also a film I couldn't stop watching, because its characters were so invoking, its themes so rich, and I found it so compelling overall.  For the casual audience, unless you're a total prude, I recommend at least giving this film a try.

5/5 (Entertainment: Perfect | Story: Perfect | Film: Very Good)

Film Review: Terminator: Salvation

"What is it that makes us human? It's not something you can program. You can't put it into a chip. It's the strength of the human heart. The difference between us and machines." - Sam Worthington

The first two Terminator films hinted at the frightening post-nuclear-war future, overrun by SkyNet and its army of machines. Terminator 3 showed how it came to pass. Finally, in 2009, Terminator: Salvation would be the first film to show the actual future wars of the franchise in full.

To be frank, my first impression was not the best. I took issue with Christian Bale's aggressive take on John Connor, and the film's focus on Marcus Wright (Sam Worthington) as the main character. To say nothing of the actual plot, which seems like a mad rush to slap John, Marcus, and Kyle Reese together, just because destiny says they have to.

On repeat viewings, I learned to accept the film as it is. This is still an action-driven film, and the action does not disappoint. It does a decent job of showing planes and soldiers clashing with SkyNet's terminators, Goliaths, and hunter-killers in some modestly epic war scenes. The chase scene between the tow truck, the giant terminator, the motorbike terminators, and the giant HK is a thrilling piece of work. The final confrontations in the SkyNet factory are pretty cool. The pacing is high most of the time, and the film overall is appropriately gritty, dark, and intense.

The story doesn't really progress the franchise much, aside from uniting the characters we know and love together, and showing a little more insight on the future war. Its biggest contribution is in introducing Marcus as a character, who comes to represent a larger theme that puts the movie into a thrilling new context: the film overall asks the question, what does it mean to be human? Through a series of dramatic twists, the film reaches a decently profound conclusion.

The film looks good, with solid photography and quality editing. There are a lot of great looking shots throughout. Acting is not bad at all: even though I found it hard to accept Christian Bale's performance as John Connor (thanks largely to Bale's supposed outburst during the film's shooting, and his previous portrayal as Batman), I realized that he is doing his best to match up with Edward Furlong's character in T2, and he does so with an appropriate level of nuance and aggression. Sam Worthington is surprisingly excellent in his role. Anton Yelchin is not bad as Kyle Reese, but could have used more scenes. Writing overall is pretty good. This production has decent sets, props, costumes, and special effects. Music is good.

I'd recommend this as a rental.

4/5 (Entertainment: Good | Story: Good | Film: Good)

February 7, 2013

Film Review: Terminator 3: Rise of the Machines

"Judgment Day is inevitable." - Arnold Schwarzenegger

As thrilling as the first two Terminator films were, they made up a rather complete duology. I still always dreamed that a third movie should be made, to take the franchise into thrilling new directions. About ten or eleven years after T2, this film finally came out, with surprisingly little enthusiasm.

Outside of James Cameron's hands, it's not quite the same. I can't deny that it's missing a certain charm, or perhaps a certain pathos, that makes the first two films work so well. Regardless, T3 has its share of excitement. The car chase in the opening act, featuring a crane that wrecks a huge number of cars and one whole building, is an excellent and awesome thing to watch. The film maintains really fast pacing with a frequent number of chases and fights. It's also loaded up with quite a bit of silly comedy. I could see audiences loathing the lighter tone of the film, but I think it's a real hoot. Even though these scenes make the film lightweight, it still has serious moments, especially during its final scenes.

The film starts off looking quite similar to the other two movies, with two terminators coming into the past, one to kill and the other to protect. It quickly covers thrilling new ground, showcasing a lost and troubled John Connor who winds up literally trapped in some rather amusing situations. When the actual Judgment Day hits, it becomes a mad rush. There's not much room for character or theme development, and when there is, some of the scenes might come off as wimpy (especially in the way John Connor whines and threatens to kill himself in one scene). Regardless, it's a servicable story with a few surprising twists, even if it doesn't have the same depth or feeling as its predecessors.

The film looks slick, with solid photography and editing. Acting is not bad: Arnold Schwarzenegger returns with a tongue-in-cheek portrayal of his iconic character. Nick Stahl does his best to match up with Edward Furlong's portrayal of John Connor; despite being a little unlikable as a character, I think his performance is admirable. Claire Danes and Kristanna Lokken are both fun to watch. Writing is okay; there are a few lines that I wish were expanded upon. This production has plenty of good-looking sets, props, and costumes. Special effects look great most of the time, and a little weak in other spots. Music is pretty good.

I'd recommend this as a rental.

4/5 (Entertainment: Very Good | Story: Pretty Good | Film: Good)

February 6, 2013

Film Review: Terminator 2: Judgment Day

"The future's not set. There's no fate but what we make for ourselves." - Edward Furlong

The first Terminator film presented the unique concept of a robot killer sent back through time to assassinate a specific target to affect the outcome of a futuristic war. Even though the characters overcame the terminator, Judgment Day still beckoned. Nuclear war is coming. Robots will march over the dead and annihilate the living. They are still looking to alter the past to win over the future.

T2 hits the ground running with a similar plot structure as the first film: a terminator appears to terminate somebody, and another figure appears to protect the target. This time, the protector is a terminator reprogrammed to be the good guy. While there is plenty of fighting and chasing, what follows is not just another retread, and it's not all about running away from the threat. This time, the characters turn the tables with massive firepower to try and change the future. This makes for a number of impressive action setpieces: the attack on Cyberdyne Systems is a loud, explosive splurge of mass carnage. The final showdown in the steel mill is a thrilling and iconic sequence, especially when it shows the epic smackdown between the two terminators. Various sequences here and there are just as exciting. It's all made even more memorable and innovating for featuring the T-1000: a terminator made entirely of liquid metal, which is not only a great feat in special effects, but also one of the most menacing villains in cinema.

There is a ton of big action in the film, making it a satisfyingly badass experience. It's made even better with a solid plot structure, and a cast of deep, well-developed characters. Sarah Connor is fully fleshed-out at this point, as a heroine who is both hardened and traumatized by the events of the first film. Despite being a little annoying, John Connor shows enough heart to be relate-able. Even the terminator himself is humanized to a point. All the characters show remarkable pathos, and combined with the story, they serve to underscore key themes concerning humanity's destructiveness. By the film's end, the message is clear: the future is not written, and it's up to us to determine our own destiny.

The film looks very slick and stylish, with photography that's steady, but also moves in thrilling ways. Editing is superb. Acting is great: Arnold Schwarzenegger and Linda Hamilton return to offer great performances, while Edward Furlong does the best he can (despite being a little annoying with his constantly-cracking voice) and Robert Patrick does his best to be menacing. Writing is good, in my opinion. This production spares no expense on the sets, props, costumes, and special effects. Music is pretty cool at times.

Highly recommended!

5/5 (Entertainment: Perfect | Story: Perfect | Film: Perfect)

This film is on my list of Top 100 Favorite Films at #6.

February 5, 2013

Film Review: The Terminator

"That terminator is out there. It can't be bargained with. It can't be reasoned with. It doesn't feel pity, or remorse, or fear. And it absolutely will not stop, ever, until you are dead!" - Michael Biehn

Assassination and murder often makes for a thrilling story as it is, but what if the murderer happens to be a machine from the future? Unstoppable, invincible, unable to feel pain or remorse, unable to deviate from its programming. The terminator is an inherently scary figure, partly because of the traits mentioned above, and also because it comes from a scary future ravaged by nuclear war and a robot apocalypse.

The first Terminator film delivers its premise impeccably, and does so with an agreeable amount of action. Granted that all the sequels have surpassed this film in terms of action, The Terminator still delivers plenty of thrills as the titular machines brutally hunts down its targets. Most of the movie is comprised of chases: car chases, foot chases, with intermittent shootouts, explosions, and fights. In spite of this, the film drags very little; it's actually quite tight, as it effectively uses the space in between the action to develop the story and characters.

And the story is quite sound, partly because of its unique premise, and largely because it's told really well. It makes phenomenal use of flashbacks to reinforce the background and characters of the story. Its focus on the characters is superb, and you really grow to care for them by the film's end. Overall, the film shows great depth and detail to make it stand above and beyond most other sci-fi flicks.

The film looks great, with excellent photography and editing. A lot of scenes, such as the nightclub scene, leaves a great lasting impact. Acting is great: I love Linda Hamilton, Michael Biehn, and Arnold Schwarzenegger in their respective roles. Writing is pretty decent. This production has plenty of good, utilitarian sets, props, costumes, and special effects. Music is really weird, but very moody and appropriately industrial.

Highly recommended!

4.5/5 (Entertainment: Good | Story: Perfect | Film: Very Good)

February 4, 2013

Writing: How to Make Fourth Dimensional Characters

In the latest session of our local writing group, one of our fine talented writers shared some good insight on how to create characters that are deep and meaningful.  This is all information that I think I've always been cognizant of, but never fully articulated, especially in such a structured fashion.  This information can benefit all writers, new or established, because character development and pathos is probably the most important element to writing compelling stories.  Looking over these aspects, I realize that there are things to my own characters that I tend to overlook; I'm usually good at building the third and fourth dimensions, but I often skip over the first two.

So, to build great characters, four dimensions are required:

First Dimension:  The Photograph (because you look at a photograph, a static image, and get a first impression from looks alone).  Aspects to this include:
  • Static traits:  a person's size, weight, hair color, eye color, skin color, deformities, scars, tattoos, clothes, and any other number of observable traits.
  • When writing about these static traits, there is a tendency to stop all the action and spend a paragraph or two to dump all the details of a person's description all at once.  This is a mistake I'm guilty of...pretty much all of the time.  It's better to take these descriptions and use them as the action unfolds.  So instead of having a chunk of text that says "so-and-so looks like this and that," consider something like "so-and-so ran his hand over his smooth black hair..."
  • Going hand-in-hand with the above, it's also better to use active verbs to describe a person rather than inactive verbs.
Second Dimension:  The Videotape (because when you look at a video, you can see a person in motion; action speak louder than words).  Aspects to this include:
  •  Active traits:  how a person moves, how he speaks, how he goes about his daily life, how he walks, how he runs, how he drives, how he interacts with other people, how he eats, how he sleeps, and any number of other subtle clues and mannerisms.
  • A person's voice can be important for character building to.  It may be wise to consider describing the pitch, tone, accent, and other aspects of a person's voice.
  • These traits can be important, because it's a transition from how a person looks to what he's really like.
Third Dimension:  The Stageplay (because when you see a play, you see the action unfolding around the characters in a dramatic fashion).  These aspects are:
  • How a person acts or reacts to circumstances.
  • Character traits, such as how sociable he is, how well he gets along with others, what his level of responsibility is, beliefs of all sorts, intelligence level, sensitivity, temperament, and any number of other traits that will affect how he acts in the long run.
  • Dialogue is a huge help in this field, especially regarding arguments, which can reveal a lot about characters and how they get along (in addition to building the action and conflict).
  • Habitual behavior can build personality.  Let's face it, we all have habits that we can't break free of.
  • Overall, these traits develop the public persona of an individual.  All these traits are observable, but they may not match up with the fourth dimensional traits at all.
Fourth Dimension:  The Participatory Theater (because now you can involve the audience in with the action, putting them into the eyes of the character and making them feel for them).  These traits are:
  • Pretty much the same as the third dimension, but constitutes the private persona.  These are the traits that are internalized.  They are stripped of all pretense.
  • Includes the inner workings of a character, such as thoughts and feelings.  Most important, however, is motivation, which explains why a person is the way he is or acts the way he acts.  Asking why to a character or story should uncover motives to make it work.
  • To reveal the inner traits of a character, it may help to ask what there is about the character that nobody else knows.  Upon thinking about this, you must then ask how to go about revealing that hidden trait.
  • It may also help to examine a character's fantasies and dreams.  Ambition, or what the character wants most, is a large part of what makes them whole.
For an example of a fourth dimensional character, consider this example:  Hamlet, from the Shakespeare play:
  • First dimension:  well, it depends on who plays him, but if you go with, say, Kenneth Branaugh, he'd be a thin and somewhat handsome blonde dude with a mustache.
  • Second dimension:  once again, this depends on the actor.  Kenneth Branaugh played this guy with a pretty strong sense of confidence and purpose.
  • Third dimension:  per the play, Hamlet starts off pretty somber, but goes on to act all-out crazy, spewing nonsense lines and going on to kill Polonius.  Everybody pretty much concluded that Hamlet was mentally disturbed from his father's death.
  • Fourth dimension:  per the play, and a lot of study, Hamlet is never crazy, he only acts that way to bide his time and plan his ultimate move against Claudious.  He pretty much spends the play flip-flopping, trying to figure out if he should commit the murder, or worse yet, kill himself.  Once he discovers the truth, he goes through with it.  For the first half of the play, all he wants is confirmation that Claudious is really the usurper, and perhaps a good helping of self-confidence, while in the second half all he wants is vengeance.