The GOP MUST be Burnt Down

Yesterday as part of my political podcast world I listened to The Dispatchwhich is part of the conservative but not pro-Trump continuum. I listen to mainstream news and political discusses from both the right and the left in part because I am not going to judge any faction by what their opponents say but rather what I hear from them myself. One of the topics of the Podcast raised by writer David French was on the desirability of the election removing Trump from office but without serious damage to the Republican office holders below the level of President. French seems concerned with ‘collective’ punishment being unfairly handed to the GOP at large.

“Collective’ punishment conjures up impressions of innocent member of a community being unjustly punished for the actions of a minority of the person who by mere happenstance are also member of the community.

That is not what has happened with Trump and the Republican Party.

First off, Trump did not fall out of the sky into the position of Leader of the GOP. He was the party’s leading choice from the moment he entered the race. The GOP had spent decades preparing a political ecosystem where someone of Trump character would thrive. They are Doctor Frankenstein and he is their monster; the responsibility is theirs.

Next, the Republican Office holders with a clear view of the man’s corruption and incompetence did not thing to limit his damage to our nation. Satisfied with tax cuts and judges and terrified of the base that they themselves had cultivated they stood by, abandoning their duty, their oaths, and their honor as they turned a blind eye to his maleficence. The culminated in, at their hands and their hands alone, the cowardice of his acquittal.

Faced with Trump corruption, criminality, and incompetence the Senate republicans turned their backs on the United States of America, pushed their fingers into the ears, squeezed their eyes shut and desperately wished for it all to just go away. The result of this abdication is the death of tens of thousands of Americans.

Had the Senate removed Trump as their clearly needed to it we would but have faced a pandemic with an incompetent, fragile ego, narcissistic failed businessman and reality television star as President. While people can have their issue with Vice President Pence, we would have stood a much better shot at a competent response to the crisis and that would have saved lives. Thousands of lives.

Of course, I am not saying that the senate knew the pandemic was rising. But they knew, we all knew, Trump was incapable of rising to a crisis and for the US President a crisis is always on the horizon.

It is not ‘collective punishment’ to hold them accountable for their inaction. An 18-year-old infantry man who through cowardice gets his unit killed and wounded would not be excepted from the consequences of his failure and neither should his elected officials be excused simply because they may advance a policy you desire. They are not being held accountable for Trump’s actions but for their own. The GOP cannot be an honorable party if it is comprised of dishonorable members.

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Quick Hits for July 23rd

No long form essay today just a few quick thoughts to kick off the morning.

 

Ladyhawke this film from 1985 doesn’t get the love that it deserves. A romantic fantasy directed by Richard Donner and starring Mathew Broderick, Rutger Hauer, and Michelle Pfeiffer this movie has it all, action, comedy, romance, and one of the best magical curses ever devised and yet it doesn’t get a tenth of the fan love and devotion as The Princess Bride. Both movies deserve to be in the Fan Cannon.

 

The year 2020 sucks. Not a new or shocking revelation but one I think constantly. I never expected that the year I debuted as a published novelist would be so terrible.

 

It’s hard getting people to leave reviews on Amazon. Please if you’ve read Vulcan’s Forge leave a review even if it is one star and you hated the book. Though of course I pleased that so far people seem to really like it and got what I was shooting for. Reviews raise visibility on the shopping sites and all of this year’s debut authors need the help.

 

Though it doesn’t look like I will return in in-person role play gaming before next year I have been hard at work on my Space Opera Campaign. I’ve been spending weekends working on Excel spreadsheet to do the tedious calculations that slow down the flow of play and last night I had an epiphany for solving a calculation that has been bugging me.

 

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Streaming Review: The Old Guard

This month Netflix added to its catalog the adventure The Old Guard. Starring and produced by Charlize Theron The Old Guard is an adaptation of a comic book about a band of warriors who are nearly immortal.

Theron plays ‘Andy,’ the leader of the mercenaries and the eldest having been at this since antiquity. Kiki Layne plays Niles Freeman a U.S. Marine and she is the newest addition to the squad providing an audience surrogate and a handy target for backstory and exposition. Attempts to stay in the shadows of the modern world fails for the Andy and her team leading to confrontation with a greedy pharma corporation and the discovery that truly are fates worse than death.

The Old Guard is a solid action movie without any glaring flaws or shortcomings. Theron plays both action and emotional beats with skill and as a producer she has shown a talent for bring in productions that have a deeper construction than a surface gloss. All of the performances in the film are competent and the script moves at a pleasing clip. There are turns and reveals in the story and it may be because I am a writer myself but none of these were truly surprising but neither are they damaging to the movie’s dramatic narrative. The combat is brutal and the effects of violence, even on those who heal magically, is never ignored. A moment at the film’s resolution echoed another film about immortality Chronos but aside from that I thoroughly enjoyed by hair of two hours it took to watch this film.

Overall if you have a Netflix account and enjoy films of the fantastic this is worth your time.

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How Did I Ever Run This Game in the 80s?

I have been a role play gamer since 1979 when my friend Jim, whom I met in Basic Training for the U.S. Navy, introduced me to AD&D. Very quickly I experimented with number of other RPG game systems in those early years when new game systems appeared like mushrooms after a moist summer evening. Fantasy Games Unlimited provided two of the system I played the most besides AD&D, Villains and Vigilantes, a comic book role playing game where with the right dice rolls a normal person’s punch could do more damage than a nuclear weapon, and Space Operaa game of high adventure among the stars that allowed everything from Star Trek style campaigns to Star Wars and everything in between.

Space Opera has three credited authors two fat core rule books, and apparently no editor. The rule books are riddled with typos, inconsistencies, and no logical organizational layout. Character creation can be a lengthy process taking hours to perform all the rolls, computations, and decisions in establishing your hero. In addition to all that the rules can get quite detailed in trying to model nearly every conceivable situation. Literally there are paragraphs devoted to performing a hand-off when one character has to pass an item to another character during combat or chaotic events.

Despite all this Space Opera turned out to be the sweet spot for my style as a game master. During the early to late 80s I ran a number of campaigns many of which are still fondly remembered. The wide-open setting, the rules that encompassed nearly every conceivable science-fiction trope, and the sheer imagination made this my favorite to run and a favorite among my players.

But, all the fiddly rules, calculations, and record keeping were a serious challenge. Space Opera, if you run as Lieutenant Saavik would, that is by the book, creates vast amounts of record keeping, some of which I kept up with, some of which I ignored, and some I fudged. Certainly, many of the detailed calculations I approximated rather than compute to their final precise answer.

Last year, after discovering I still had my original rulebooks and that all of the materials were available for purchase as PDFs online, I, at the urging of my players, launched  a new Space Opera campaign.

In the intervening decades I have become a little more focused on following game rules and of course that makes Space Opera quite a challenge. With the game decades out of print there is little, but not zero, fan support on the internet. When this game was published there was no internet and advanced players socialized through BBS. I have found a few data sheets that help turn the game into something more manageable and provide some assistance in the more detailed bits such as an excel spreadsheet for character creation.

Now I have turned my weak spreadsheet skills to the task and have started creating my own game aids. I have completed a worksheet for computing a character’s chance of advancing a level in a particular skill. One cell required an IF statement that was nested 18 times, but it works. Next up a ship’s log to record fuel use, maintenance requirements, and travel time computation. After that a campaign calendar to track these things for my players.

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Movie Review: Little Monsters (2019)

Little Monsters a 2019 Zombie-Comedy is a bit of a ‘bait and switch.’ The trailer and promotional material pushes the storyline of Miss Caroline (Lupita Nyong’o) as a kindergarten teacher who must keep her charges safe during a zombie outbreak while simultaneously keeping the small children from understanding the truth of their dire situation by making it all an elaborate game. Those plot elements do make up a substantial portion of the film’s second and thirds acts but Miss Caroline is not the story’s protagonist.

The story’s main character is David, a pot-addicted, obscenity spewing, failed street busking musician, man-child. So, the core plot of Little Monstersis a very tired one, the immature man forced into adulthood. David intersects with Miss Caroline and her class because his nephew Felix is one of her students and after becoming enamored with Miss Caroline David accompanies her and the class on the field trip where the zombie outbreak take place.

A third central character is Teddy McGiggles played by comedian Josh Gad, a popular American children’s television host on tour through Australia where the film is set. in another expedition to trope-ville Teddy is a boozing, foul, kid-hating character with little to differentiate him from similar characters that have come before.

What saved Little Monsters and made the viewing enjoyable was the immense talent of Lupita Nyong’o. This woman as an actor is simply credible in everything she plays and can draw in a viewer while making a character that on the page feels rather worn fresh and complex. Had the movie been centered on her character rather than the fairly typical David the movie would have been greatly enhanced and it is no surprise that the marketing focused on the movie’s greatest asset.

In this movie much of the comedy works though there is a fair amount of ‘cringe’ comedy focused on a character’s lack 0f self-realization that brings public embarrassment, so on that front your mileage may vary. The story’s approach to the nephew Felix is charming and the both the young actor and the character are endearing enough to pull the viewer into serious concern when he is threatened.

Overall this is worth at least one viewing though you must remember that it is not until the second act that the film’s real star and emotional heart arrives.

Little Monsters is currently streaming on Hulu as a Hulu Original.

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Quick Hits July 17, 2020

Burn the GOP to the Ground

 

Pence would have been far from perfect but leaving corrupt incompetent Trump in has made the pandemic far worse and that is entirely at the feet of the spineless Republican politicians.

 

 The Towering Inferno Still Holds Up.

 

I’ve been watching this on HBO (I have the DVD, but HBO is in High Def.) and thoroughly enjoying a style of filmmaker that has fallen out of favor. Loads with stars and taking the time to tell stories. Though you gotta wonder about a team of firemen walking around with plastic explosives and detonators.

 

New Story Ideas beginning to bubble in my brain

 

This damned crisis, both global and personal, has been sapping my creativity but an idea for another Sf/noir is starting to take form in my head. It would be on a generation ship where sharp distinct classes have formed between crew and colonists and the murder that shatters the secrecy at the heart of the noir.

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Guesses as to Why Support for Black Lives Matter Has Grown

As this graphic from the New York Times shows support for the movement Black Lives Matter has grown significantly in recent year going from ‘underwater’, that is more people opposed to popular support and I have a few guesses as to why things changed so radically.

First off, the video of George Floyd’s killing was particularly horrifying. That is not to say other deaths at the hand of the police were not horrific but rather this particular video captures the horror in a unique and unsettling fashion, dismantling many of the common rebuttals employed when this sort of event occurs. George was restrained, non-violent, and pleading but still the officer callously, cruelly, and lethally knelt on his neck for nearly nine minutes. There was no ‘split-second’ moment that can be used as ‘justification’ for an overreaction, there was no physical struggle, there was no ‘it looked like he had a gun,’ there was a helpless man fully under authority’s control begging to breathe. Just describing it is horrifying .

But it could possibly be dismissed as a single event and not something that would move masses of people previously unconcerned with BLM to now support the movement, so George’s cruel killing while a significant factor doesn’t explain the movement to support that started before this evil event.

I think it is vitally important to notice that support went from a net negative to positive two years after the election of Trump.

Tribalism is a powerful factor in human emotions and behavior. Someone as inconsequential as the outcome a game can generate fantastic passions purely from the tribalism of the team’s fans. It’s been well document in political science that people once they have selected a party that they identify with over time modify and change their position of issue to fit better within their tribe. You may go over to a particular party for issue A, but drift to support the party on B, C, D and so on. This I think has a large bearing on the BLM movement as we see it today.

For those paying close attention Trump’s racist history was well known when he was a candidate, but most people do not pay close attention to politics or a candidate’s history. For those people Trump was a billionaire, a businessman, a builder and a celebrity. Trump’s support has never been a majority and after two year of constant exposure and coverage his incompetence, cruelty, and racism became obvious helping to sort people into pro and anti-Trump factions.

Trump’s position on BLM is clear and obvious so if someone has identified themselves as Anti-Trump the natural and default position is to support Black Lives Matter. This leads to the question is this support durable? What happens post Trump?

I think it is durable. Some people will have come to their support through thoughtful reflection and some will have come out of reflexive opposition to Trump and his tribe, but neither will be inclined to reverse themselves. It is not human nature to publicly admit error and so their support will remain.

But only time will tell.

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Intertextuality and Vulcan’s Forge

Last night I watched a video essay on YouTube that argued the central flaw of most of Disney’s newer slates of film came down to a misuse of intertextuality. Intertextuality is when the text of one work impacted by the text of a previous work. It can be used as a powerful tool to explore themes and idea raised by the original work either in that work’s own text or as interpreted by the new text. An ideal example would be Tom Stoddard’s play Rosencrantz & Guildenstern Are Dead which follows as its central character Rosencrantz & Guildenstern two minor characters from Hamlet and uses that conceit to explore concept of narrative and fiction.

The essay argued that lazy utilization of intertextuality in the Disney live action remakes and the extended Star Wars trilogy resulted in a cheap ‘fan service’ rather than using the references to earlier works to comment either those previous pieces or to deepen the content of the new ones. The exception for Disney being the Marvel Cinematic Universe which stretching across more than 20 films and ten years is a grand experiment in intertextuality and uses those connections to paint deeper, richer, and more engaging emotional lives for its characters.

This leads me to think about my own debut novel Vulcan’s Forge. I shall avoid spoilers for the plot of that story but I will touch on how it itself is a work of intertextuality.

The protagonist of Vulcan’s Forge is Jason Kessler and on the colony of Nocturnia his job is to use mass media, principally film, to create, sustain, and reinforce the colony’s culture derived from mid-twentieth century Americana. To promote an idealized version of that culture, which honestly is more mythology than history, some films are elevated in their importance while others are banned as ‘corrupting.’ Jason, an ill fit for this suffocating version of American culture, is dismissive of some films and longs for the forbidden fruit.

Ideally, and only someone who has read the novel and also is unaware of the films it references can answer if I succeeded, the story can be read and enjoyed without understanding the film references but on an intertextual level the movies that Jason derides and the ones he adores informs the readers of the nature of Jason’s character.

Hopefully my use of intertextuality expands and deepens Vulcan’s Forge but even if I missed the mark making all of those film references was damn fun.

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More Movies: Voice from the Stone

Voice from the Stone is a 2017 atmospheric horror film with Games of Thronesstar Emilia Clarke leading the small cast. It centers on Verena (Clarke) a young nurse that lives with families to help psychologically troubled children. She has come to the Rivi family is post war Tuscany to help with Jakob who has not spoken for several months following the death of his mother Malvina. Welcomed to the family by Malvina’s mother Lilia and more coolly by her husband Klaus Verena
finds Jakob a difficult case and the young boy’s obsessive listening to the stonework of the ancient house intent to hear his mother’s voice from beyond grave layers a sense of insanity onto the boy’s silent condition. Finding herself increasingly attracted, in part due to Lilia’s prompting, to Klaus and with her attempts to help Jakob failing Verena becomes desperate to remain with the family in the isolated mansion.  Eventually twists are revealed and the story lands in a far too easily predicted conclusion.

Despite starring an actor from a global sensation Voice from the Stone received only a limited release in 2017 and was primarily a Video on Demand product. Currently streaming on the horror specialty service Shudder, Voice from the Stone fails to create a sense of building dread and inevitability essential for slow burn atmospheric horror and instead plays as a family drama that only in the final acts makes any move towards the unsettling and horrific. Adapted from an Italian novel I suspect that the source material is very much an interior story driven mostly by the Verena’s thoughts and suppressed emotional reactions and while that can be translated to film it is a particularly difficult task that has foiled more talented filmmakers. About a third of the way into this movie brief running time of 87 minutes I voiced the opinion that this could very well turn about to be quite similar to Henry James’ The Turning of the Screw another horror story that relies heavily on the psychological life of its central character but instead this story does come to a definitive conclusion and not a unsettling ambiguity.

Voice from the Stone failed to fully engage me as a viewer and failed to deliver any revelation that surprised or shocked and instead proceeded in a plodding manner to an ultimately unsatisfying conclusion. It is not a film I can recommend.

 

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Revisiting: The Spook Who Sat by the Door

Last night I pulled out my DVD and re-watched the 1973 film  The Spook Who Sat by the Door.

The central plot of the film is Dan Freeman becomes the CIA’s first black officer but the processing is in reality nothing more than a stunt to lift a Senator’s sagging re-election prospects. After enduring years of racism and menial assignments Freeman resigns from the Agency and returns as a social worker to his home the mean streets of Chicago. However, Freeman has no intention of being a mere cog in the vast system and subverts his old street gang and utilizing his training from the Agency begins crafting a violent Black Liberation movement. Along the way his relationships with former lovers and close friends are tested by his radicalism and when Freeman’s devotion to his cause comes with a terrible price he doesn’t hesitate to pall in full.

Given the unrest, protests, and injustice currently flowering in our nation this film has been mentioned by several podcasts I listen to prompting me to revisit the movie. Laboring under budget and resource constraints the director, Ivan Dixon best known for his role as an actor in the sit-com Hogan’s Heroes, manages to produce a film that is tight, compelling, and without any fat. Watching the film, it is impossible to determine if the conservative directorial choices area  product of limitations or are an influence from Dixon’s long television career, either way Dixon’s makes the most of limited camera set-up and location to explore the characters and their conflicts. The only major weakness in the script is the late introduction of Freeman’s close friend Dawson, played with screen-grabbing presences by J.A. Preston. Given the emotional weight the character brings to the story and the powerful final scenes the film would have been better served introducing him in the first act along with a little revelation of Freeman’s personal history.

The film, though inducted into the National Film Registry for its cultural and historical importance, is not available on any rental or streaming service and to watch it you much, as I did, buy the DVD.

With the resurgence of racially challenging media in the wake of Get Out’s astounding financial success, there is a new adaptation of the novel in development as a series but it is unknown if this will be executed as a period piece or if the event will be transposed into the current day. I think it should remain a period piece, if for no other reason than as a faithful adaptation of the source material.

I have discovered that there is a documentary about the production of the movie Infiltrating Hollywood: The Making of The Spook Who Sat by the Door, but so far, I have been unable to locate a copy, damn it.

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