Uncharted Movie – Thick-Skulled Filmmakers
Okay, so here’s a situation. You have a gaming franchise that has garnered extensive praise and an unsurprisingly large amount of money for it’s developers. With two excellent games in, and a highly-anticipated sequel on the way, this is what’s known in the entertainment industry as a “hot property.”
You’ve got action, story, suspense, romance, more action, betrayal, intrigue, a lot more action, shooting, jumping, running, explosions and a little more action thrown in for good measure. Mix that in with unforgettable characters, outstanding visuals and some of the greatest interactive settings that have been achieved in gaming, and it’s no wonder that so many people are paying attention to this game. I mean, making a movie based on it is almost a virtual certainty, isn’t it?
So with all this hype, you’re looking for a leading man. Hmm… Well, you need someone who’s got some star power, who can play the role convincingly, and who has some experience in a swashbuckling, action-filled Indiana Jones-esque world of intrigue, character, and character interaction. You’ve also got to get someone who is going to get people to fill the seats. You ask the fans, they give you a name. You ask that actor, he gives you an excited affirmative. And then…
…You cast someone who is the complete opposite.
Nathan Drake, the star of Uncharted, is a smiling, handsome, intelligent doofus who constantly finds himself in unbelievably dangerous and crazy situations, yet who is always ready with a little quip or joke to let you know that he’s not taking things too seriously, but can be counted on when the chips are down to do the right thing and to somehow come out on top while still having the last sarcastic word. Think Indiana Jones, or maybe John McClane. Think of Malcolm Reynolds – Captain of the Serenity.
The fans (me included) immediately had Nathan Fillion in mind for the role of Nathan Drake, an opinion that Fillion himself even encouraged, acknowledging that he was very eager for a chance at the part. As a game that sold over 1,000,000 copies in the first two weeks, you would think that fan-opinion would matter a little bit. Hmm… The people who are going to see this are very likely to be people who have played the game, and are interested in seeing it on the big screen. You would think that if a large majority of them agreed that Fillion would make a great Nathan Drake, the director David O. Russell would have at least given it some thought. Given Fillion a screen test. Something.
Instead, Russell decided that he’s going to change the storyline, and Mark Wahlberg is going to get the part. You know, the guy from such hit action classics as Invincible, The Departed, The Happening, or most recently, The Fighter. Without giving you my personal review of any of these films, I’ll tell you this – Mark Wahlberg usually plays the same role. He’s the straight-laced, even-humored fellow who has a hard time even offering a convincing smile. So with this kind of acting history, how does this role even match up at all?
It doesn’t. Not even a little bit.
I don’t claim to know everything, but I’ll tell you my opinion. Russell needed a 30-ish star who he can work with, with a recognizable name. And that’s as far as he’s thought through it. After I Heart Huckabees and the Fighter, he’s figured that Wahlberg can do the job. I don’t agree.
Basically, like so many video game franchises before it, Uncharted’s cinematic debut is destined to be mishandled, ill-understood, and ultimately discarded as an unfortunate cash in. And yet again, we gaming fans get to have our hopes dashed because of a filmmaker’s ignorance. But I guess until people start to see games as an actual storytelling tool instead of just as frivolous playthings, it’ll be difficult to expect anything more from “busy” directors than to simply skim over the game’s logline.
- K
Nostalgia
Gaming is a “cutting edge” kind of hobby, at least for many of us. Gamers are constantly looking on the horizon to see what new games are coming out, what kind of reviews their getting, and we often have expectations for new games that are based on our experiences with older ones. Unlike film, which seems to relish in its classics, a lot of gamers don’t even bother with older games, instead focusing their efforts on playing through whatever happens to be the newest.
For me, I went through a time when all I wanted to play was the latest games. A friend and I, a couple years back, took advantage of my Blockbuster “rent-all-you-want” membership to play through every single game that they had in the store, from the good to the not so good. (*COUGH* Damnation *COUGH*) Everything from Uncharted to Dark Sector to Saints Row to Resistance to so many that I can’t remember. We just played on and on in between work and school.
After that binge run, I still played games, but I started discerning a little more. While I still tried to play a wide variety, I started to find my favorites. Dragon Age really caught my attention. I “discovered” the God of War series that I never had the chance to play. I became very disappointed with the progressive problems with the Need for Speed license. I started listening to podcasts, reading blogs and reviews, and generally became a lot more aware about the “world” that surrounded my hobby. I wanted to understand how games were made, how certain decisions could truly determine a game’s success or failure.
Now, as I look back, I still have quite a passion for gaming. But in the mad rush to purchase and play new games, I started getting rid of my old favorites – games that I thought I would never be playing again. I figured, “If they’re just going to sit on a shelf, then I might as well get some credit for them, right?”
Then, I started missing those games. Dead Space. Infamous. Uncharted. Modern Warfare. Killzone. While I still enjoy several new games, there has just been something about these certain older titles that grabbed my attention. I saw Arkham Asylum on the shelf at my local store, and realized how much I loved that game. (One of my few Platinums.) So, in lieu of picking up anything new, I’ve started to reassemble my old collection. I’ve started to pick up those old games that I still love, and want to experience again.
Just like an old favorite movie, there’s something to be said for a game that creates thoughts of nostalgia and even minor longing when you think about it. I’m sure I’ll be talking a little about gaming Immersion and the like at some point, but I guess I just wanted to say, especially to new gamers, don’t discount the classics.
Just because a game isn’t brand new doesn’t mean that it should be immediately discounted as “old” and therefore not worth your time. Take the time to talk with people who game. We’re always full of experience and opinions, and we’re generally not all that bashful about sharing with you our excitement or disdain for a particular title or series.
All in all, especially as the holidays and gift-giving roll around, check out some titles that you might have missed, or may have been lost in the shuffle. You may be amazed at the experience you never knew you could have had.
- K
8-Part Story Structure: Fifth Sequence
Sequence 5: The Calm Before the Storm
After pushing the protagonist to his or her limits at the end of the fourth sequence, there needs to be a moment of calm where our hero can rebuild his strength. Often times, this is the part in the story where the hero is at his lowest. He’s lost something tantamount. He feels like he can’t go on, but knows that he must. Very often, there is someone at his side who is there to remind him not only of his duty, but also of what he must do.
This scene is essential, because it allows us to empathize with the characters in a way that helps us to feel like we truly know them. We’ve seen them through several highs and lows, but now we’re seeing them handling their greatest failure. Do they force through it reluctantly? Or are they unflinching? If you want to deepen the audience understanding of the character, you must show what happens when they are at their lowest.
This sequence is often short, but unbelievably powerful, and memorable if done right. And to illustrate this, let’s take a look at the Christopher Nolan film, The Dark Knight.
In the film, Bruce Wayne was resigned to give himself to the police in an effort to stem The Joker’s tide of murders across Gotham. But at the last moment, Harvey Dent took his place, claiming that he himself was The Batman, and offering himself up to be arrested.
This leads to a difficult chase as Bruce, as Batman, must rescue Harvey from The Joker’s attempt to destroy the police convoy, and at the same time capture the Joker once and for all.
But of course, nothing with The Joker is ever so simple. After a powerful scene in the interrogation room, Batman is only able to save Harvey, during which time the former DA is horribly disfigured, and his childhood friend Rachel is obliterated in a violent warehouse explosion.
It is at this time that we see Bruce in his home, clutching the Batman cowl, and peering with agony into the events that his becoming the Dark Knight has brought upon him and Gotham.
Bruce Wayne: Alfred…
Alfred: Yes, Master Wayne?
Bruce Wayne: Did I bring this on her? I was meant to inspire good. Not…madness. Not…death.
Alfred: You have inspired good. But you spat in the faces of Gotham’s criminals; didn’t you think there might be some casualties? Things were always gonna get worse before they got better.
Bruce Wayne: But Rachel, Alfred…
Alfred: Rachel believed in what you stood for. What we stand for. Gotham needs you.
Bruce Wayne: No, Gotham needs its true hero…and I let that murdering psychopath blow him half to hell.
Alfred: Which is why, for now, they’re gonna have to make do with you.
Alfred acts as Bruce’s conscience, telling him what he already knows, comforting him in his time of need, but not allowing him simply to give up. Bruce must take up the mantle of The Batman, and he can’t simply let The Joker win. Now the calm is over, and the storm of climax is just in front of us.
The fifth sequence is about the protagonist gathering his forces. It’s a point in the film that is often called the “False Ending”. It looks like the antagonist has won, and that all hope is lost. If the hero were to give up right now, the story would be complete, and the ending would be such that the villain had won. Now, of course, that would leave some questions unanswered, but the audience at this point should get a sense of calm, and the action should take a lull.
But, of course, it’s not going to stay that way for long.
Summary
- This is the lowest point of the story for the protagonist.
- This is truly a calm before the storm of the climax, where the protagonist must muster his forces for one last, final strike against the antagonist.
- Often, other characters will act as the protagonist’s conscience, showing them what they must do to overcome this seemingly insurmountable enemy.
8-Part Story Structure: Fourth Sequence
Sequence 4: No Good Deed Goes Unpunished
At the end of the third sequence, the protagonist has usually met his first failure. He naively made an attempt, but perhaps his whole heart wasn’t in it, or he didn’t really have a true understanding of what he should have been doing. He hadn’t yet figured out his goal.
But at the beginning of the fourth sequence, he knows what he should be doing. The antagonist has become clear, and by the end of the sequence, he knows where he should be heading. This sequence is all about making a more determined, thoughtful, educated, sophisticated, and all around difficult attempt, where he’s willing to put himself on the line, and honestly try. He’s not just playing around anymore, and it will show in his demeanor.
However, despite how heart-felt this attempt may be, and despite the sheer determination in our hero’s actions, this attempt is going to end in failure, and the failure is going to be grand. The end of this sequence will bring the protagonist to the lowest point of the story – which is to say, he is going to have a deep sense of hopelessness, of despair, and he may even question whether he should go on.
Let’s take a look at one of my all-time favorite films that illustrates this beautifully, the Spielberg/Zemeckis classsic, Who Framed Roger Rabbit?
After being introduced to the hard-drinking, toon-hating private eye Eddie Valiant, we watch as he quickly becomes involved, albeit unwillingly, in trying to figure out who framed Roger Rabbit for Marvin Acme’s murder, all the while venting repeatedly how much he dislikes toons, and adamantly refusing to go to Toon Town. While he makes several cursory attempts at solving Roger’s dilemma, and believes that he’s got the case figured out several times, it isn’t until he sees the connection between R. K. Maroon and Marvin Acme that he finds some real motivation to go after something, and he decides to confront Maroon, who he believes is behind Roger’s framing, and this is where the “fourth sequence” begins.
We watch Eddie make his way to Maroon, cautiously sneaking in through the back door, and surprising the armed man. Eddie is very confident, disarming Maroon and interrogating him, expecting to hear Maroon’s confession. But he’s surprised to find that it wasn’t Maroon who framed Roger, and that there’s a much larger scheme in the works than Eddie ever realized.
In a surprising twist of events, Jessica Rabbit conks Roger over the head, stuffing him in the trunk and kidnapping him. Eddie gets shot at through the window, but dodges out of the way, the bullets instead striking Maroon, killing him. Eddie makes his way to his car, chasing after Jessica Rabbit through the streets of Los Angeles.
Jessica Rabbit makes a sudden turn, and we see the sign “Toon Town” flash in the headlights. Eddie slams on the brakes as Jessica’s car disappears into the tunnel. Eddie curses, and steps out of the car, standing at the cusp of his greatest challenge – Toon Town. This is the place he’s been trying to desperately avoid for years, and finally he must face his past and, more importantly, face himself in order to figure out the case, and save his friend, Roger.
This is where we see Eddie at the lowest low, at his personal crossroads. He’s lost his best lead, (Maroon), he’s been shot at, and he’s rushing to save his Client, who’s already in mortal danger, and now is being taken to who-knows-where. And here he is at the entrance to Toon Town, and he doesn’t know if he can do it.
Just remember that this sequence must end with the character hitting his lowest point. He has to suffer an irreversible and powerful failure, loss, struggle, or whatever you want to call it. This will also act as a catalyst for the next sequence. We see that this is where the story has taken a more “serious” turn, where things aren’t necessarily just fun and games anymore. Even in a comedy, you’ll get a sense that the film is more sober, and while you may still be laughing, you can feel “weightier” subject matter in the dialog and pacing.
Summary
- This is the protagonist’s second attempt, with more planning and ambition than the first one.
- There should definitely be a more serious tone, despite whatever genre the film is in.
- The sequence should end with the protagonist hitting his lowest point. Do the worst possible thing you can do to this guy.
updating – story structure
I’ve received a number of comments from people in the past about the 8-Part Story Structure posts, either that it’s too hard to find the next post, or that I never finished the series. I’ll admit that I got a little caught up, and didn’t get a chance to fix them, but I’m going to try to remedy that, and hopefully have the series done by the end of the year.
(I’d try for something more ambitious, but until someone starts paying me to do this, I’ve got other things that I need to get done that have a little higher priority, unfortunately. )
I’ve added links at the bottom of each post, starting with the post “Introduction”, also linking from the Unfocused site for people who have found it on a search engine. Hopefully, that makes the series a little easier to navigate.
So, keep an eye out for sequence four, coming out as soon as I can.
- Karratti
ion drum rocker and the art of plywood
I know that everyone and their mom has now played Rock Band, and if they haven’t, they’ve been living in a cave for the past five years. This little karaoke substitute has created an amazing new way to enjoy your music, to become a virtual rock star, and to pile numerous plastic guitars and drum sets throughout living rooms everywhere. And it’s a total blast.
I picked up my Rock Band 2 set about a year ago, and quickly learned that while many people are familiar with the guitar controllers, the drums were a completely different animal. Considering that no one ever seemed to want to touch the drums, I took it upon myself to learn them, and so I became my friends’ default drummer in any and all Rock Band sessions. I usually can make it through any song on hard, and many on expert, but I wouldn’t consider myself extremely good.
But I do love to play. A lot.
So, it wasn’t really a surprise a few months into ownership that I broke the kick pedal’s plastic hinge. Or that I snapped the bolt on one of the symbols. Or that the pipes won’t properly stay all the way up anymore. That little plastic set had a good, long, life, but I realized that it was time to upgrade.
After some research, and realizing that I really only wanted to use this for Rock Band instead of a career as a drummer, I decided forgo the expensive, high-end electronic drum set ups and went with the Ion Drum Rocker. At first, this worked for me, but I quickly noticed that the thing liked to drop out of the game sporadically. A quick search later, and I discovered that there was some kind of static electricity buildup that caused a charge to run through the system and drop out, which was extremely frustrating during a particularly difficult section or while the entire band was on a good rhythm.
I went through a number of ideas, hoping that I wouldn’t have to send the set in to get it repaired or something, and annoyed that many people complained that the Ion/Alesis customer service was really bad. My ideas ranged from touching the pads to discharge them between songs, putting a vinyl mat underneath the set, to using some dryer sheets, to a number of different alternatives, but nothing seemed to stop it from disconnecting or just having the drums simply stop responding for apparently no reason.
After talking it over with a friend, we thought up that perhaps if we could deaden the charge, not only under the set, but under myself and the entire set-up, we could get it to work. After some rummaging through the garage, and a little hammer and sawing, I slipped some plywood under the drum set, my seat, the kick pedal, and the cords that run to the PS3.
So far, I haven’t had a single problem.
The Ion Rocker is a good set that I’ve had a lot of fun with. The main reason that I put this out there is that I’ve read about some really expensive ideas, including opening up the system and adjusting wiring, or scraping things off the pads, or a number of other ideas, and I thought that they all sounded rather… well, expensive, as well as time-consuming. As far as I can determine, the wood underneath my system at the moment, (on top of the carpet), is just regular old plywood. The cables don’t touch the carpet, which I also think is important.
Anyway, hope that helps someone who was as frustrated as I was. Or even those who aren’t.
- K
UPDATE: Since this posting, I’ve done some extra testing. The kit will sometimes still drop out, and the response that I got from ION was anything but helpful. In any case, I tried a number of other things in addition to the plywood on the carpet underneath the kit, and the most helpful has been a seven-dollar grounding wrist strap that I modified to fit around my ankle, plugged into the ground of a wall outlet. Over New Years, we held a four+ hour Rock Band marathon at my house, and after putting on the “ankle strap”, there were only two or three drop outs total for the whole night. It was cheap, and worked wonders. I would recommend putting the strap around the ankle of the foot that you’re going to use for the kick pedal, because that seemed important, and make sure that the metal piece of the strap is touching skin, not clothing.
In an effort to remove the problem completely, next I’m going to try adding an anti-static mat onto the plywood to see if that helps even more. But I thought that I should jot down this little tidbit for those who are still having problems. Good luck! – K
the challenge of stress
This past week has been quite a trip for me – The result of a profound lack of sleep, an inordinate amount of work, and an unsurprising lack of time. Now that I sit here, on the cusp of yet another week of new adventures, I find myself at the low point of this roller coaster that metaphorically represents my life.
This past week I worked almost fifty hours at my job, all of it while I was at home, performing a one-minute menial task repeatedly 2,954 times. At the same time, I’ve got a script deadline for the pilot that I’m working on, (self-inflicted), that is coming up faster than I can anticipate. And in the middle of that, I produced my first college volleyball game broadcast, which was an unbelievable rush as soon as things got started, but which took up most of my daylight hours that weren’t already being filled with classes.
As I look back, happy that things are out of the way, but still a little annoyed that they took so long, I have a chance to appreciate what happened. Yes, I was on edge for most of my waking and non-waking hours for the better part of the week, but I made it through alright. The stress was good, and it forced me to do work that I’ve never done before, forced me to think on my feet, and gave me some definite new perspectives.
Succeeding has also given me a powerful rush of confidence that I don’t think I had in me the week before. I feel almost like I can conquer the world, that I can climb any mountain thrown in front of me. And perhaps that’s been a lot of my problem.
For so long, I’ve been allowing myself to just float, to take life a little at a time, and not worry about what time I should be getting up in the morning. But as I think about it, I really need to start moving. I need to force myself into the stress of a schedule so that I can get things done, not whenever I get to them, but on the deadlines that I set. I need to set goals for myself, and I need to start accomplishing them.
I believe that the challenge that stress can bring, or perhaps it’s the stress that challenge can bring, I believe that it is good for you. Sure, there are plenty of times when you believe that you just don’t have what it takes to finish it, but a way will come. Maybe it’s a friend that knows you could use the help. Maybe it’s an unexpected break that comes your way. But then again, maybe it’s just the willpower and vitality inside of you that finally screams “You can do this!” that forces you to push harder than you thought you could, and come out better than you ever knew you would.
And when you do, pat yourself on the back, smile and sigh with satisfaction. Then, get right back up and do it again.
- Karratti
first concert
I know that I may be a little behind on certain social norms, and I definitely am daily more aware of my severe lack of pop-culture knowledge, but I just don’t know how I went for nearly twenty-five years of life without going to a concert. It defies logic. To think that I missed out on that kind of opportunity just boggles my mind, especially now that I’ve checked that off of my life’s to-do list for the first time.
So, a buddy of mine got a couple of free tickets to the Green Day concert in Salt Lake yesterday, and man was it awesome. We were up in the nosebleed section, and I’ll readily admit that I didn’t really recognize the first half of the songs, but the whole show was just a blast. Being able to let loose, act crazy, and have a good time was just a blast. Every song was an experience, with the lighting, pyrotechnics, the screens lighting up, and just the showmanship of the band. It was unbelievable.
Green Day, for me, links directly into my high school years, and brings back a lot of great memories. I mean, I remember Minority from when it was playing daily on the radio, and I found myself unable to resist belting it out at full bore. And then, to end with Good Riddance was brilliant, because as I’m sure was popular throughout the nation, that was my high school class’ unoffical theme song.
But the biggest thing that I pulled away from the concert was something that got me thinking. It took me a while to realize that I could really jump around and act like a crazy person, and nobody cared. It was almost expected. I was hitting the bar in front of me, dancing around, jumping, screaming… And that was perfectly alright.
I don’t know about you, but I was raised to be a pretty sober individual. I’m usually pretty mild-mannered, quiet, and pretty shy. And as I looked around the staduim, there were definitely a lot of people who weren’t dancing, who seemed to be looking around, unable to let themselves enjoy the moment of being crazy. Acting like a nut, I think, really takes some courage. You just can’t let what other people think determine who you are, and what you do. I know I’ve taken on that mantra before, but it was something that I’ve kind of forgotten.
So man up. Act like a fool, and don’t care if anyone else is looking. Your heart needs the release.
- Karratti
Infamous
It’s no secret to my friends and family that I’m a gamer. I never really stick to one genre -Shooters, Strategy, Fighters, Racers, Brawlers… If the game is good, then I enjoy it, and I have a good time. I think, though, my favorite games are those that provide a truly memorable experience. I mean, back in the days of arcades, I used to spend hours at the Tekken machines, taking on a line of people and dropping them one at a time. That provided, for me, a worthwhile gaming experience. The face to face, the knowledge that no, there was nothing that the other person could say. You couldn’t just curse them out because the other person was standing right there. Gaming was truly a social experience.
When the arcades in America started to turn into simply ticket-prize galleries, the console market truly exploded. Now, here I am in my twenties, and I find myself still constantly amazed at the experiences that are uniquely provided by this powerful storytelling tool. Whereas a film or TV show only allows you to watch, a video game really puts you into the action, often allowing you to truly effect the outcomes of the story that you’re playing. Do your actions help those around you? Are you willing to sacrifice one life over another? When you’re handed great power, what exactly are you going to do with it?
My most recent “experience” has been with the PS3 exclusive, Infamous. While I was already excited about this game, it wasn’t until I actually played it that I realized the sheer amount of awesomeness that comprises this game. I honestly played for nine-and-a-half hours straight, which was just insane. Every time that I thought, “Okay, here’s a good stopping point,” I would see something else that was just plain unbelievable that would pull me back in again for “just a couple more minutes.” Finally, the end was well worth the playing time, especially after taking the time to go through every side mission on the good side. Now, I’m starting on the evil track, and I’m happy to report that it’s got a wonderfully different spin on it.
In Infamous, you play as Cole, a deliveryman who has inadvertantly been gifted with powers of electricity. While at first, he doesn’t exactly understand why, the explanations begin to unfold over time. With a number of subtle twists and turns, alliances and betrayals, you utilize your powers to discover exactly what has happened to you, unravelling the web of deciet that you’ve been unwittingly cast into the middle of. The fictional Empire City is almost another character as you watch the citizens and even the structures react to the choices that you make for yourself. Should you choose to do good, helping the citizens around you, they will respond in kind, using your inspiration to take the city back from the gangs that have taken over. But if you choose evil, then they will shun you just as they do the others, even causing riots to take you down.
The gameplay is top-notch, with a very third-person shooter feel as Cole uses his powers to destroy his foes. As he becomes more and more adept with his powers, he becomes stronger, and more able to cause mass destruction, demolishing his enemies in his wake. All in all, the game is just plain fun.
I know that there’s plenty of reviews available for this game, and I just wanted to throw in my own two cents. If you have any interest in gaming at all, then you should play this game.
- Karratti
8-Part Story Structure: Third Sequence
Sequence 3: Well, Let’s Give It a Try
Now that we’ve got all of the main groundwork laid out, we’re ready for the protagonist to take a first shot at achieving his goal. However, this sequence is often called the “naive attempt”, simply because it consists of a somewhat half-hearted attempt at achieving the goal that the characters already know that they need to achieve.
This first attempt is something of a knee-jerk reaction to getting what the character thinks he wants. Usually, it’s not fully thought-through, and often, the audience will know instinctively that this is probably not the best idea.
Let’s jump into a familiar family cartoon, and apply this sequence to Disney’s Alladin. After the title character is captured, condemned, and thrown into the dungeon, he’s not feeling so hot, especially since the new “love of his life” has been taken away, and they are both separated by several floors and a number of steel bars. But we know that this is part of the life of a “street rat”, and that sometimes bad things tend to happen.
He’s approached by an old man who tells him that the answers to his troubles lie within the mystical Cave of Wonders, and that he can have all the treasures that his heart desires if Alladin will just retrieve the lamp for him. Alladin, naive as can be, but with a little greed in his eye, decides to go along, and makes his way into the cave. He then, through a tumultuous chain of crazy events, gets the lamp, but is stuck yet again within the confines of another cave, even farther from the princess Jasmine that he wants to be with.
But wouldn’t you know it, there happens to be a genie in the little lamp, and as Alladin rubs it, out his flows in a cloud of smoke. After a song and dance number, and a lot of quick talking, Alladin and the Genie are at a little desert oasis, where Alladin explains his situation, and comes to the solution that the way to Jasmine’s heart is going to be through becoming a prince, despite the audience knowing that she doesn’t much care for that type. Well, here starts another little show tune, and we’re “introduced” to Prince Ali.
Now, how does Jasmine respond? Well, she responds by ignoring Ali completely, and walks away. Not exactly the warm welcome that he was expecting. Alladin, er, Ali tries again, this time on the princess’ balcony, where the Genie is encouraging Alladin to just be himself, (advice which Alladin ignores), and the princess rejects him yet again and tells him to jump off the balcony.
The key to the “failure” of this first attempt, is that it can’t be too great. The protagonist is not exactly putting his whole soul into this try, but is just being naive, believing that something this simple could be the solution to his problems. The third sequence is often one of fun, where we can feel alright laughing at the foolishness of the protagonist, and don’t have to take things too seriously. But, of course, that always depends on the story that’s being told.
The most important thing to remember in the third sequence is that it is designed to be a vehicle to get the protagonist actually working on the problem. Since he finally knows what he “wants”, he’s going to try and get it, and he’s got to try and fail at first, or the goal wasn’t all that difficult to obtain to begin with.
Summary
- At this point, the protagonist doesn’t have his whole heart in the attempt. He’s making a naive attempt.
- The tone here can still be relatively light-hearted, if the story permits.
- While the attempt is going to end in failure, the consequence shouldn’t be too great, because the attempt wasn’t all that great, either.
8-Part Story Structure: Second Sequence
Sequence 2: Excuse Me, But I Have a Concern
Just at the end of the first sequence, we are introduced to the first point of attack, where the main characters are faced with a problem that they didn’t really have before. No matter how hectic their lives might have daily been up to that point, this new problem was not part of their plan. Instead, it’s something unique, a problem that they hadn’t anticipated, but which presents an extremely large thorn in their side, or possibly a huge possible reward or goal for our hero to obtain.
This new “problem” presents the main objective for the protagonist(s), and the audience is able to realize what kind of ride that they’re going to be on.
In the movie Paycheck, we already know from the first sequence that Michael Jennings is a brilliant engineer who makes a comfortable living doing engineering work for other companies, and then having his memory erased so that he will not be able to betray that technology to anyone else. In return, he is paid very well, but he doesn’t have a clue as to what he might have worked on.
In the second sequence, he is presented with a chance to make a huge paycheck, in return for a job that would require him to lose three years of his life. He decides to take the chance, and when he “wakes up” after the job is all done, he goes out to retrieve his money, but finds out that his money is gone, and all he has is an envelope with twenty seemingly common objects that aren’t worth nearly enough to compensate him, and on top of that, he’s got a number of people after him trying to kill him for reasons unknown.
This second sequence, again, takes around 10-15 minutes, but lays out the main problem that the protagonist and we, as an audience, are going to be concerned with for the remainder of the film. It raises the questions in our minds that we expect to have answered by the end of the film:
“Why did he give up all the money?” “What do the objects have to do with anything?” “What was he working on for the past three years?” “What are these random flashbacks?”
The main purpose of the second sequence is the introduction of whatever it is that is going to occupy the time and efforts of the protagonist, but it also must be laid out in an interesting way. Just having a random person say “Well, here’s your new problem” like a plumber might identify the source of a leak, isn’t going to cut it. This is entertainment. This is something that people are paying money and sacrificing time to see. They deserve a well-crafted scenario creatively portrayed, and that’s what you have to give them.
By the end of this sequence, the protagonist should have set his goal as to what he needs to do, or at least have a semi-solid objective in mind. If not, then the sequence is not yet over, and it needs to be retooled until that is the result.
Summary
- What is the point of attack? Show the main problem that the protagonist is going to have to face for the remainder of the film.
- The character should also set the goal for themselves, regardless of their own amount of motivation in pursuing it.
8-Part Story Structure: First Sequence
Sequence 1: Homeostasis – Our New Ordinary World
The first act of the film is always extremely important. You have to grab the audience’s attention, and thrust them into this new world of your story as quickly as possible, immersing them into the adventure that they will be experiencing over the next one-and-a-half to two hours (or sometimes more, if trends continue). You also need to help the audience realize the main conflict that will dominate the tension in the film, so that by the end of the first act, all of the main players will have been introduced, the main problem is identified, and the second act can start the audience on their way to figuring out how things are going to be resolved.
The first sequence involves the audience being thrown right into the story without any prior knowledge. There should not be any explanation required, and we shouldn’t need any real narration. The story should just plain start.
Take, for example, The Raiders of the Lost Ark. In the opening sequence, we see just a few men walking through a South American jungle, following another man whose face we cannot see. Instead, we see his leather jacket and brown fedora, and we realize the dangers of this place by the expressions of the men following him. We come to understand that this leader misses very little, as one of the men tries to betray him with a revolver, but a whip strikes out fast as lightning to snap the weapon away, sending the man scurrying away into the darkness. And finally, we see the rougish face of Indiana Jones.
We follow him into a hidden temple, and watch with wonder as he expertly navigates a tomb that is riddled with booby-traps, all the while keeping his companion safe despite himself. We watch as he moves towards the golden idol, and we see the greediness in his eyes as he makes the fateful swap that sets the ancient machine traps in motion.
In a blur, he rushes through the tomb, renavigating the previous obstacles with lightning speed, just on the verge of death as he flees for his life with the idol in hand. We watch as he is betrayed by his other companion, and realize that as long as a person trusts in Indy, they’re going to be alright, but if they betray him, then they’re probably going to die.
He rushes from the caverns, and finally from a giant rolling stone ball, and eventually lands at the feet of Belloch, who relieves him of the idol at the point of several dozen blowguns. Then, Indy is forced to make his escape, dodging death yet again, and finally reaching the plane, and his rescue, in the nick of time. And as a final bonus, we find out that Indy absolutely cannot stand snakes, which will come into play later in the story.
Just in that little sequence, we’ve introduced Indiana Jones as a character, we’ve shown his traits, and his life, and we’ve introduced the main villian, all in about 15 minutes. In our own stories, we have to be sure that this in a similar fashion. This is a perfect example of an excellent first sequence.
We need to give the audience a taste of what to expect from the rest of the film, the kind of “flavor” that they should be ready for. We need to show at least the main character, and possibly the main villian (if applicable), and identify some of the traits of each of these characters. We need to establish the setting of the film, the time, setting, place, environment, and cultural situation. Each of these parts are essential to a successful first sequence, and a quality story will address them.
Other wonderful examples include the opening sequence of The Shawshank Redemption, as well as Jurassic Park, Star Wars, and even non-adventury type films such as While You Were Sleeping and In the Heat of the Night. Each does a wonderful job of opening the film, and giving the audience a chance to accustom themselves to the world that they’re going to be in for the next couple of hours.
Summary
- This is the first time that we’re seeing our protagonists, the setting, the time, and everything else about the story. Show the protagonist(s) in their homeostasis.
- See the conflict that pulls the protagonist out of their “norm”.
- Set the tone for the rest of the film.
The 8-Part Story Structure: Introduction
I’ve been running through my notes lately, of old classes and projects, all in an attempt to further hone my skills and better understand exactly what makes up the essence of story. It’s not a simply matter of cool characters, just an interesting idea, or whatever, but instead there’s a definite formula that seems to penetrate most stories, especially those of a presentative nature, such as film or theatre.
That’s not to say that every single story is exactly identical, but instead, there is a certain form that must be seriously considered when a story is created, or else the audience will not make sense of it. One of a writer’s chief concerns should always be the audience, and how they are going to react to any certain part of your presentation. And in that vein, the audience generally will respond favorably to a new, fresh, unfamiliar story, told using a familiar formula.
This formula was laid out best, I believe, by Czech filmmaker Frank Daniel, who’s largest contribution, at least to Western Cinema, was his “8-Sequence Structure” paradigm, which he developed during his time as head of the Graduate Screenwriting Program at the University of Southern California. With this structure, he outlines the very basic formula that most films, if not most stories, should follow.
The formula is to seperate the story into eight 10-15 minute sequences, with each sequence acting almost as its own “mini-movie”, with an individual three-act structure. In the overarching structure of the film, the first two sequences combine to form the film’s first act. The next four sequences then create the film’s second act. Finally, the last two sequences complete the resolution and dénouement of the story. Each sequence’s resolution creates the situation which sets up the next sequence.
This structure has its roots in the limitations of early films, where film reels were really only about 10-15 minutes in length, and the projectionist had to then swap the reels (in what is known as a changeover) for the film to continue. Early screenwriters, knowing these limitations, began to write their films with a definitive beginning and end to each reel, so that the story wouldn’t simply “jump” halfway through a scene. Feature films, which were often around 90-120 minutes in length, consisted of eight separate reels. Even in some older theaters, the changeover continues for feature films, which are delivered as a package of five to eight different reels that have to be threaded properly.
This rhythm became familiar to audiences and writers alike, and so even as technology has progressed to the point where the film no longer “jumps”, the film-viewing audience has been trained to understand that most films have that rhythm at their heart, regardless of what the film is about. As such, you’ll quickly see that when a story is not told with an understanding of this formula, it begins to be uncomfortable to watch. And as is said often in the business, you need to know the rules before you can break the rules.
What I’d like to explain over the next few installments are the different sequences as I understand them, in an attempt to help others in their own stories, and also to help myself to better internalize them. In my own life, whenever I’ve been able to share things with others, I tend to understand them a little better, and I get them permanently into my mind. So, feel free to follow along as we explore this amazing storymaking formula.
Smart and Stupid Characters, Howitshouldhaveended.com
I realize that the past couple of posts have been a little “moody”, so I thought I’d give you guys something with a lighter tone.
Have you ever been watching a movie or a TV show, and start wondering why these characters are so stupid? You just want to yell at the screen, “Hey, morons! Why don’t you try that rocket launcher that you had a few episodes ago?!” Or maybe, “You idiot, how ’bout you don’t just run in there with only a toothpick for protection!?”
I know there’s a number of times when I’ve just been annoyed that the characters in films act so stupid for no reason whatsoever. I mean, who doesn’t love the scene in Raiders of the Lost Ark where the big, sword-swinging guy comes at Indiana Jones, doing an elaborate bunch of swinging and posturing, only for Indy to look at him, annoyed, before pulling out his revolver and shooting him before walking away. Of course, it’s one of the most clever scenes in movie history, but it was actually a joke.
Originally, there was a huge, choreographed fight between the two characters, with Indy’s opponent having an upper hand with his gigantic sword. But when it came time for the scene, the star wasn’t really up to it. See, Harrison Ford was sick with dysentery at the time, and so when the shot came up, he just pulled out his gun and fired. The crew liked it so much that that’s the final cut that was left in.
But not only is that good characterization, and an excellent scene, but it’s just plain smart. It’s a character using a bit of sense, and that seems pretty rare in films nowadays, at least from what I’ve seen. I mean, work smarter, not harder, right? We don’t need big fight for the sake of big fight. Have a reason already.
Anyway, I was at work the other day and randomly happened upon a little site called “How It Should Have Ended”. Basically, it’s a bunch of cartoons (of pretty decent quality, actually) detailing how certain movies should have ended, with a funny, witty twist, of course.
I would highly recommend checking it out. My favorites are the ones on Spider-Man 3, Lord of the Rings, and It’s a Wonderful Life. Just some really funny stuff. Alright, I’m out.
- Kyle
Arrested Development
I remember back in the 90′s when there were a lot of memorable television shows, especially sitcoms. The Fresh Prince of Bel Air, Family Matters, Full House, Home Improvement, Married… With Children, 3rd Rock From the Sun, and even Seinfeld all are practically legendary among the hallowed (yet non-existent) halls of sitcom hall of fame. But with the turn of century, I believe there’s been a decline in the quality and effort that’s been put into the writing and creativity of situation comedies. When I flip through the prime time channels, every sitcom just seems to be nothing but a clone, with no real depth to the characters, and nothing but ultra-cheap throw-away gags to keep the laugh track moving.
Amidst this massive deluge of television was lost an amazing gem of a show called Arrested Development. The brainchild of Mitchell Hurwitz, AD was a brilliant production, which relied not only of the standard cheap shots of comedy, but also on the sheer ludicrousness of each character’s unbelievable personality to push the show along.
The show’s premise is completely spelled out by the narrator (Ron Howard) at the beginning of each episode: “Now, the story of a wealthy family who lost everything, and the one son who had no choice but to keep them all together. It’s Arrested Development.”
Basically, we follow the extravagant and formerly wealthy Bluth family after the patriarch George Bluth, Sr. (Jeffrey Tambor), is arrested for fraud within his The Bluth Company, which deals chiefly with housing development projects. His second son, Michael Bluth (Jason Bateman) is eventually given the reins, as the mostly honorable one at the center of it all, who is tasked with keeping the company afloat and the family together, supported half-heartedly by his son, George-Michael (Michael Cera). This is complicated by the machinations of each member of the Bluth family: Michael’s manipulative mother, Lucille (Jessica Walter), his unsuccessful magician older brother, Gob (Will Arnett), his mother-obsessed younger brother, Buster (Tony Hale), his lazy sister Lindsay (Portia de Rossi) and her husband Tobias (David Cross), as well as their daughter Maeby (Alia Shawkat).
What strikes me most about this show is the comedic rewards to be had by loyal viewers who know the stories from the beginning. There are constant callbacks to previous episodes throughout the later episodes, and the more that you watch, the more that you’re going to enjoy it. The only drawback to this is that unfortunately, it’s hard for someone who just happens to flip on at a season two episode to actually pick up what’s going on. Immediately they’re going to be utterly and hopelessly confused, and won’t find the show funny at all. “Why is this idiot even attempting to be a magician? Why is there blue paint throughout the house? Why is that guy wearing jean shorts under his clothes?”
For me, I had to watch this show from the beginning, all on DVD. I got a hold of the first season, and it took me a couple episodes, but then I was hooked. A week after I got the second season, I was sick in bed for a couple of days, and so I just popped in the DVDs, and laughed myself to feeling better. I was laughing so hard that my sides hurt. Even now, when I talk to friends who know the show, it’s just a couple quotes back and forth and we’re absolutely dying.
In any case, I’m kind of rambling now. I recommend this show. Watch it, and make your way through the first couple of “groundwork” episodes, and you’ll find one of the most rewarding comedy experiences ever unleashed upon humanity.
- Kyle
The Soundtrack of Life
You know, I got myself a Sony MP3 player a couple of months ago, and since then I’ve really appreciated the vast amount of music that I’ve kind of collected over the years. It’s amazing the variety of music that you accumulate. I have everything from Smashmouth to Phantom of the Opera; YoungBloodz to Weezer to Vanilla Ice to Queen and Eve 6.
The thing is, I listen to a variety of music, all depending on either the mood that I’m in, or the mood that I want to be in. I’ve set up my playlists under certain themes or activities. I’ve got “Driving”, and “Dance” as well as “Slow” and “Fast”. In each of these is a bunch of songs with kind of the same rhythms, similar beats and tempos. It’s kind of like a hand-picked selection of Pandora™ related songs.
There are times when I want to be “pumped”, and so I start up the Workout mix. There are times when I want to calm myself down, and so I listen to my Smooth mix. I don’t know if I’m the only one who does this, but it works for me.
Music, to me, has a power to it. It’s got an ability to help you to see things in a different light. Imagine, if you will, a movie with no music whatsoever. No background music, no rise and fall of emotions. Just plain dialog and sound effects. You’d be missing out on some of the most powerful experiences ever.
There are some times when the music that I’m listening to almost becomes the soundtrack of my life. I can see in my mind’s eye the way that the camera would be viewing me driving down the road with a song like “Life is a Highway” playing. I can imagine myself some tough guy as I’m “pumping iron” while “I Am a Rock” is blaring through my headphones.
Maybe I’m just a little bit crazy, or perhaps I have an all-too overactive imagination. But music helps to define who I am at any certain moment. Music fills that silence in my mind, and can change a bad situation into something good. It can help me forget my troubles.
It could be that I’ve just seen way too many movies, but music is the soundtrack of life, and I can’t help but comment on the effects that it brings about.
- Kyle
RETRO GAMING – Metal Arms: Glitch in the System
Okay, here’s a sure recipe for a non-hit: Take a shooter with surprisingly intricate depth, add tooney-looking robots, crazy voices, and a steep difficulty curve, all wrapped around a fun, slightly-clichéd, but well-voiced plot, and market it alongside all the “serious” shooters of the era. For those of you who still own a PS2, X-Box, or Gamecube, and haven’t give this little gem a try, I’d invite you to check out the bargain bin for a copy of Metal Arms.
The storyline is pretty simple. There’s a planet called Ironstar whose inhabitants are all robots. There are basically two kinds – The freedom-fighting Droids, led by the courageous Colonel Alloy, and the Mils, commanded by the evil General Corrosive. You play the role of Glitch, a busted-up mining Droid who lost his memory, but who has enough attitude to take on the Mils head to head with little more than a mining laser and a little “elbow grease.”
As you start the game, you might feel a little annoyed by the rather “kid-like” appearance of the game, but don’t be fooled. Despite the “look” of the game, you’ve got in your hands a pretty complicated shooter. Sure, there’s the basic weapons, from lasers and machine guns to a shotgun and sniper rifle, but there’s a lot more to the game than that.
The first thing that hit me when I started up the game was the difficulty of the game. This thing is hard! Don’t let the first couple of levels fool you – you’ll pretty quickly end up facing hordes of enemies, and from some of the most unlikely places. You’ll think you’ve got a level’s baddies down by the fifth or sixth attempt, but then you’re killed by a guy hidden somewhere that you didn’t see. There’s plenty of times where you’re just sitting there, trying to figure out how to get past a certain obstacle, and you’ll start yelling at the machine, complaining aloud why they couldn’t just give you a hint. But then, you suddenly find the admittedly obvious solution, and move on, because you want to know what’s going to happen next.
The multiplayer on Gamecube and X-Box is surprisingly fun, with up to four players each with a Glitch clone, all fighting through a number of different modes, including the standard capture the flag and king of the hill, but also some interesting variations. PS2 users get a little short-changed, though, because they only get a two-player multiplayer, and it’s kind of lame to play one-on-one after a while. So that’s a negative.
One the plus side, Glitch gets a surprising number of weapons and tools, from recruiter grenades and EMP weapons, to a gun that lets you sneak up and gain control of other bots, to vehicles, to controlling stations, to some of the most heart-pounding levels you’ll ever play on any game, ever. This is a game that pushes your creativity, logic, and shooting skills to their max, and the game is in and of itself a very rewarding experience.
The music is a little silly, but it’s not really a concern. The real sound stars are the voice actors, who really did a top-notch job to create a very immersing and interesting experience. You’ll get a little annoyed with Crank, you’ll laugh at Glitch’s little jokes and frustrations, and you’ll smile as you finally help Glitch to restore order to Ironstar.
So, all in all, this is a game a fully and completely recommend, if you’ve got a little spare time and a gaming fix, but not the money required to pick up one of the new systems. And it’s definitely a welcome Glitch in your good old system.
- Kyle
Our Facination with the Stars
I don’t usually watch a lot of television. To be honest, I could care less about the latest shows, or about this or that “must-see” sitcom or series. For me, I wait till it comes out on DVD and then decide whether I’m going to buy the whole series and watch it. (Or, perhaps, just borrow it from a buddy who happens to have it.)
In any case, I’ve noticed more and more attention being diverted to the stars. Now, I’m not talking about the wonderous sparkles that adorn our clear night skies, I’m talking about the well-paid self-promoting trendsetters that we daily go to great lengths to keep track of.
I was watching the news this morning as I was getting ready to work out, and I noticed a short commercial for TMZ that ran with same tagline about one of the Hollywood elite being pregnant, and the possibility of her getting back with her ex-boyfriend. I paused for a second and watched, not because I was interesting, but more stuck in the moment over the sheer shock of witnessing such a benign and inane announcement.
I stood there for a second, in awe of how simply ridiculous our culture has become. Immediately as the commercial ended, I said aloud, “So what? Do people actually care about this garbage?” Apparently so. We as a middle-class culture, afraid of actually putting ourselves out there to be judged and measured, feel secure in our living rooms, watching others live out the fantasies that we might not even admit to ourselves.
We worship American Idol, whet our appetite with Hell’s Kitchen, and become absolutely Lost within the far reaches of some unknown island. It’s like we’ve come to fear the real world. We look for “reality” to be delivered to us through our televisions, instead of going out and learning and doing and living our own lives!
In ancient times, our ancestors looked to the stars, I’m sure, as we do, fascinated with the wonders that wait for us beyond the far reaches of our understanding. But they tried, they did, and they continued to learn and grow. But we, instead, are far more interested with what is or isn’t happening to Paris, or Brittney, or Jessica. We worry about Tom, Brad, or Angelina, as if it really had any bearing on our lives! The target may have changed, but our culture seems to worship the stars just the same.
And it’s a shame, really, that behind the masks and whatever, they’re really just normal people like everyone else. Me, I plan on going up, and shooting for the sky.
- Kyle
I Am Legend
A lot of the trends in Hollywood these days tend to swirl around the apocalypse. Disaster movies are getting to be more and more common, from the well known (Resident Evil: Extinction), to the less publicized (Sunshine). It seems that the movie business is obsessed with the end of the world. I understand that there are a few more such films to be released in the near future, including Shelter and even the newest Pixar announcement, Wall-E. I don’t know what it is about a catstrophic end of the world that draws people in, but I guess that’s what we’re going to get. My personal opinion is that we as a culture are noticing the slip of control that we seem to have in our lives, and that gets played out on the screen. But enough human observation – let’s get to the review.
From the very first trailer I saw on this film, I was intrigued. As one of those who “haven’t read the book”, along with, I’m sure, much of the world, I had no real biases going in. All I knew was that the film was about this guy (Will Smith) who is the last man on Earth, walking the streets of New York City. That, and there was going to be a red Shelby flying through the city at some point in the film.
Right at the start, we see a cryptic broadcast of this “miracle virus” that was based on the measles, that has been “genetically altered” to cause the cure for cancer. And then, we’re thrown into a Castaway-esque situation following Robert Neville, a biologist in New York City who is now “the last man on earth” after this “miracle” turned into a nightmare, and apparently killed every single person on the planet.
Now, I’ve never really been one to go into too many details on my reviews, but I wanted to be especially careful with this one. If you don’t really know the story, your best bet at enjoying it is to go in without knowing anything else. Otherwise, you’ll miss out on the vibes that this film has the potential to give you.
Smith, who has already established himself as a superb actor in many different genres and themes, was absolutely the perfect choice to carry this film. His portrayal of a man obsessed with a dying cause and lonely for real human companionship plays very well, and you really feel for him. The other main character worth mentioning is Sam, Robert’s german shepherd, who is the perfect companion to Smith’s lonely character. For Neville, Sam seems to represent the last vestiges of sanity that he’s desperately trying to hold on to, the last breath of hope that keeps him optimistic that somehow, a solution is possible.
One of the most tender and heart-breaking scenes in the entire film revolves around Sam, and the affect that that incident has on Neville as he finally succumbs to his personal madness. (When you see the film, you’ll know exactly what I mean, and you’ll probably come close to tears.) There is a real power that the audience seems drawn to in Smith’s performance, and you’re brought to care deeply for these two characters.
Unfortunately for me, the ending of the film seemed a little rushed. I still, to this day, am not completely satisfied with it, but I guess that’s the way that films go. I felt that the end of the movie kind of disintegrated, and that the addition of those two extra characters was both unneeded and unnecessary. Just like the fly in the ointment, they just didn’t seem to belong.
Would I see this film again? Probably. But, Will Smith’s amazing portrayal notwithstanding, this isn’t one that you need to shell full price for. I don’t regret seeing it, but it’s one that you can wait for until it gets to the dollar theater.
- Kyle
The Strange World of Blogging
When I first started blogging, I kind of did it just for the fun of it. I’ve always been a journal writer, and I like to write in general, and I sort of needed somewhere where I could start putting my thoughts up. (I’m on my computer usually six-plus hours a day, so this seemed like the best solution to my “need-to-get-my-thoughts-out” cravings.)
Anyways, over the past couple of months, I’ve learned all kinds of things about this weird wild world. And, for those of you who are starting up, or are thinking about starting a blog, here’s a couple of tips to keep in mind:
1) Don’t Expect Heavy Traffic
Most blogs don’t get a lot of traffic. But I will tell you that the more that you post, the more people will come. Write about something interesting, write about varying topics, and you’ll see more and more people coming to your blog to check it out. It just takes time.
2) Write What’s Interesting To You
Don’t just write to get traffic. Write what you want, not what’s “popular.”
3) Write Well
The maxim that I’ve always tried to live by is “quality before quanity.” A single great post is worth ten mediocre ones.
4) Pictures
Use pictures to spice up your site, but make sure that you don’t go overboard. A couple pictures here and there really helps to add variety to the blog, but too many and it just becomes distracting. And on a related note, make sure that your pictures “fit” together. Ask an art-minded friend what she thinks, and if she doesn’t like it, then figure out how to fix it.
5) No Music!!
Don’t put music on your blog. Whenever I come to a site that automatically blasts music through my stereo without asking me first, I leave. You’ll never see a professional site with automatic music. Well, at least not one that gets frequented often.
6) A Note About Animated GIFs
Avoid the overuse of Animated GIFs. Animation is like a spice. A little adds flavor, but too much causes avoidance behavior.
7) Careful About Personal Information
Even if you’re doing a personal blog that only you and your friends are going to be looking at, be very careful about what you post online. Your name should be fine, but don’t put up a personal address, or any real specifics. That way, if you put up something that makes someone angry, they won’t hunt you down. Just a friendly precaution.
8) Above All, Have Fun With It
Just have a good time, and do your best. The rest doesn’t really matter all that much. Happy blogging.
- Kyle
Movie Review: Enchanted
I’ve been a huge Disney fan since I was old enough to be interested by a television screen, and of course, a lot of that has to do with being raised watching Disney’s animated feature films. From Alladin to The Lion King, Mulan to Hercules, Rescuers Down Under to The Hunchback of Notre Dame, and even the less-acclaimed such as Lilo and Stitch or Treasure Planet. And be it non-masculine or whatever, I really love the stories of a number of the “princess” stories such as The Little Mermaid, Pocahontas, or Beauty and the Beast. These are strong films in their own right, regardless of the medium in which they’re shown.
However, they’re also pretty quirky, and anyone who “grew up Disney” can tell you that there’s some pretty crazy things going on in just about every one of these films that just don’t happen in real life. The prince usually doesn’t just magically find the woman of his dreams. There usually isn’t a dragon or giant to slay for the fair maiden’s heart. And many princesses wait for a long time waiting for their prince to come, and when he does, he’s not nearly as handsome or charming as everyone made him out to be. And when all is said and done, and the music has been sung, “happily ever after” takes a lot more work than it seems.
So, with this kind of a background, I walked into the theater of Enchanted. I’d heard a number of good things about the film, from friends who had seen it, and good reviews, but I don’t think I was entirely ready for it.
The story starts with classic Disney animation, as we are introduced to the love-lorn beauty, Giselle (Amy Adams) in the kingdom of Andalasia. She’s singing with the animals, and waiting for her charming prince to come and sweep her off her feet, though she’s only ever seen him in a dream. Enter Prince Edward (James Marsden), who just happens to be a handsome young prince searching for a princess-to-be. After a troublesome encounter with an ogre, a little daring do and tree-climbing, Giselle falls into Edward’s arms where he romantically whisks her away with one of my favorite lines in the film: “We shall be married in the morning!”
But Edward’s mother, the evil Queen Narissa (Susan Sarandon), is not happy about this little engagement taking her crown away, and so she entices the gullible young girl to a magical wishing well, whereupon she pushes her inside, sending her to the world where there is no “happily ever after” – Our world. But more specifically, New York City.
After some rather funny encounters and misadventures, Giselle, lost and disoriented in a “strange” world that she doesn’t understand, is discovered by single-father Robert Phillip (Patrick Dempsey) and his clever little daughter, Morgan (Rachel Covey). So begins this tale of Disney magic and music meeting the so-called “harsh realities” of real life, as Giselle is simply trying to get back home to Prince Edward, who has leapt into the portal himself and is desperately searching for his bride-to-be, all the while with Queen Narissa trying to rid herself of this thorn in her side once and for all.
And that’s about as much as I can tell you without ruining the story, which you REALLY need to discover for yourself. This is the kind of movie that doesn’t come out very often. A satire on Disney films done by the masters themselves, who show that they aren’t ignorant of the silliness that surrounds their craft. But instead of just relying on cheap little laughs that are quickly forgotten, they’ve crafted a light-hearted but memorable drama that you can’t help but enjoy.
The acting is top-notch, from Adams’ amazing portrayal of Giselle to the perfect casting of little Rachel Covey, who has some of the best lines in the film. The characters are memorable and adorable, the lines are perfect, and the story is amazing. There are so many little moments, references, and lines to take in that it is just overwhelming, but the good, covered-up-with-fifteen-blankets-warm kind, including the strangest “clean the home” experience ever, the goofiest time of “slaying the dragon”, and one of the greatest musical numbers ever to grace Central Park.
All in all, I honestly have very little bad to say about this film. The only thing that I think could have been improved is Nancy, played by Idina Menzel of Wicked fame. I wish that they had really spent more time on her character, but in the end, you hardly notice her, which is both good and bad. It’s good in the fact that her character really is kind of secondary to the relationship between the main characters, but bad in that her acting and talent are actually pretty inconsequential to the story, as they really could have had just about anyone play that part.
Disney could have made a small little film that only relied on little gags to make it through, much like the parody films that have been recently gracing our cinemas. We all know how ”amazing” those films are. But instead, they “did it again”, showing that magic and heart are what make a family film work. That, and maybe a couple musical numbers that you’re sure to be humming as you smile your way out of the theater.
- Kyle
The Everlasting Ribbons of Highway
I’ve already said before that I love to drive. There’s just some kind of euphoria that comes to me while behind the wheel of a vehicle travelling at 85 mph, and I don’t think that kind of a drug is ever going to lose its high.
In any case, a little while ago, a couple friends and I went on a road trip to Hollywood to go see Wicked. (I know what you’re thinking – “AGAIN? What’s wrong with this guy?”) To be honest, though, the other two hadn’t seen it yet, and so I volunteered to drive, because I really wanted to see it again, too. If you haven’t read my praising review of the show yet, then I invite you to do so. (You can find it here.)
But despite my self-proclaimed love affair with the open road, I have to admit that this trip could have done with a bit more planning, and that we certainly paid for it tenfold over the course of our rather adventurous journey.
The first oversight was that we drove my car. Now, I have a well-maintained Honda that can easily take the mileage, and I have full trust in my car. However, it’s a standard, and despite my assumptions to the contrary, neither of my other passengers drive a stick. As such, I found myself driving nearly the entire trip, totalling out around 30+ hours behind the wheel. As much as I wish that it didn’t, the drive really did a number on me.
Just to illustrate, we drove straight to Hollywood, about a 12-hour trip, and right to the Pantages Theatre, all with maybe a one-hour rest in between at a family-member’s house along the way. That’s quite a drive, let me tell you. Even in the daytime, with two good friends to keep me company and to keep my mind occupied, I was pretty wiped out.
We did find a neat little tidbit through a contact at Pantages, though. Every night, the actors are alloted a certain number of tickets for family or friends that might be attending that night. However, these tickets usually go unused, and so they are raffled off to whoever is there at 6:00 that night. Front-row seats for $25 a pop. But if you’re not one of the lucky few, there’s no need to worry. Right afterwards, they put the remaining seats on sale for $45 a piece, and so we ended up sitting about 20 rows back, which are still pretty amazing seats.
Now, back to the trip.
We sort of slept through the next day until around noon, until we had a (at the time) brilliant idea. Considering that two of us are California natives, and both thrill-seeking enthusiasts, we figured that we’d spend our afternoon at Six Flags Magic Mountain. I have an awesome contact in LA who gets really good discounts on Cali’s theme parks, and so he helped guide us downtown, where he met us to give us the tickets. But then, due to a mix-up with directions, we missed to 405 turn-off, and realized we’d made a mistake when we saw the Thousand Oaks exit. Basically, we wasted about three hours just trying to get there, and so we pulled up around 5:00. We then decided it’d be a better idea to go the next day, considering that they close at six. (We did stop at In-N-Out, though, so I did feel a lot better about that.)
That’s kind of how the trip went for us. We’d get directions from someone, and they’d end up being unclear, or missing a crucial part, and we’d go off-track. And I mean really off track.
On the way home, we headed to Palmdale, trying to find the I-15 east, and weren’t sure which way to go. I mean, I had a vague idea, but since we took a different route coming in, I thought I’d check. But, after getting bad directions from a gas station trying to find the I-15 and ending up deep in Lancaster, I pulled off to fuel up and bought the one thing that we should have had the entire trip – a $5 road map. From there, we figured out where we were, plotted out our course, and we were on our way.
12 more hours of driving, and four or more Rockstars later, we finally made it back home. It was just one of those experiences that, while you’re in it, you don’t know if you’re really having fun or not. I mean, you are, but you realize the amount of work and hassle that it took to get there, and it crosses your mind whether it was worth it all. But then, you realize that these are the kinds of experiences that you only get to have at a certain time of your life. While you’re young and single, with no strings attached. I figure you’ve got to live life to the fullest, in every single stage of it, and so I’ll always look back on this cooky road trip and smile.
And that is most definitely worth 30 hours behind the wheel.
- Kyle
My Distaste for Madden 08
A little while back, I wrote up a praising review for NCAA 08, which is still one of my favorite games. (A buddy and me have been playing it about every week, and are into our third season in the Dynasty mode. He got into the PAC-10 while I’m still in the WAC, but I did beat him severely in the BCS championship game, effectively shutting down his undefeated season. Badaboom.)
In any case, I said that when I got a hold of Madden 08, I’d give you guys my review, so here we are. I’ve played through for the past month or so, and I’ll tell you that it was a much different experience than the NCAA gridiron.
The first thing that I noticed was the theming. Whereas NCAA was all about the engrossing experience, pulling you into the game from the beginning with fight songs and chanting, Madden is all about the edgy, raw look of the NFL, with hard-hitting music and more “grafitti-inspired” art schemes. I used to play NFL Street a lot, and so I can see where some of the blending is coming from there.
The menus work well enough, with all the standard modes available, but I really wanted to dive right into the Franchise Mode, specifically because I figured it would compare nicely with the Dynasty Mode that I was familiar with in NCAA.
Right off the bat you can either jump into the draft, or just go into the teams. The draft is interesting enough, of course, the NFL equivalent of “picking teams.” The problem that I saw, however, is that instead of dealing with just stats and availability, you have a “salary cap”, which is true to life, but there’s all kinds of penalties when you want to get rid of one player in favor of another. Because the manual has a very limited explanation of the process, you’ve got to do it by trial and error, which was a huge pain in the rear. My first foray had me with a negative salary cap, and I couldn’t even tell if I had all the players that I needed. The interface just wasn’t really user friendly.
I thought that making your own team would be kind of fun, mostly because you would be able to customize all kinds of things. Well, it was possible to customize just about all aspects of the stadium, but the uniform designing was more difficult then it had to be. Compared to the streamlined and clean process in NCAA, the menu design just felt unnatural and annoying. However, there were a few more options as far as customization was concerned that were relatively absent in NCAA, so take your pick.
In older Madden games, you get a radio broadcast that talks a lot about the different teams and players. I thought that this was a good thing, yet another example of how to “pull the player in.” This is a fictional franchise, after all, and the goal should be to bring the player into this universe as if it really mattered. That’s what gets them coming back.
Instead, all you get is two little newspapers, which cover stupid little things that the teams do. The local paper covered trivial things like the naming of a new team Captain, and even when I accidentally pressed the button to alter the uniforms, and then cancelled out. How dumb is that?
Then you have the national news, especially in the pre-season, which doesn’t really matter. You hear about specific players and what-not, but it’s just blah text, and you don’t get the full-page screenshots that NCAA’s ESPN Magazine puts up.
And that’s probably a good thing, especially considering the way that the game looks.
The first thing that I noticed was that the players looked squatty and indistinguishable. You can adjust some of the pads and things that your players are wearing, but most of the time it’s just kind of a guessing game, and you have to just be able to tell by the numbers. The the players just plain look weird. Where the NCAA game really shows you the physical difference between a lithe wide reciever and a strong-shouldered halfback, Madden just makes them all look the same, and it’s kind of disappointing.
Right off you get the back and forth between John Madden and Al Michaels, which was a sorely disappointing second to the lively and interesting banter between Brad Nessler, Kirk Herbstreit, and Lee Corso. To be honest, I prefer just not listening to Madden himself at all. I think they ought to hire Frank Caliendo to immitate Madden and put some life into the play-by-play. At least Lee Corso is good for a laugh now and then, and has some character in his speech. Madden talks like he’s not even really watching the game.
You’d think that professional players would play better than the kids in college, but apparently not. Each game that I played felt sluggish, as if the players were on a molasses field. My running back, though he was supposed to be really good, couldn’t even break through the defensive line, like, ever. I never lost so many yards.
The computer’s defense got a killer boost, though. They shut things down repeatedly, pushing me farther and farther back, until I had to get some miracle throws to push ahead. I’ve never been one to sit there wondering if “maybe this time he’ll catch it.”
The stats don’t even matter – As a test, I made my guy a top stat on everything, and tried him out at DT – He broke through the offensive line three times in the whole season. Because of that, I made up different teams with different star players just to see what would happen.
The game becomes more of a battle against frustration instead of against the opponent. Yes, its the NFL, and its supposed to be difficult, but how many times does a star reciever with perfect stats drop the ball? How many times does a near-perfect offensive line let everybody through? How often should a quarterback get sacked? And why is it that every other team in the league has cornerbacks that can run faster and catch up to my perfect receivers, where my perfect corners can’t ever catch up?
Part of the problem, as I see it, is that the computer cheats its way into the win or, at least, into a really close game. This is something that I’ve noticed as a trend in a lot of games, but it just feels wrong to me. If you’re good at a game, the computer shouldn’t have to cheat to catch up. There shouldn’t be a sudden surge in stats just because you’re beating it. That’s just plain AI bull.
Ever game felt more like a chore than an enjoyable experience, and I found myself actually wondering why I was bothering to play the game at all. It just didn’t feel fun anymore.
So, for those of you out there with PS2s, who still want a good football experience, I’d recommend NCAA 08. I’d pass on Madden for the older console, because apparently Madden already passed on us.
-Kyle
