Straight Edge

Despite the inane delays surrounding Rhest for the Wicked, I am moving forward with other writing projects.  My current project (actually, one of several) features detox and rehab as a theme.  I’ve done a lot of research on these things, and have had friends who have gone through it.  But I never have.

I’ve never been a drinker.  Nor a smoker.  Nor have I done any drugs.  I’ve experimented with all three and never found any of them at all appealing.  Not the slightest thing.  I have friends who are huge alcohol aficionados and more than a few proponents of altered states.  But no experience has given me even the slightest interest in repeating those exposures.

I didn’t really even know the term ‘straight edge’ until the professional wrestler CM Punk brought it to the forefront.  Though that element of his character has largely fallen to the wayside, I still hear mention of it from time to time.  Straight Edge is, simply, an abstinence from chemical inhibition.  You don’t drink, smoke, do drugs, take steroids, etc.  But for many people, this seems to have been some kind of conscious choice, especially within the straight edge movement.  For me, it wasn’t a choice.  It’s just who I am by default.

I’ve lost friends to drugs (both overdoses and as victims of the ‘drug lifestyle’).  And while I haven’t lost a friend to alcohol, I’ve had friendships end thanks to alcohol.  And I’ve been ringside to see the effects of alcohol on families.  Those horror stories were never worth the ‘fun times’ such substances seemed to make possible.

The profession of writing has a long history of substance abuse, whether it being Jack Kerouac, Earnest Hemingway, Hunter S. Thompson, or hundreds of others.  And more than a few people assume that being a writer means, as if by default, a certain level of consumption.  But at least in my case, it isn’t so.

I don’t look down on people who consume.  I don’t think that I’m better somehow.  I just don’t understand the appeal.  And as I research rehab and detox, I realize I really don’t want to understand appeal either.

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Tools of the Imagination — Veritech Alpha

Veritech Alpha VFA-6Z
by Toynami, released 2003

The Third-Generation Robotech Fighter Makes Good

 

It seems only natural to go from the forgotten Destroids to the unloved Alphas.  Robotech, being the cobbled-together Frankenstein’s monster of an animated series, is most famous for the first portion, known as the First Generation, which was actually a rewritten version of the wildly-popular and successful Macross series from Japan.  However, Robotech had a Second and Third Generation whom have typically not fared as well in the public consciousness.  Nevertheless, the fans are out there and every once in a while, a toy will come along that will make them proud.
The Third Generation of Robotech, based off the Japanese show Genesis Climber Mospeada, had a strong emphasis of evolutionary development.  As such, it only made sense that the Veritech Alpha be seen as the descendant of the Veritech Fighter made famous during the First Generation of the series.  It is a transformable aircraft that is smaller and generally considered more powerful.  The multiple variations are mostly cosmetic and they generally play a support role to the Cyclones; Transformable motorcycles that act as Ironman-esque power armor.

Because the Third Generation has largely been forgotten about by all but the most ardent of fans, it’s pretty rare for there to be toys for the story.  In fact, it fell to Harmony Gold, the holders of the Robotech license, to co-produce the toys.  The result is a set of four action figures that largely came from out of nowhere and disappeared pretty much without a trace, leaving behind only rumors of how awesome they were.
Appearance – 3 out of 5
The VFA-6Z, like all the Alphas in the series, is nicely colored with a decent range of paints used.  While the colors aren’t terribly extravagant, they are very indicative of the mecha from the show and do a good job of looking straight from the cartoon.  Everything is appropriately colored, no matter how small the space or subtle the attention needed.

Construction – 4 out of 5
This is a beautiful toy that is well constructed out of very high quality plastic.  The arms and joints feel very sturdy and the plastic has a good heft to it, making it feel very solid.  The one flaw in the construction is, unfortunately, a notable one.  The interchangeable hands have to be physically forced out of their docks and the pegs that attach them can break all too easily.

Movement – 3 out of 5
This is a straight-up action figure, which for robots, can be somewhat rare.  This figure has significantly more maneuverability than the Excalibur discussed previously.  And while the range of motion for many of the joints are a touch limited (especially the hip joints), overall the toy is still extremely maneuverable.
The one short-coming, though, and what keeps this from having a higher score is the toy’s inability to transform.  As one of the most memorable aspects of the Veritech fighters, not being able to even partially reconfigure (as they have a middle transformation between robot and jet, known as Guardian in Robotech and Gerwalk in the Japanese series) is a really damning strike that keeps its rating from being any higher.

Extras – 3 out of 5
The Alphas each come with a series of interchangeable hands (a trigger hand for the right arm, two fists, and two open hands) and one gunpod with removable ammo magazine.  Unfortunately, there are no light-up elements or firing missiles (which would be appropriate as the Alphas in the show were bristling with missile bays).  What’s unfortunate is the lack of anything to do with the extra hands.  While it makes sense that there’d be nowhere to put them on the mecha, it still means that you’re left with three hands lying around at any given time.  Also, the lack of a left-handed trigger hand means that if you do buy a second toy, you can’t exactly go all John Woo style.  Which, come on, is a real shame.

Packaging – 2 out of 5
The packaging is devoid of anything but the most basic of features.  The back is completely identical between all four toys, and the front only distinguishes between them with the name written on the bottom from of the plastic. Fortunately, the plastic is quite sturdy and the windows on the front and sides give you a good view of the toy and its additional pieces.  Clearly meant for collectors, there is no diorama to play with and no explanation as to the story or the characteristics of the individual mecha whatsoever.
One place where the packaging is noteworthy is the inclusion of credits.  It’s pretty rare to know the names of the design team behind the toy, but the back packaging gives you the names of the Project Director (George Sohn, because directors always come first), the Sculptor (Shin Tanabe, who did a fantastic job), the Mold Tech and Paint Designer (Daisuke Fukuda, who is probably the most unsung hero of this toy), the Package Concept and Designer (Nitai Kearney, who needs to be talked to), and the Quality Control (Scott Tipton, who deserves a raise).  I’m not saying every toy needs to credit every person responsible for the development, but having a few names to thank in our prayers for good toys is a nice addition to the usual packaging fare.

Overall – 3 out of 5
Three out of five seems a little harsh for an otherwise wonderful toy.  After all, the quality of work that went into its construction simply cannot be praised enough.  This is a very well put-together toy that is a lot of fun to play with, but is just this side of conservative.  There are plenty of elements that could have been done to make the toy more memorable and stand out as truly legendary, but at the end of the day, it seems like adding things like transformable features, firing missiles, or opening compartments, would have just subtracted from the quality construction which is, without a doubt, this toy’s biggest selling feature.

Dr Who Cares

Yesterday, it was announced that Peter Capaldi would be the 12th Doctor on the long-running sci-fi series Dr Who.  This was understandably followed by a huge hooplah and lots of speculation about what kind of a Doctor he would make, how the story will change to accommodate this new version of the character, etc.

What few people seem to talk about, however, is that a huge and monumental surprise has been partially ruined.  The extent of the surprise ruined depends on which surprise you’re referring to: who the new Doctor will be, or that there will be a new Doctor?

Now, it’s true that the finale of the current Doctor, Matt Smith, had already been announced, but the speculation as to when and which would be his last show helps to negate much of the tension of each episode.  Knowing for a fact that the show’s frontrunner will not be leaving until a very specific definite time undermines part of the tension.  And while it is usually pretty safe to assume the show’s frontrunner won’t die in a given episode, in a show like Dr Who, a new doctor could conceivably be introduced at any time.  But by knowing the date and time of the current Doctor’s last episode undermines much of that.

But then there’s still a chance of the surprise at finding out who the new Doctor will be.  What if it was Hugh Laurie? Or Idris Elba?  Or Cate Blanchett?  Or somebody anybody had ever heard of?  Or what if it was David Tennant again? (Oh don’t give me that; it’s Dr Who!  If they want to find a way to make it happen, they could make it happen.)

But now we know.  We know precisely who it is.  We know what he looks like, what he sounds like, and can review his entire acting resume to get an idea of what he’ll act like.  So much of the future of the show has already been defined when it should be a time of great uncertainty and excitement.

Not only has the surprise been ruined, but in many ways, the surprise was already partially ruined by being aware of the surprise.  Announcing Matt Smith’s departure was bad enough, but announcing the next Doctor so far in advance (by ‘so far’, I mean at any time before he appears in-role in the show), a great excitement has been lost.

Tools of the Imagination — Attack on Titan

Attack On Titan
Produced by Wit Studio and Production IG, released 2013, available on Crunchyroll

Spider-Man meets Ultraman, but set in the past


Attack on Titan is a newcomer to the anime scene here in the US.  It’s been making the rounds online and has been growing in popularity ever since, largely thanks to the anime’s vivid depiction of rather graphic violence.

There’s no way to avoid saying this, so here it is: Attack On Titan is really quite bad.  Fans and proponents will champion it, to be sure, but it just doesn’t help that the show suffers from crippling pacing problems and a humongous cast of truly forgettable character that all look alike.  Many fans will find themselves gravitating towards certain characters simply because they visually stand out.  All of this is a shame because the premise is a promising one.

Sometime in the future past no one knows, a set of giant stone walls were constructed for humanity by ‘the gods’ to protect them from strange gigantic humanoid monsters called ‘Titans’ that eat humans.  The show opens with a gianter-than-usual Titan appearing literally out of thin air and kicking down the gate of the outer-most wall, and then disappearing again.

Our main hero, Eren Yeager, watches his mother be eaten by a Titan and pledges to wipe them off the face of the earth by joining the multipronged defense force tasked with defending, understanding, and/or killing them, depending on which episode of the story you’re watching.

The main gimmick of the show is that the characters in the defense force swing on gas-powered grappling hooks, a la Spider-Man and his webs.  It’s a neat idea that would provide some unique action sequences if the show had any real action sequences.  Which it doesn’t.  Despite a baffling reliance on swords to take down gigantic humans, the show sports staggeringly few really engaging fight sequences and seems to spend all its energy on a few ‘movement shots’ of characters swinging between buildings.

I would expound further on the plot but after 15 episodes currently available online, there still doesn’t seem to be much of one.

 

Story – 2 out of 5
The premise of Attack On Titan is a promising one, with the origins of the Titans and the perimeter walls quite intriguing.  Likewise, there are hints of a power struggle and classism between the different populations inside each of the walls.  Also, there appears to be a power struggle between the different branches of the defense corps tasked with protecting the city, and also with the new version of the Church.  There’s also a mystery involving Eren’s father, who seems poised to have answered every question in the world before the series opens.
Regrettably, none of this gets expounded on because the show has more pacing problems than Dragon Ball Z.  When the plot is progressed, it doesn’t so much as move smoothly as lurch unevenly.  Huge periods of time will be traversed within five minutes in the middle of an episode, including days and even years passing in a matter of seconds thank to flashbacks and montages, while dozens of minutes each episode will be wasted as characters we don’t know and likely haven’t even seen anymore argue about what it means to be humans in the face of the Titans, often while the Titans are bearing down on them.  The amount of wasted time in this show is truly staggering.
Worst of all is how staggeringly nonsensical the world is.  The people of the walled cities have only permanent cannons like those you’d find in the 1600s, but they also have gas-powered grappling hooks that are light enough to be worn on the legs.  They lack any level of advanced metallurgy yet have disposable blades for their swords.  They have flowing water into and out of their walled cities, yet the cities are completely cut off from the rest of the world that is allegedly crawling with Titans.
The Titans themselves are enigmatic.  They do not need to eat or breathe, yet exist solely to devour humans.  They have unique shapes and faces and seem to smile often.  Some attempts to explain Titans are made and it seems that there’s a very interesting story behind them, but it is exposed so slowly, when the tiniest detail is shared, it’s almost always in isolation, leaving it as a non sequitur and put to the viewer to piece together the truth.  If details were shared with any regularity, it might feel more like an engaging mystery, but the drastic gaps of time between learning any detail about the Titans makes it feel more like a story editor went through after the primary writer and tried to work in something more interesting.

Art – 2 out of 5
The art is fairly awful.  Most of the characters look uniform and uninspired.  Multiple groups of characters look identical to one another.  The only reason you can spot Eren in a crowd is because he’s usually the one scowling.  Most characters are purely interchangeable (even across gender lines) and given a single characteristic or quirk in an effort to make their lack of personality less noticeable.
Worse, still, is the inconsistency of the art.  Backgrounds are all perfectly fine, but the characters are drawn with garish and distractingly heavy linework that makes them seem excessively two-dimensional.  The anatomy of the characters is often compromised by the heavy linework, which is very strange given that the Titans themselves are drawn with uncomfortable realism.  It’s as if two (or more) artists are feuding over the less talented of the two being given the better job.

Animation – 3 out of 5
If there’s one saving grace to the show (aside from its premise), it’s that it has some very good sequences involving the swinging implements.  Once or twice per episode, there’s a really nicely animated sequence, whether it’s swinging between irrationally huge cities for a medieval society or just a Titan running.  Sadly, the animation is rarely uniform.  The swinging sequence in one episode will be vastly better in one episode compared to the next.  One episode’s Titan’s sprint will look fluid and photorealistic while the next episode’s will look jerky and uneven.  The lack of animation consistency keeps this score from being anything more than mediocre.

Characters – 1 out of 5
The characters are almost nonexistent.  Eren and Mikasa and others are put in the center of the story, but they’re given very little emotional range and narrative opportunities.  The story is clogged with unnecessary characters who exist to do nothing but be, and sometimes to not be.  Characters introduced and killed in the span of a single episode are often staggeringly one-sided and yet are still more dynamic than the main characters.  There are no really complex characters in the show; everybody is clearly good or clearly evil.  The attempt to present a complex character found well into the show’s teen-numbered episodes are laughable at best.

Acting – 2 out of 5
It feels unfair to judge the acting because the scripts are so bad.  Listening to the Japanese dub, the actors did a fine job, but what they were saying wasn’t worth listening to.

Overall – 2 out of 5
This show is bad.  It’s not overwhelmingly terrible, but it just isn’t worth sitting through.  There is a manga series that may potentially be vastly better, but the animated series of Attack On Titan feels more like a very poor rough draft than a finished product and seems amateurishly done on almost every front.  The show is still running, however, (episode 15 is the most recent episode available at the time of this writing) so perhaps it gets better.  But if the show doesn’t ‘get good’ until the late teens, that almost by definition qualifies it as a bad show.

DC Films

Warner Bros Films have announced a Batman/Superman movie, to lead into their now-delayed Justice League movie.  This comes off the heels of the extremely lukewarm reception to Man of Steel.  Rumors abound just what Warner Bros/DC has in mind for this film, but very little is set.  Much of this uncertainty seems to stem from DC’s inability to put together a decent comic book-based movie.  Even the much-lauded Dark Knight Trilogy’s success wasn’t due to its comic book-ness but its uncomic book-ness.  In many ways, it hasn’t been since Batman Returns that DC’s put out a true comic book movie that was, well, good.  Attempts like Catwoman and Green Lantern are synonymous with abject cinema failure and even partial successes like Batman Forever and Superman Returns have been grudgingly received.

This is especially strange because DC has a near-perfect record with animated works.  DC’s direct-to-video animated films are the stuff of legend.  Pretty much everything from Batman the Animated Series forward has been highly acclaimed by critic and fan alike.  And while animation and live-action are not interchangeable, the two are closer than either are with comics.  And yet, despite having a vast reservoir of animated resources to work from, DC (or at least Warner Bros) seems determined to start from scratch with the live-action movies.

From a fan’s perspective, this seems to speak to a lack of confidence in their animation department’s storytelling abilities, which doesn’t make sense.  Their DVD releases are eagerly awaited and are almost universally well-received.  So why are DC and/or Warner Bros so hesitant to look for inspiration there?  A perfect roadmap has been laid out.  Cast properly and, with the appropriate special effects, one could almost make a live-action remake scene-by-scene and be in the running for a great film.  And yet, they avoid this goldmine.  It just doesn’t make sense.