Year: 2010 (page 69 of 73)

A Biblical Post

Bible

Don’t run, don’t run! I’m not going to talk about religion! I’m going to talk about that whole planning thing I mentioned. Remember that list that I posted, of things to do in order to achieve that level of great success that others will note? Here’s how it looks now:

  • Get plot points vetted.
  • Generate dramatis personae document.
  • Work out rules of languages & magic.
  • Write the damn thing (target word count:125k)
  • Find a publisher.

After some tweaks here and there, all five people with whom I shared my plot points have said, “I’d read this” in one form or another. This means that the project (and that’s what I’m going to call it, at least for now – “The Project”) now has a definite course plotted, and I can set that bit of planning aside. This sort of thing happens when major endeavors are being planned in other forms of media, like television shows. Reference documents like that one are called ‘bibles’.

So my plot points shall hereafter be called the ‘story bible’.

Moving on, next we have the ‘character bible’. What’s in a character bible, you ask? I’m glad you did.

Origins

Everybody comes from somewhere. Parentage, homeland, education – all of these are contributing factors to who the character is when the audience is first introduced to them. Establishing origins before the story begins helps put everybody in a particular place along the plot’s path, like pieces on a chessboard. Though I doubt most characters will move in a completely straight line – that’d be kinda boring.

Personality

The aspects of a character’s personality encompass both good and bad things. A protagonist might be courageous or clever but will also have parts of themselves that they are unaware of, know they must overcome or might not even see as flaws – arrogant people don’t often admit to having failings, after all. Likewise, a villain who is nothing but malevolence and savagery is just boring. Unless his minions are all abysmally stupid or no more intelligent than a vicious dog, they’ll need to have some way of either concealing their villainy or downplaying it with charm or dispassion. This, like a character’s origin, should be established ahead of time.

Goals

We all want something. Some people want to rule the world (not everybody, Tears for Fears. Seriously.), some want to build a better mousetrap and some just want to get laid. If you clearly define a character’s goal before the story begins, it will be easier to keep them on track during the course of the plot. The better the definition of a character’s goals, the better your chances of having that character’s behavior remain consistent throughout, unless you plan to have them change goals. If that’s the case, make sure the change makes sense. Don’t just drop a hat and have it happen. Even if you are dealing with the fantasy genre, as I am, “A wizard did it” can really only get you so far.

Fears

If being around my wife while she plays the Sims has taught me anything, other than her delight at the various affairs of her simulated plaything, it’s that everybody is afraid of something. The fears that should get jotted down in the character bible should be large things, like losing one’s home, the death of a loved one or the ruining of a relationship or career, rather than flubbing a homework assignment or burning the roast. Sometimes these fears will be unrealized in the course of the story, and sometimes these will be major plot points. Which brings me to my final point…

Growth

In conjunction with the story bible, ask yourself how the character is going to change over the course of the story. What goals, if any, will they realize? What fears of theirs will come true? When change comes, will they have new goals, new fears? Will there be any change in their personality? Like the story itself, it may behoove you to plot the course of the character’s own journey.

Of course this is all just part of the procedure I’m attempting to make sure I remain motivated and get this right. Sometimes you might have no plan at all when you sit down to right, just letting the story grow organically out of the fertile grounds of your imagination. That’s okay, too. It just seems to me that the bigger the scope of your project, the more planning should be done before hand. Sort of a ‘measure twice, cut once’ thing. And this project that I’m brewing up? It’s going to be huge.

Seriously.

Huge.

Preview: Star Trek Online

Fans of Star Trek, brace yourselves. Cryptic Studio’s Star Trek Online is just around the corner. Some are already scrambling to get lifetime subscriptions and all the extra goodies they can, whereas I’m just trying to determine if this game is worth my time and money. From what I’ve seen of the open beta, it could be. There’s a lot going for it, but the game suffers from a few flaws that may prove fatal to the experience of other players.

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When the latest Star Trek film was released in 2009, some blabbermouths in the media talked about how it made Star Trek ‘cool again’. Star Trek Online has somehow pulled off the opposite. Star Trek Online has returned Star Trek to the bailiwick of the nerd. I happen to think this MMOG is pretty cool, but I’m a Star Trek fan, and that’s the target audience for this game. Not the general public, but Star Trek fans.

While Star Trek Online doesn’t boast the story emphasis BioWare is touting for Star Wars: The Old Republic, a good number of Trekkies are more interested in becoming part of the Star Trek universe and its ongoing story than they are the universality of the gameplay mechanics. This doesn’t mean that Cryptic Studios has skimped on the gameplay, because there’s plenty to be had. It’s just not the same kind of experience one gets from World of Warcraft or Aion, and that can be an obstacle too great for some to overcome.

Gameplay in Star Trek Online is divided between ground combat and space combat. Ground combat is typical MMOG fare. You have abilities with cooldowns used to defeat your enemies. When defeated some enemies drop items for you to use, equip or sell. Your primary attack abilities are based on your equipped weapon. It’s nothing terribly new here, but there’s an aspect of it that feels different from other MMOGs that I’ll address in a moment.

Space combat, on the other hand, is likely to be the biggest stumbling block to people, because there’s a good amount of it in Star Trek Online. Space combat in Star Trek has been depicted as battles between capital ships more often than not. The game aims more for that feel than that of a frenetic dogfight. Like the tabletop game on the subject, Star Fleet Battles, or its tall ships cousin, Wooden Ships & Iron Men, the mechanics of space combat focus on positioning, hit location and resource distribution. If you’ve played Wing Commander, you’ll be familiar with this form of space combat and you’ll find it happening at a managable pace from an outside perspective rather than being in the cockpit of a starfighter.

Over at Classholes Anonymous, awitelinsta put it succinctly:

This is you.

Instead of the traditional quest structure, Star Trek Online divides its content into “missions.” From anywhere in the galaxy, you can hail Starfleet to get a new mission. These missions vary from general exploration and patrols to an arcing story about escorting a diplomat, investigating the theft of precious material or rescuing colonists. Missions are geared to take about 45 minute to 1 hour, slicing the content up into very managable chunks. While most of them fall into a specific pattern – warp into a system, shoot at enemy ships, beam down to the ground location, blast people down there, beam back up for another space battle and warp out – there’s enough variety in the types of missions and stories to keep things interesting.

The party system also bears a mention. If you’re not in a party already, and you warp into a system where others are on the same mission, you’ll be automatically rounded up into a party, and the difficult of the mission will scale accordingly. While this idea seems innovative on paper, more often than not you’ll find yourself staring down a well-armed enemy fleet while you and your fellow players float there in your starting ships. Even on your own, the combat can be challenging. However, when it comes to facing ground combat alone, you’re never really alone.

If you beam down to a location without a group, Star Trek Online provides you with an Away Team. Your Bridge Officers, who have abilities that can assist you in space combat, fill in the empty spaces in your party. Other MMOG players are familiar with ‘pets’ and the Bridge Officers do fall into that category. They have abilities of their own and participating in a mission with them, for me, almost makes the game feel more like Mass Effect than an MMOG. Of course, the Bridge Officer AI isn’t overly complicated, but you do have the option of having a ‘red shirt’ run in front of you to take all of the enemy fire while you come in behind them to clean up.

These somewhat unique elements make Star Trek Online feel like a different MMOG experience. For most MMOG players, though, ‘different’ does not necessarily mean ‘good’. A lot of players are going to be put out by the space combat mechanics, the brevity of missions, a lack of clearly defined ‘dungeons’ and the overall aesthetic of the game. Even some Star Trek fans won’t be able to overcome these obstacles to the fun. It really comes down to personal taste.

The game has come under ‘enemy fire’ of its own for a variety of reasons. It’s not the most graphically advanced game out there. Aion is by far a prettier game. Sector space, the “world map” is huge, mostly empty and somewhat lonely as you move from one system to the next. And expect to see a lot of loading screens as you transition from instance to instance. Every system, ground location and starbase exist in their own instance, and the game doesn’t exactly handle the transition delicately. The levelling system is different in Star Trek Online than other MMOGs, as it is based on skills rather than overall experience, and most of your character’s abilities are based on the weapons, ‘kits’ and other equipment they carry rather than their overall rank. Veterans of other MMOGs may struggle to overcome all of these points, if they decide it’s worth their time to do so. Frankly, I can’t blame them if they don’t.

What nudges this game over to the ‘worth playing’ column, for me, is the sense of immersion the game provides. This feels very much like Star Trek. The music, the sound design, the user interface, the variety of characters and life forms – it all contributes to the atmosphere of a rich and detailed universe that many people have dreamed of joining for years. Hearing Alexander Courage’s music at the completion of a difficult mission seems to have an almost magical quality for me, washing away frustration at pirates or Klingons that was gnawing at my patience. I feel that Star Trek Online has a lot of potential. It’s made some mistakes here and there, but there’s a sense of overall improvement that, hopefully, will continue into the future.

It really does come down to personal taste if you feel Star Trek Online will be worth your time and money. I can’t blame the people who will decide that it isn’t. I, on the other hand, will be setting my course for the release date of February 2, and it is my sincere hope that as much fun as I’ve had so far in the beta, crashes and bugs and lag aside, Cryptic has even more to offer. Cryptic, make it so.

Burned by Midnight Oil

Courtesy Wiki Commons

This post is going to be somewhat short, which I know will raise a question of why I’m posting at all. Well, I like to keep what few readers I have current, and there’s also the fact that I need to vent at people who might possibly understand my frustration.

You see, instead of that albeit lovely picture of an oil lamp, this was supposed to be the day I finally got around to posting my preview of Star Trek Online. I have a video supplement planned out and everything. However, it seems that my love for the Flash programming language, ActionScript, has once again proven to be a hindrance rather than a help.

I had programmed my video supplement as a slideshow of cropped screenshots, with narration and a bit of appropriate music. Very nice and tidy and all contained within a single frame in Flash. Relatively small and clean, should be no problem to convert to a video that can be uploaded to YouTube, right? Well, not exactly.

Turns out I can’t seem to get software to understand that there’s more content to the video than just that one frame of blank background – the photos load through the script, you see. So I went back and started hashing out the manual, timeline-based method of getting the video together. However, I ran out of time, and now am getting ready to head out for yet another busy day.

Why a video supplement? I know I need the practice at planning production times and working with various suites of software if I am to work on them on the future, which I might. I also felt the need to branch out beyond static text into more dynamic forms of media, hence my Netflix ‘podcasts’ and the attempt at a video with “Powerless,” which could have turned out a lot better. Practice makes perfect, as they say, and this is to be more practice for me.

Unfortunately, it will have to wait.

IT CAME FROM NETFLIX! Gattaca

Logo courtesy Netflix.  No logos were harmed in the creation of this banner.

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In the early days of science fiction, the aim of its creators was not to impress the audience with bombastic explosions or cutting-edge computer graphics. While the overall goal was to entertain and engage and thus earn a living, they didn’t have the aforementioned crutches upon which to lean. They had to rely solely on the power of their vision, their skills as storytellers and the ability of their ideas to engage. Gattaca has no ray guns, no explosions, no exotic alien creatures, none of the trappings of what really make something stand out as ‘syfy’ fare – but when it comes to classic science fiction in theme, mood and execution, writer-director Andrew Niccol shows us how the likes of H.G. Wells and Jules Verne defined the genre. The film stars Ethan Hawke, Uma Thurman, Jude Law, Alan Arkin, Tony Shaloub, Gore Vidal, Loren Dean, Xander Berkeley and Ernest Borgnine.

Courtesy Columbia Pictures

In the not-too-distant future, the study of genetics has grown to the point that children can be custom made through liberal eugenics, and that such children are favored over those conceived purely out of love. Vincent Freeman (Hawke) is one of the latter, and when his parents discover his 99% probability of death by heart failure around age 30 coupled with myopia which has all but been eradicated, they guarantee their next child will be more ‘perfect,’ or more ‘valid’. Valid is the term used for children created through the ‘proper’ eugenics, while those like Vincent are called ‘in-valid’. Despite this, however, Vincent is determined to achieve his goal of going into space. To do this he adopts the identity of recently crippled but brilliant Jerome Morrow (Law), and becomes employed by the space-exploring conglomerate called Gattaca. A year-long mission to Titan looms on the horizon, and Vincent’s first in line due to his fake genes and true desire, but the murder of the mission director could put an end to his dreams forever.

Courtesy Columbia Pictures

Taken on its own, Gattaca is a very smart drama. As a movie, it is well and tightly written with good performances from the actors. The art direction bears particular mention. The look and feel of the film is hauntingly postmodern, showing the use of electric cars and advanced gene scanning equipment against the backdrop of ‘brutalist’ architecture that was prevalent in the 1950s. It lends a familiarity to the story that draws the audience further into the nuanced and well-paced plot. But the virtues of Gattaca don’t stop there. This isn’t just a science fiction drama. It’s a science fiction drama about something.

Courtesy Columbia Pictures

The film is steeped in symbolism. It plays upon themes of discrimination, destiny, friendship, societal control and sibling rivalry. This is an examination of human nature, and the influences that define, drive and shape the human spirit. While the film is quite clear on the stance it takes with these issues, it never becomes completely overbearing in conveying its message. The story and themes are handled with elegance, downplaying most potential bombast with human emotions that feel real. This might make the film seem bland or lifeless to some viewers, but the plot, acting and thematic elements make Gattaca a taut, stunning dramatic thriller.

More than anything else, Gattaca reminds us that the only true obstacle an individual has to achieving their goals is themselves. It is far too easy for society or an employer or even one’s family to lay out boundaries for the individual, saying “This is where you belong, who you are and what we expect of you. Nice people do not deviate from their boundaries.” When politeness and conformity are the norm, an individual can feel compelled to swallow their dreams and follow procedure and protocol for the sake of avoiding confrontation. But the truth of the matter is that the dream of the individual is a precious thing, and as a society becomes more regimented and compartmentalized, those dreams are often casualties in the silent but deadly war for the human soul. We have to fight for our dreams, to keep them alive and bring them from our imaginations into reality, and there is going to be opposition every step of the way. Gattaca shows us that even the most imposing obstacles are surmountable, and as I have said on numerous occasions, we only truly fail in our struggle to be who we want to be if we quit and allow others to tell us who we are, rather than insisting on our right to exist, live and thrive on our own terms.

I apologize for the soapbox nature I just got into, but suffice it to say that Gattaca is more than just a good-looking science-fiction drama, and if you agree with any of the points I’ve just made, about storytelling or otherwise, it’s worth your time to watch this film. It’s available via Netflix’s instant queue, so even in this there’s truth to be found. In the end, the only thing truly stopping you… is you.

Josh Loomis can’t always make it to the local megaplex, and thus must turn to alternative forms of cinematic entertainment. There might not be overpriced soda pop & over-buttered popcorn, and it’s unclear if this week’s film came in the mail or was delivered via the dark & mysterious tubes of the Internet. Only one thing is certain… IT CAME FROM NETFLIX.

PT: Get Organized

I'll be watchin' you!

There’s been a lot of Star Trek in my apartment lately. I’ve been introducing my wife to Deep Space 9, playing the open beta of Star Trek Online and bringing up Day Job Orchestra on YouTube when my recent negative moods have needed a little buoying. One thing that’s said quite often in Star Trek is that the ship needs to plot a course somewhere. Coincidentally, so do I, and you might find you need to as well.

I mentioned Tuesday that I have a to-do list for my largest current writing project. In case you missed it, here it is again:

  • Get plot points vetted.
  • Generate dramatis personae document.
  • Work out rules of languages & magic.
  • Write the damn thing (target word count:125k)
  • Find an agent a publisher.

I was linked an article written by Stephen King which said that finding an agent for your first novel is often an exercise in futility. Agents work on commission, after all, and 10% of nothing is… well, nothing. That’s why the last point changed. But the fact I want to highlight here is that I have points. There’s a plan here.

The general premise of this story is something that’s been kicking around since I wrote it out as a short work some years ago. Some of the concepts are the same, but as I’ve changed as a writer, so has the story. If I’m going to go with it as my primary long-term project as described over at Terrible Minds, I want to make sure I have a plan for taking it from beginning to end. But at the same time, I know all the planning in the world won’t help me unless I know at what point to stop planning and start writing.

You will learn by the numbers! I will teach you!

So, by all means, plan your story. Lay out a course for the plot from the opening scene to the final line. Sketch out your characters and locations. Set the stakes for the characters and know when they’ll be raised. Figure out what your story’s going to be about

…But at some point you have to stop.

It’s hard to say when the time will be right for you to shift from planning to writing. The more you plan, the more smooth the writing process should be. But plan too much, and you’ll get caught up in the planning, which presents obstacles to writing ranging from always feeling you have more to plan to finding snags or holes in the plot that may appear insurmountable that torpedo the work before you even really get started on it.

Don’t forget that the end goal, here, is to write something for other people to read. Nobody’s going to be interested in reams of notes for a story that never got off the ground, unless you’re J.R.R. Tolkein or Frank Herbert. When you plan to write, be sure to work writing into your plan.

But now we’re getting into planning your plan, and I’m going to quit before my brain starts to hurt.

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