Author Archives: Bob Evans

An Accusation Too Far?

The police in the United States often act like an occupying force.

Libertarian Conservative: Damn Right

The Police show little respect for the citizens, treating them like ‘little people.’

Libertarian Conservative; That’s so true.

The Police often ignore the law and run roughshod over the rights of the citizens.

Libertarian Conservative: They need to answer to the law.

The Police get away with too much, killing citizens when there is no need for it.

Libertarian Conservative: Ain’t that the truth.

The Police do all this will a racial bias, principally against minorities.

Libertarian Conservative: That’s an outlandish accusation!

 

That last turn always boggles me.

Cue the Libertarian conservative to tell me how wrong I am.

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A Strange Gaming Temptation

Monday in the after meeting conversations that follow my twice-monthly writers group meetings I encountered an old role-play gaming temptation.

I was describing to a trio of writer friends how back in the day I used to run RPG that were simply feature films with players in the place of the principal characters. I do not mean inspired by the film, I ran the exact movie, usually fairly well known geek favorites, as much as possible scene by scene, and watched as the players varied or followed the plot as it had progressed through the film.

This worked because the main character was played by someone who had not seen the movie and that is where to fun laid. Watching that person navigate the good or bad plot. Often the other players would have varying degrees of familiarity with the movie and as such nudged and guided the story generally in that direct the script had taken.

I had started down this conversation rabbit hole because I was going to discuss one variation from a plot that I thought was interesting from a writing perspective but my three friends stopped me.

1) They thought the idea of the movie/RPG mash-up was fun and apparently it was something they had never encountered.

2)_None of the trio has seen the 1980 production of Flash Gordon.

You can see where this is going. I am very tempted to take these three friends and role-play gamers and run them through the entirety the 1980 Flash Gordon, after all three players and three earthlings, hurling their bodies out into the void, without the slightest inkling of who or what is out there.

If I did this, what game system to use? Something fast and loose, not overly burdened with details, and probably t system will need drama points or such to allow for cinema’s improbabilities.

OH it is tempting.

 

 

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Negative Identities

One of the things we humans do throughout our lives is craft our identities. The process starts very early, anyone with ever a modest about of exposure to babies knows that personality, the first basis for identity, establishes very early.

As we grow we add all sorts of criteria and puzzle pieces to our identity, things we hates, things we love, people we associate with, the people we don’t associate with, and our relationship to religion and all manner of spiritualism become key elements in our understanding of who we really are.

At some point for many people, and that number appears to be growing, we add politics as a key block in our identity foundation. With that element comes the terrible temptation to define ourselves in an almost purely negative manner.

That is not to say we view ourselves negatively, but rather we identify ourselves more and more by what we are not, using political opponents and what they stand for define us by reflexively standing against them and their positions.

I have seen this play out for people all across the political spectrum. An event or controversy will pop up in the news or social media and if side A has taken one position people who are opposed to side A immediately take a contrary position without have any knowledge of the situation. If this were just isolated cases here and there for these people this would be nothing more than surrendering direction and being a team player. (Though for myself it is always important to look at the facts and not just blindly follow the team but to try to be right for the situation.) However this process happens again and again the cumulative effect if that these people start having identities crafted principally by what they react against. They have surrendered one of the most basic things about being human, deciding who you are, to others and largely they have surrendered that power to people that they disagree with. To me this is madness.

The insidious aspect to this process is that one can be so blind to the course as it runs. It is not that people make a choice to surrender these aspects but rather they reflexively take a position or leap to a conclusion and then create a post-fact justification for their action.

Don’t be the negative image of someone else’s position. Think, question, your side and yourself, dig and work it out for yourself.

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Halloween Horror Movie #12 The Haunting

Performing double duty last night as my Sunday Night Feature and the next up in the Halloween Horror Festival I watched 1963s The Haunting. (Not the terrible 1999 remake. I saw that one in the theater and once was far more than too much.)

Directed by Robert Wise, a talented and one of my favorite filmmakers, The Haunting is an adaptation of Shirley Jackson’s unsettling novel The Haunting of Hill House. The story concerns Professor John Markway who is investigating the supernatural. He has discovered Hill House, a 19th century mansion with a terrible past. Certain that he has found the location that will allow his research to advance to the next level he rents the house and attempts to bring together a group of sensitive persons to provoke events and document them. This is how the story point of view character and protagonists, Eleanor Lance is pulled into the plot. Eleanor is an unbalanced woman. She has spent her entire adult life caring for her bed-ridden mother, which has sparked and nurtured a deep resentment in Eleanor, and now longs for a life and a love of her own. Most of the people Markway had planned to assemble cancel leaving him with only one other sensitive Theodora, a woman with a talent for ESP and an unconventional sexual orientation. Rounding out our cast of ghost hunters is Luke Sanderson, a young man who believes not in the supernatural but rather in drink, women, and money. Luke stands to inherit the house and is on site to protect his future interests.

Filmed with a lens that presents a very mild distortion of the image, and several shots using filmstock that is sensitive to UV light, Robert Wise crafts a horror film that is built upon mood and disquiet rather than gore and monsters. The move boasts a terrific cast all of whom portray their characters with truth and credibility. It is interesting to me that I can watch Russ Tamblyn as a child in the noir Gun Crazy, a young adult man here in The Haunting, and as a senior actor in Twin Peaks: The Return, Claire Bloom as Theodora plays her character with a sublime subtlety. Yes, the production code forced all gay characters to be either coded and villainous but with this film it was required that her character be portrayed more discreetly and her attempted seductions and interest in Eleanor are better for their low key approach.

Among the classic horror films The Haunting ranks as one of the best.

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Halloween Horror Movie # 11 The Tingler

Saturday afternoon I treated myself to an at home matinee of the 1959 marketing classic The Tingler.

William Castle who made quite a name for himself with marketing ploys to attract people to his films directed this movie. His has done such stunts as offering insurance policies against dying of fright during the screening, having paper skeletons pulled on strings over the audiences heads and for The Tingler he had some seats in some theaters rigged with buzzers to surprise people during key moments of the film. Naturally all this does not translate to home video.

The Tingler stars Vincent Price as Doctor Chapin a pathologist who, in addition to his duties seeing to the remains of executed criminals, is researching the strange effects of people in acute fear. He has a dedicated lab assistant, a shrewish wife, seemingly a common character type in a Castle film, a new friendship with the brother-in-law of a recently executed murderer, and to help him with his research a nifty new drug that induces nightmares, LSD 25.

Chapin’s research not only proves that there is a previously unknown physical effect from unreleased fear, but that it is a living creature found in all of us, the Tingler. Most of the film is actually melodrama about the Chapin’s failing marriage, and mysterious scenes that keep the audience guessing just how far will he go for his research. Is he dedicated or a mad scientist?

This film is worth watching, but the concepts are rarely carried through and it does cheat with its plot twits. That is to say it doesn’t set up the twists but rather springs on the audience without the benefits of Chekov’s gun. The movie does have one fairly original set piece in it. There a sequence where a woman is driven into utter terror and in those scenes while the film remains in black-and-white the blood is a bright, brilliant, saturated red. Here’s a still to show you. Now, remember this was 1959; there were no digital effect to make this now easy process possible. Castle achieved this my making everything, including the actress, on the set monochrome so while the film is color film only the blood is appears to have color.

The Tingler is currently streaming on Shudder.

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Writing is Discovery

When you write you discover. You discover aspects of your characters, you discover nuances to your plot, you discover holes in your world-building, but perhaps the most fascinating things you discover are the thing you uncover about yourself.

Recently as I have been thinking about my writing processes I discovered that I like writing death scenes.

Now that is different from to kill your characters. Sometimes I have little emotional attachment to a character’s death, sometimes there is more connection and a high resistance to disposing of that character but I follow through if it is what the story needs. No, what I am talking about id when it comes time to put the scene down on paper, the actual thought experiment of the death and the killing is fascinating. I have killed villains, secondary characters, and heroes. I have written the scenes from another character’s point of view, from close third person, and even first person. I am working on a ghost story where I follow the character from living to ghost, hence a first person death scene that is not the end of the story.

What is it about the death scenes that I find so interesting?

Well, for one it is pretty much the opposite of that old piece of advice ‘write what you know.’ I haven’t died; I haven’t watched anyone die, so this is an area of pure imagination. It truly is a place to synthesize practical knowledge such as the body’s reaction trauma and blood loss with pure imagination as you apply it to a particular person and situation. Blending the known with the invented is the heart of writing and that is a good death scene.

Another aspect of writing death scenes is that it is a chance to strip everything away from the dying character and have a snapshot of who they are at the end of all things. It is a theory of drama that I think goes back to the ancient Greeks that tragedy strips away all pretenses exposing the true character and there is no greater tragedy to a character than the final moments of their life.

Done poorly a death scene cheapens the piece, making characters feel disposable and that can alienate a reader. Done properly a death scene is revelatory broadening the reader’s understanding of the characters, the plot, and the themes of the work. Do not shy away from killing characters, but make sure you are giving their final moments the attention they and the reader deserve.

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Halloween Horror Movie #10 Ringu 2

Just in case you were under the impression it was only Hollywood that produced sequel after sequel to blockbuster successes Japan made four films in the Ringu Franchise.

Based upon a popular novel, Ringu, and its American re-make The Ring dealt with a ghost from a well, a video tape that in view caused your death in seven days, and the single mother reporter that was the story’s protagonist. (Though interestingly the film differs from the novel so much that the main character switched genders.)

In Ringu the single mother has worked out to survive the curse she and her son, who accidently watched the tape, must make a copy and show it to someone else. Mom has already unwittingly done this and her mathematician boyfriend’s death provided the clues to working out the curse. Now to save her son she has had him duplicate the tape and shown it to here father.

Ringu 2 picks up the story where Ringu left off, but now our protagonist is the mathematician’s female assistant who starts down the plot trying to understand what has happened to her mentor. The police get involved, after all they have a number of unexplained deaths on their hands, as does a doctor treating a girl who survived seeing the ghost of Sadako but is now in a mental ward.

Built on mood, atmosphere, and mystery, Ringu 2 continues the stylistic horror that at the start of the century became known as J-Horror. Not all of the Japanese horror films imported under their sudden popularity deserved to be held up as an example of their industry’s superior craftsmanship but quite a few were several levels above the derivative slasher fare that so many in Hollywood pushed into our theaters.

The franchise continues beyond this sequel, producing an inconsistent and unrequired prequel, which the fandom rejected, and then a second revisionary prequel before finally sputtering out.

Ringu 2 is a film worth watching. Moody, creepy, and with explorations of themes raised in the Ringu it is that rare beast, a worthy sequel.

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Where Do You Get Your Ideas?

Now I have yet to achieve the sort of success that prompts this question, but I have friends who have herd it many times and it is the cliché for something creative people get tired of hearing. However I have thought a lot about this question. Not only from a perspective of that someday I hope to have the success that prompts it but also thinking about why it is asked in the first place.

First of all I do not doubt the earnestness of those asking this oft repeated question. I think that they want to be creative people and looking at someone successful who has produced plentiful ideas and that their own fields seem so fallow it is natural to wonder if there is some process of trick that turns a person creative. It is not those they that there is a single source of ideas, jokes about a PO Box aside, they understand that creativity is process. It is a process that looks mysterious and I believe that they want a little help in getting that process started.

The sad truth is that there is no answer to the question. For each and every creative person there are multitudes of paths to a workable concept. For me there is a commonality to my paths and that is most often my idea start as questions.

Watching an episode of Star Trek (The original series) where they have found yet another duplicate Earth I asked myself what might actually produce a doppelganger of our planet? (Aside from limited budget on your production.) Answering that question became my most recent sale, A Canvas Dark and Deep. I have idea sparked by doing the dishes when a floating lid looked like a strange watercraft and I started asking questions about who would build that and why. What if humanity moved out to the stars but not unified but still yoked to nationalism? That became a series of novels. If there are ghosts why are they so rare when there are so many people? That has spawned a couple stories as I have explored different answers.

If you want to be creative the only suggestion I can give you is ask lots of questions. Particularly you must question that things that every just assumes. Flip things and ask what is the case if the opposite is true instead of what every thinks.

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Halloween Horror Movie #9 The Devil’s Rock

Searching through the offerings on Shudder I stumbled across this 2011 film from New Zealand. The description caught my attention and with low expectations I streamed the movies.

The Devil’s Rock, set during World War II, follows two Kiwi commandos. Ben and Joe, as they land on a channel island to destroy a big gun as part of that allies’ plans of confusion and deception before the D-Day invasion of Nazi Occupied Europe. Ben is distracted by persistent screams coming from the blockhouse and decided to expand their mission into rescuing the tortured prisoners of the Germans. Inside the concrete fortification they discover a charnel house, blood stained walls, more screams, and everywhere violently torn apart corpses. Uncovering the mystery and the German’s plots is a tale of terror, violence, and patriotism.

A low-budget movie The Devil’s Rock exceeded my expectations. The filmmakers understood the limitations of their production and made the use of their limited recourses. A limited cast, very restricted use of special effects, and an understanding of what can be done with practical effects all served the story well. The script is in fairly decent shape. I do think it could have benefits from one more pass, as there are a few elements that do not quite flow smoothly. All said though this movie worked, presenting a tense situation, conflicting characters thrown into a situation that tests all of them, and it even raises a few questions about how far is acceptable in service to your country and your ideals. This is worth your time to stream this horror season.

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