I just completed this challenge on Facebook.
“Ten movies that made an impact on you and remain in your rotation, in no particular order. Post the poster, no need to explain. Nominate a person every day.”
We saw Black Panther and it was even better than I had hoped. It’s now a strong contender for best Marvel movie ever, and therefore, for best superhero movie ever.
My take on it: who says intersectional social justice is dour? This is the bomb!
We treasure bad puns over quotes, still, everything geeky is a source of quotes with us. The touchstones, of course: Monty Python’s Flying Circus, The Holy Grail, and Life of Brian; Firefly, Babylon 5, Star Wars, Star Trek, The Lord of the Rings, Doctor Who; The Simpsons and occasionally South Park; and of course old games.
Because I move between various game groups both in person and online, as well as play at conventions and game days, I have a lot of people in my gamer circles. They come from diverse backgrounds, a spread over decades in age, so there is a lot of variety in favourite movies and books. I’m generally slightly surprised when a role-player says they have not read The Lord of the Rings or seen Star Wars, but it’s not exactly shocking, especially with younger players.
[Repeated from a similar question last year.]
Everything. Books, television, movies, music, comic books, art, even food. As I answered last year to a similar question, you could say my source is immersion. Whether creating a new character or planning to run a gain, I like to surround myself with sources of inspiration: music, books, movies, images, online sources, etc.. I browse the ‘Net for related materials, I scour my creaking bookshelves, I cook recipes from particular cultures, and so forth.
Jeremy Kostiew asked on Google+:
What makes a good horror RPG? Rather, what has made a good horror RPG?
Was it atmosphere? Something about the mechanics? Hammer Horror soundtrack? Creepy GM? Haunted playspace? […]
I posted my answer there but it go so long, I realized I should turn it into a blog post! This also gives me a chance to provide links.
I’m not a fan of horror in general because it rarely reaches me. In movies in particular, it usually pairs violence and gore with repetition and cliche. For me, well-done horror is something like Identity (2003) or even some of the better X Files episodes: a lot of atmosphere, and threats that are not just about brutality and death.
Atmosphere: I’ve been in a few successful horror role-playing games, and many unsuccessful ones. The best I played was a campaign based on Clint Krause’s Roanoke game (Clint Krause Games 2006, out of print). My husband Edmund was the game-master and ran it at our local game club; we had a large ensemble cast that could change from week to week based on attendance, and a group of players known for their banter and kibitzing (including me), so horror was a challenge. Edmund payed a lot of attention to atmosphere. He talked to us beforehand about the genre, and asked us to play only if we were willing to get in the spirit, not goof around; the mood of the game was described as Brotherhood of the Wolf meets Lost. He had a soundtrack, sound effects, props, low lighting, etc. I posted detailed actual play reports on RPG.net, where you can get a better sense of how the game felt.
Tension, Transparency, and Temptation: It’s useful to have some sort of mechanic to keep track of and ratchet up the suspense. Examples include the Humanity/Taint/Corruption tracks in a number of horror games, which generally apply to individual characters; or the countdown clocks in Apocalypse World (lumpley games 2010). It’s most effective if the players see their fate coming incrementally closer, and if they have an incentive to court danger. Roanoke uses the Doom pool, which allows players to gain a maximum success on a die roll at the cost of adding one Doom point to the pool that will determine the endgame phase of the campaign: Heroic Escape, Tragic Escape, Heroic Death, or Terrible Death.
Threats: Successful threats may vary from person to person. If you’re not familiar with the “passions” as used in Unknown Armies (Atlas Games, any edition), you should go take a look, I think they provide a good model. Basically, every character’s personality in UA is defined by three passions: a rage passion (what will unfailingly get under their skin); a noble passion (even a monster may love animals); and a fear passion, which is codified into five categories (violence, helplessness, isolation, the Unnatural, and the Self.) Reading about the types of fears can help a GM think of more varied threats, and identify ones more likely to get a response from the characters and players at the table. In Roanoke, each player has to pick a fear as one of their character’s traits, so they’re directly telling the GM how to draw them in.
Misinformation: A lot of the mood and tension rely on the characters’ imperfect understanding of what is going on. In our Roanoke game, the GM used the Bag o’ Rumours: he wrote little snippets of rumours and had us draw them in secret at the beginning of a game session, as something only that player’s character would know. Some were true, some were false, but most were a little bit of each. They worked very well to sow doubt, provide foreshadowing, and serve as bargaining chips (“I know a secret!”)
Tangled Relationships: A lot of the player buy-in, the spread of uncertainty, and the ratcheting up of suspense comes from or is greatly enhanced by a web of relationships — positive and negative — between the cast of characters. Even if the game is planned as a one-off, I recommend taking the time to establish some allies and antagonists among player characters as well as with primary NPCs.
Boundaries: Because horror gaming relies so much on (A) playing with our darkest fears and (B) shared mood, it’s prudent to have some way of controlling content so that the players will have fun even as the characters are being put through the wringer. In Roanoke we used what we called a Veto card (that was before we had heard the expression “X Card“). Each player got a card they could flash when they felt someone was bringing in elements inappropriate to the setting or the group. It didn’t matter whether it was for mood, story, or personal reasons, it was non-negotiable (although it was okay to ask questions to clarify the scope of the veto.)
We’ve heard about a number of prodigiously insulting marketing decisions at the intersection of merchandising, pop culture and genre fiction, such as the disappearance of Black Widow from lines of Avengers merchandise and Rey from Star Wars: The Force Awakens merchandise. It’s been made clear that boys are the target market for toys. But do you ever wonder if it’s not also a deliberate ploy to manipulate supply and demand for price gouging?
We just learned that to mark the 50th anniversary of the original Star Trek series, CBS has licensed toy company Mattel to produce a line of Barbie-style dolls based on Lieutenant Uhura, Captain Kirk, and Commander Spock. I immediately checked on Amazon, because I want Lt. Uhura on my desk! But I discovered that she’s unavailable, even though the other two can be purchased just fine for $34.99 each.
But Amazon went on to offer me other lopsided-deals on memorabilia Barbie-like dolls. How about Batman, Superman, and Wonder Woman figures based on the recent movie Batman v Superman: Dawn of Justice? Hey, good news: all three are available. And priced at…
A few nights ago I finally had a chance to watch Pixar’s movie Inside Out. (Pico-review: I loved it.) One concept it uses (not a spoiler) is that some of our memories are “core memories” that anchor our personality, things that become central to the person we are; they are not immutable but they are very strong.
I assume we can all think of a few moments that stay with us through life, to which we turn back repeatedly either to recapture them or with the burning wish to redeem them. I can think of several, but there is one in particular that for four decades has been central to me. It’s the one that I think reflects the best that is in me, that represents the person I want to be, I try daily to choose to be. (So yeah, it’s a core memory that makes me look good, but rest assured that I have some that are not as proud. Another day’s tale.) Continue reading “Core Memory”
Up-front warnings: (1) This review contains spoilers. (2) I didn’t like the movie.
Not spoilers: The premise of this movie is that Main White Guy Character Caleb Smith (played by Domhnall Gleeson), a programmer at an internet-search giant, wins a competition to spend a week at the private mountain estate of the company’s brilliant and reclusive CEO, Antagonist White Guy Nathan Bateman (Oscar Isaac). Upon his arrival, Caleb learns that Nathan has chosen him to be the human component in a Turing Test, charging him with evaluating the capabilities, and ultimately the consciousness, of Nathan’s latest experiment in artificial intelligence — Sexy Fembot Ava (Alicia Vikander).
[Edit: A couple of friends have told me that Oscar Isaac, who is Hispanic, doesn’t read as white to them. That really surprised me, I read both the actor and the specific character of Nathan Bateman as white, but you may have a different impression. I have to add that if Bateman is supposed to read as a person of colour, it doesn’t help the movie for me, on the contrary.]
The movie tries to be a thriller but all the plot twists are predictable for science fiction aficionados. Nothing you haven’t read elsewhere. It also tries to be visually stylish and to feel intellectual; your mileage may vary. Mostly, Edmund and I spent our time asking the characters on screen: “Really? You didn’t see this coming?”
But I’d like to focus on the things that creeped me out, and not in a good thriller way. Spoilers begin here. Continue reading “Mini-review: Ex Machina (2015)”
Trigger Warnings: Feminism, Sarcasm, Social Justice
Hey, it’s time for dude derision! A couple of days ago the trailer for the Ghostbusters reboot was released and unleashed a wave of anger, sorrow, and reportedly flaccid penises among the U.S.A.’s most vocal minority, Insecure White Men. The new movie’s four female leads, which do not even include any bikini babes, in lieu of the 1986 all-male line-up have left the MRA contingent weeping tears of impotent rage.
This is not the first time in recent years that a cinema classic has been completely stricken from loving memories after a sequel or remake made the original completely unwatchable. There is too little attention paid to this phenomenon, which has left the lives of too many IWMs joyless and tragic. How can true fans find any satisfaction in re-watching these classics, knowing that out there someone is enjoying a different version?
But the harm is far more insidious. These are not, in fact, merely different takes on the fictional universes so savaged: they represent visions unapproved by IWMs. Please take a moment to consider the pain of a self-respecting dude, a real man, a genuine bro forced to see headlines, images, friends’ Facebook statuses and perhaps even entire minutes of movie trailers containing fully-dressed, normally proportioned female characters with speaking parts. And not only that, but the lack of a strong central white man as the focus of the plot, which may irretrievably shatter fragile IWM psyches.
Even when male actors are given a heroic title role, as in last year’s Mad Max: Fury Road, the damage done is considerable.
Sure, a white man may have the title role, but is it even worth it if he is forced to exchange lines of dialogue with women as if on equal footing? If we are forced to consider women’s points of view? The mere fact that he had to go through this ordeal somehow robs us of all satisfaction when the woman actually agrees with the man’s arguments.
And those who suggest that IWMs simply not watch forget once again that this does not address the problem: these offensive movies would still exist.
It’s not just about women given *shudder* major roles either: while the two examples above generally steer clear of this additional outrage, sometimes these remakes and sequels have also included people of color in speaking parts other than criminal, victim, or enabler.
But IWMs remember that the Star Wars universe never had people of colour before (or women), just like Mad Max’s barren wasteland was never polluted by strong female protagonists.
And it’s not just among main characters either; while a brodude can be generous and tolerate your occasional chick, usually a cool girl, and the token minority, perfidious SJWs have made incursions among supporting cast in disruptive ways. Sure, it’s fine to have women and visible minorities in support roles — but they should be just that, supportive. Not all, you know, assertive and threatening. How can stormtrooopers be feared and respected throughout the galaxy if units can be led by women?
Mark my words, this undermining of everything that makes action movies cool and exciting was foreshadowed by so-called “fan works” years ago.
Hell in a handbasket, gentlemen. That’s where this is all going. Action movies are dying.