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500 Words on Marvel

Courtesy Ms Sackhoff's Twitter

As I write this, San Diego Comic-Con, arguably one of the biggest gatherings of so-called ‘geeks’ or ‘nerds’ in his hemisphere, is taking place. The Marvel panel is, I believe, tomorrow, and there are likely to be announcements as to what is coming up for the studio behind The Avengers and Agents of S.H.I.E.L.D.. I have this feeling of both excitement and trepidation. As much as I like what Marvel has done and is doing, I have some fears about the future.

Guardians of the Galaxy looks amazing. I’m intrigued by the implications of the plot being developed for Avengers: Age of Ultron. And the mere mention of a Doctor Strange film might elicit what can only be described as a ‘squee’ from Yours Truly. But in the midst of all of this, I have yet to see Marvel do something to truly push them into the forefront when it comes to universal appeal in excellent entertainment.

Marvel needs a solo female lead.

There are a few female characters that have shown well-rounded characterization: Pepper Potts, Natasha Romanoff, Maria Hill, Melinda May, etc. But none of them have carried their own story yet. In this, and pretty much this alone, Marvel and DC have something in common. While DC is still struggling to carve out its own identity, as they try keep pace with Marvel as well as emerging from the shadow of Nolan’s bat, Marvel distinguishes itself in almost every other regard.

This is also an issue when it comes to characters of color, but with the Falcon being such a breakout star in Captain America: The Winter Soldier, and The Black Panther all but confirmed, I feel it’s been more addressed than the issue of a solo female lead. I would love to see it happen. And I would dearly love for it to be Captain Marvel.

Carol Danvers is one of my favorite ladies of Marvel. Kelly Sue Deconnick’s take on her in particular is an absolute delight. Despite being imbued with superpowers and having worked in the male-oriented military for so long, Carol is still very much her own woman, and a very human character. The image above, envisioning the incomparable Katee Sackhoff as Carol, fills me with hope. I know it may be a long shot – Fiege and company have yet to really address things – but the idea remains.

Another idea occurs: what if Doctor Strange was female?

While we’re talking about dream casting, if Strange remains male, I’d love to see Oded Fehr play the role. He has charisma, gravitas, and he breaks the mold of stereotypical white male protagonism. However, a female Strange would be excellent. Can you imagine a Sorceress Supreme battling cosmic forces that break the minds of lesser humans?

And what about Gina Torres or Aisha Tyler as She-Hulk? Think about it.

This is all speculation, but honestly, Marvel needs this. DC would have no hope of catching up.

Until Orci & Kurtzman write Iron Man Into Darkness, Make Mine Marvel!

The Lived-In Universe

Couretsy LucasArts

For a long time, space travel in fiction was predominantly shiny. Long, slender, cigar-shaped rockets predominantly made of chrome blasted off towards the stars. More often than not, equally shiny flying saucers spun their way towards our suburban homes to shower our Sunday barbecues with death rays. I am exaggerating a bit, but what I’m driving at is there was an aesthetic that remained largely untapped until 1977.

Just before then, the shiny sci-fi aesthetic extended to both realistic films like 2001: A Space Odyssey and episodic television such as Star Trek. Roddenberry, in particular, envisioned the future as a utopia, peaceful and squeaky-clean. Then along came a little movie called Star Wars. From the very beginning, it was something different. The Star Destroyer was enormous, imposing, and definitely not peaceful. The Tantive IV, said Star Destroyer’s prey, was battered and utilitarian. Mos Eisley was both visually and ethically dirty. And the Millenium Falcon? What a piece of junk!

The galaxy far, far away as envisioned by George Lucas is the result of literally thousands of years of history. The worlds and ships are used and lived-in. Even callbacks to earlier times, the tales set in the Old Republic, have worn edges and is painted with shades of gray morally and aesthetically. It was this, not the shiny utopian vision, that informed the immediate followers of Star Wars, such as the original Battlestar Galactica and Buck Rogers in the 25th Century.

Gene Roddenberry tried to resist this trend. Star Trek: The Next Generation was a big, bold utopian statement, to the point that Roddenberry himself said that there should be no interpersonal conflict on the gigantic new USS Enterprise. This lead to early seasons of the show often feeling pretentious and sterile. Thankfully, later seasons moved past this to have the crew behave more like real people than Federation pontificators, and Deep Space Nine pushed things even further. That show was concurrent with shows like Babylon 5 and FarScape, both of which introduced universes that were both brand new and familiar in their dynamics and feeling of history.

As fun as it is to envision a shiny, utopian future, the fact is that a more lived-in universe is more accessible to a wider audience. We picture ourselves more easily in a galaxy with some history, some mileage, and some rough edges, because it’s closer to the world we actually live in. We’ve walked down a street like the one we see in Mos Eisley. We’re familiar with being elbow-deep in our vehicle trying to get it to behave. We’ve had conversations with very stubborn, well-reasoned people, and tried to fight back against things that we feel are wrong, even if it’s an uphill battle. These are universal elements to good storytelling, no matter what the ‘verse in question might be – looking at you, Firefly.

What are some other instances of science fiction feeling lived-in and familiar, despite being set in galaxies far, far away?

Connect Your Characters

Courtesy Netflix

Good fiction, when you get down to it, is about people.

I don’t just mean the characters. It’s true that, no matter how original or fascinating your premise, you need to have three-dimensional characters. If your characters are flat or uninteresting, or exists solely as ciphers for your own expectations or those of the reader, or blank slates upon whom the reader can project, the story will fall apart. Characters with depth and personality keep your story going and, at times, can even help you write it. If you find yourself trying to write out of a corner, have your characters strike up a conversation. It doesn’t matter what it’s about. Just have them start talking to one another. Before you know it, you’re either out of the situation you were in, or you’ve started something new.

However, when I refer to good fiction being about people, I also mean the audience. A good novel thrives on the reader wanting to turn the next page – or, perhaps, not wanting to, for fear of what will happen next to the characters they’re following. To truly hook a reader in this way, there has to be a connection between them and the characters you’ve created. While you can’t necessarily make a reader give a damn about your characters, you can certainly encourage them to do so.

Compelling stories thrive on conflict, be it internal or external. I don’t just mean the gunfights and fisticuffs. What moral decisions must the characters grapple with? What complications arise due to relationships, be they familial or social? Is there a supervisor involved, and if so, is there tension or disagreement there? Are there incidents in the character’s past that embarrass them? If a character’s present form is different from one they had in the past, how do the people around them reconcile that change?

Even more questions can be asked based on the role the character is filling. If they’re a protagonist, what are their motives, and can an audience get behind them? When they make a decision that is against the law or contrary to prevailing morality, will the reader understand why and, more to the point, accept it? Can your antagonists justify their actions in a way that’s understood, or even forging a connection of their own to the audience? Doing these things will elevate your storytelling.

Ask yourself these questions. Find the ways to connect your characters to your readers. It’s a solid way to make a good story into a great one.

The Tower Hums Again

I just repaired my home PC. I had to swap out my power supply with a replacement. The whole affair cost me about $80, and took less than an hour to complete. I plan to resume my gaming as soon as I post this quick blog – the Curse of Naxxramas was just released in Hearthstone, so I have some work to do. And some writing, as well!

On the other hand, the MacBook that I promised to get repaired is going to cost me just under $500.

I would be in the same boat if my PS3 gave up the ghost. It would be less expensive than the MacBook, to be sure, but it would still be pricey by comparison. I don’t know the internal workings of a gaming console – I think they’re not unlike very slim PCs, but I don’t know for sure. My point is, there are a lot of advantages to using a PC for all sorts of things, including gaming, and this low repair price point is one of them.

Regular blogging should, I hope, resume at this point.

Kaput

ON FIRE.

ka·put
kəˈpoot,kä-/Submit
adjective, informal
broken and useless; no longer working or effective.

I used to get very, very angry when things broke on me. I still do, when I run into obstinance or ignorance. But inanimate objects? Not worth the rage. I get frustrated, sure, but I try to avoid untoward displays, and posts.

My main PC is bricked as I await a new power supply. It throws off my rhythm. I’m getting my feet back under me so I can sprint towards the oncoming finish line. I’m hopeful that I can pick up my old pace and get going in such a way that I won’t get so winded every again.

This is just one last hiccup.

I hope.