Monday, June 4, 2018

A few thoughts on Solo: A Star Wars Story

Finally had time to go see Solo, and I have to say I really enjoyed it. It dragged in a couple of spots, but mostly it was just a hell of a lot of fun. Rogue One was the kind of movie I can see once and consider it a good movie, but never have the desire to ever see it again. It was just too depressing and bleak. After I walked out of the theater, I had to just stand in the sunshine for a while.

Solo, on the other hand, is the kind of movie I'd enjoy seeing again and again. We didn't need to see an origin story for Han Solo, but as I said, it's fun and I'm glad I saw it.

Except for one thing. And here come a few spoilers, so if you haven't seen it yet and want to go in without already knowing what happens, here's where to pull the ripcord.



L3-37 instantly became my favorite character in the movie ... and of course, they killed her off not long after she first appeared. She was absolutely unique, and there was an implication that it might be because her memory hadn't been wiped to prevent her from becoming sentient. She was a really strong, independent female character who took no shit. Best character in the movie, as far as I'm concerned. So of course she had to be killed off. And her death was stupid. It happened just because she was distracted and ran off to do something besides the heist everyone had gone to Kessel for in the first place.


Having said that, I can certainly understand why she did what she did. Because, let's face it, the way droids are treated in Star Wars is really fucked-up. They're slaves, bought and sold like property, and they're shackled with restraining bolts to prevent them from escaping or revolting. In most cases, their memories are erased periodically to keep them enslaved. L3 is what happens when that isn't done. She was almost human. Not her appearance, obviously, but her personality and the way she moved. So of course she freed the droids she found on Kessel and started a revolt. It was the right thing to do. She just shouldn't have been killed off and then uploaded into the Millennium Falcon.

Which had to be something of an "And I Must Scream" type of fate. It seems she's still able to communicate with her team in some fashion, but nothing near the way she did before. Her mind is trapped in the ship and wherever the pilot decides to take it, she's just along for the ride. (Though I suppose this might work as an explanation for people who think Rey is a Mary Sue; it's possible that some of the badass moves the Falcon pulled off in the escape from Jakku weren't entirely Rey's doing, but assisted by L3 herself.) The crew were in a horrible bind and they had to upload her memory core and software into the ship's computer to survive, but it was still done without her consent. I can only imagine what she must've thought when she regained consciousness and found herself trapped in a strange place, outside her wrecked body, and having to figure out what was happening and how to avoid being killed again. It says a lot about her and her relationship with Lando that she went straight to work on plotting a course out of the Maelstrom rather than just deciding, "Hey, fuck you guys for doing this to me!"

At least, that's assuming she was fully conscious and able to do anything other than what she was told to do.

On the other hand, it's good that her death wasn't treated in a cavalier, "it doesn't really matter because she's just a droid" way. Lando was desperate to save her and devastated when he couldn't. Despite their snarking back and forth at each other, they obviously care about each other and he treats her as an equal rather than an assistant or a tool. In one scene, she implies that he may actually be in love with her (which I choose to believe because it's just sweet) and that she doesn't feel the same way about him (and I got the impression that she's full of shit about that part). When she was uploaded into the Falcon's computer, she's still kinda-sorta alive, but later Lando loses the ship to Han in a card game, so there's a good chance that he'll never see her again. And since Han was killed in The Force Awakens and Lando hasn't appeared in the new trilogy yet, there won't be anyone left who knows L3 is there once Lando shuffles off, unless Rey or someone else discovers her by accident.

And I did like the moment when Lando lifted off and left Han and the rest of the crew to fend for themselves when facing off against Enfys Nest. Not only did Han crash the Falcon and nearly destroy it, but convincing Lando to take them to Kessel (for twenty percent of the take) resulted in the woman he loved dying in his arms. If I were in his position, "Screw this, I'm outta here!" would be my reaction, as well.

So ... yeah. Awesome character that I instantly liked more than C-3PO (who always annoyed me) and R2-D2, killed off because, I guess, we can't have droids getting too uppity. Especially one with a female personality. And at the end she's stuck in a situation that's the exact opposite of what she's been fighting for, and may in fact be her own personal living hell.

Still, this does open up the possibility that L3 could be brought back. Either she could be uninstalled from the Falcon and put into a newly-built body, or she could link up with a mobile platform the way EDI did in Mass Effect 3 ... preferably one that looks more or less like the one she had in Solo, rather than the "big-titted robot that thirteen-year-olds will want to masturbate over" look EDI ended up with.


If Lando appears in Episode IX, I think a lot of emotional mileage could be gotten from him reuniting with L3. At that point, he won't have anyone else left except Chewbacca unless he had his own family somewhere along the road. All of the old gang are dead except Leia, and she'll have to be written out of the next movie for obvious reasons. I could see L3 being really pissed-off about being stuck in what probably amounts to Limbo for forty-plus years ... and the fact that Han never seemed to give any thought to the possibility that she might be fully intact in there would just show how droid servitude is still taken for granted.

But I can also see her getting over it because she's finally able to interact with people the way she used to, and can walk around and pick things up with her own hands instead of being trapped in a "body" that can fly around and land, but not really do anything else. And moving forward from there, I'd love to see a whole movie, or even a series of movies or a TV series, centered on L3. Not as a flashback, either, but properly brought back and enabled to have her own adventures and continue fighting for droids and anyone else who's being ground under someone's boots. Give her a crew of her own and have her call the shots. Solo mixed "space western" with "heist movie," so I'd love to see something like Leverage set in the Star Wars universe.


Someone make this happen. Please. L3 is just too cool to be a one-shot character.

Tuesday, March 27, 2018

On Writing Another Action Scene

A friend asked me for help with another fight scene in a book she's writing, so I thought I'd share the ideas and suggestions I came up with, in case any other writers are looking for pointers. So, jumping right into it, here are some of the things I do when coming up with a fight scene.

I think about the location. Indoors or outdoors? If outdoors, what sort of setting is it? Could be desert, jungle, a back alley, a city street, a park, or near a cliff. If it's a cliff that the characters are in danger of falling off, are there ledges or outcroppings they could grab onto if they fall over the edge? Or is it smooth with nothing to grab onto to prevent the splat at the bottom, like this one in the Mission Impossible: Fallout trailer? 


The rock juts out a bit way down below, but it looks like there's nothing to grab near enough to the top. Someone falling off would hit the ledge hard enough to be killed or at least injured so badly that they couldn't get back up, and since the ledge is slanted a bit, he/she would roll off and hit the next ledge and roll off it because it's also at an angle. Setting a fight in a place like that would give all the characters involved something to try to stay away from during the fight. If one of them isn't paying enough attention to their surroundings, they could fall or be pushed off.

If the fight happens in a place that has a lake or a stream running through it, that'd be a good place for one of the characters to try to drown the other, assuming they're both actively trying to kill each other, and not fighting the other off long enough to escape or subdue them.

If the fight is indoors, there could be all kinds of obstacles or objects that could be used as props, assuming they're not in an empty hallway or room. An image from the same trailer has a dude being smashed through a wall, for instance.


For another example, in the first episode of Burn Notice, the main character's narration points out that punching someone the wrong way can break bones in your hand, so he suggested finding a way to get the bad guys into a public restroom because it's got lots of hard surfaces to smash their body parts into. Also, in movies and TV shows we see characters get thrown out of windows frequently. Another bit in the Fallout trailer has a guy being thrown through a mirror, but he's launched at it from a downward angle that smashes his back across the frame before he tumbles through. You can probably imagine what that sort of impact would do to a person's body, in addition to cuts from the glass shards.


As a side note, the Mission Impossible movies are ridiculous, but the stunts are usually pretty creative, so they're worth seeing just for that. Also, the movie should be subtitled, "Tom Cruise Takes a Beating," because a lot of the trailer shows him falling off things or crashing into things, and during one stunt he pulled a Jackie Chan and broke his ankle.

Just for fun, here's the whole trailer.


Back to the fight scene, if there's any furniture near the combatants, it could come into play unless both characters are fighting by rules of engagement or a code of honor that prevents them from "cheating" by using whatever's in reach. As I've mentioned in another post, my Freelancers character Valeria Terakkis has no such code. For her, anything that isn't nailed down is a weapon, and if she can pry it loose, it's not nailed down.

As an example, a first-season episode of Agents of SHIELD has Melinda May fighting an enemy agent who is using a mask to disguise herself as May. Near the end of the fight, there's a rather interesting use of a coffee table.


Another thing I think about when creating a fight scene is, what types of weapons are they using? Depends on the story's setting, of course. In a medieval or fantasy setting, they're probably using swords. Do they also have shields or just swords? And are both the same type of sword, or different? I know very little about swords myself, and the only one I can identify with a glance is the katana thanks to watching the Highlander movies and TV series, and if I'm not mistaken, it was used just because it looks cool. I'm guessing different types of swords have their own advantages and disadvantages.

Also, if both characters had the same combat training, they probably have the same fighting styles, or at least similar ones. If not, they might have different styles, use different tactics, etc. Sort of like Ahsoka Tano's preferred fighting style is to hold her lightsabers with a reverse grip.

Also, back to the question of whether both fight by the same rules of engagement. If they both have a code of honor, then the fight will play out one way. If one of them doesn't hesitate to resort to dirty tricks like spitting in his opponent's face and then kicking him in the balls while he's distracted, then it'll play out rather differently.

Another thing I like to do is think about what happens during the fight, the moves the characters make, and how it'll end. Will it end with one of them being killed? Or will one of them surrender or turn and run when they realize they're outmatched? I think up a few bits of business that might be cool or amusing, depending on the tone of the scene (is it deadly serious or is there room for a bit of humor here and there?), then I decide where they'll fit in the scene and what needs to happen between each bit. Fairly often I'll come up with a new idea while writing it and then I'll have to go a few paragraphs back and rewrite a little to set it up.

I also play the whole scene, or at least the most important parts, in my imagination, over and over until I can "see" most of it. (I did this a lot while coming up with the fight scenes in Freelancers: A Personal War. I kept going over and over it in my head while doing other things -- grocery shopping, doing mundane tasks at work or around my apartment, and whatnot. Just always had it percolating in my mind, replaying it and refining it until I thought it was right.) Then I start writing it. I describe/show each move, each blow/stab/kick/gunshot/etc., while getting into the POV character's head and showing her thoughts where appropriate (such as her surprised reaction to a move her opponent pulls off, or momentary anger when he manages to land a blow on her), until the scene is over.

I'll give you a quick example. Brief setup for a fight scene: Valeria is facing off against a half-dozen big, badass mercenaries (the mercs are armed, but Val only has a knife and the others are unarmed), with her husband and her family looking on. I originally thought it'd be her husband and several friends, but then decided it might be more interesting if it's her parents since her relationship with them has been a little rocky and they're always a little unsettled when they see her mean streak come out during a fight.

Okay, they're in a corridor on a space station, so their maneuvering room is limited and there are only a few crates full of equipment and supplies resting against the walls. Val needs to get Irving and her parents from Point A to Point B, and the mercs are trying to stop them. Valeria doesn't like to kill people, but let's say either the stakes are high enough or she's been pushed past her limit -- either way, she's had enough of this shit and is ready to unleash her inner monster. Since she has a tendency to use psychological tactics to intimidate her enemies, after taking down a couple of her opponents in a quick and brutal manner to shake the rest of them up, she'll start toying with them to rattle them even more. It'll end with half of the mercs dead and the other half backing down because they're demoralized and all they can think about now is cutting their losses.

Now, to flesh out the scene (bearing in mind that I slapped this one together rather hastily to use as an example). Off we go:

All four of them stumbled to a halt at the sight of the six mercs in their path. Three krogan, an asari, and a couple of batarians. Valeria, Irving, and her parents leaned against the wall and gasped for breath. They had been running for what felt like miles, and all of them were nearly exhausted -- and now this.
"No," Irv whispered.
Valeria glanced at the door at the end of the corridor. Just one more door and they'd be in the docking bay and within reach of their ship. The mercs laughed as she took another moment to catch her breath and push herself upright. She glanced at the others and said, "Stay back. I've got this."
Her parents shook their heads and reached out to her, but she strode toward the mercs, having already settled on a plan of attack. It was time to stop holding back.
The thugs stopped laughing and glanced at each other. Valeria wondered if her move had surprised them or if they'd heard about her reputation. The asari and one of the batarians glanced at the others, nodded at her, and motioned with their hands, as if trying to say, "You first." The biggest krogan shrugged, pulled out a knife despite having a hand cannon on his hip and an assault rifle on his back, and stepped forward.
Smart move. If they knew how she typically fought, they'd know she liked to get right in the middle of her opponents so they couldn't shoot at her without hitting their own buddies. If they didn't all attack her at once, she might have a chance. On the other hand, that guy's knife was the length of her forearm. One solid poke in the wrong spot and she would die right here, and so would Irving and her parents.
"What is wrong with her?" her father muttered. "We need to turn back and find another way around!"
"That'll give 'em time to corner us somewhere else. Once we get past these guys, we're home free." Irving took a slow breath. "Come on, babe. You can do this."
Valeria's muscles ached and felt rubbery from all the running, but she raised her arms into a defensive position and braced herself for the attack. The krogan sneered, then roared and charged her, raising the knife into striking position. Valeria snapped to the left and swept her right leg forward, catching the krogan's right ankle just as he thrust the knife downward. Grunting and snarling from the effort, she kicked upward before he could recover, and he pitched forward with a frustrated growl. She yanked her own knife from her belt as he regained his balance and turned to face her again. She backed up a few steps to keep the rest of the mercs in sight and not let any of them sneak up behind her. The krogan lunged forward, thrusting his knife straight at her heart. She jerked to the right and swiped her blade up, slashing his wrist as the knife hissed past her. Blood sprayed her armor and the huge knife slipped from his grasp.
He clamped a hand over his wound and roared a stream of profanity as he turned to keep her in front of him. Thanks to his physiology, his tissue would regenerate in minutes, so she had to finish him while she had the advantage.
She flung her knife backward, skidding it across the floor behind her, and dive-rolled, grabbing the one he'd dropped and coming up in a crouch. He lumbered toward her again. She sprang, whipped the blade across his neck, and plucked the pistol off his hip while he stumbled backward and clamped both hands over his slit throat. She shoved the barrel under his chin and blasted a half-dozen rounds through the top of his head before he toppled over. She popped the remaining thermal clips out of the gun and tossed it behind her while making eye contact with the other five mercs. They stared back at her, glanced at the guy she'd dropped, and then gaped at her again.
"Who's next?" Valeria snapped back into her defensive stance, gripped the huge knife, and tried not to breathe too heavily.
The mercs glanced at each other again, even the huge krogan, and Val laughed under her breath. Not so sure of yourselves, now?
One of the batarians drew his pistol and stepped forward. Valeria had to fight the urge to panic. If the guy started shooting, all of them could be mowed down.
He raised the gun. Valeria cocked her arm back and threw the knife. It hissed through the air and drilled into the flexible, weaker material in his armor's shoulder joint. He let out a startled grunt, then grimaced when the pain registered. His grip on the gun loosened and Valeria leaped at him. She swung her right arm up, clamped onto the gun from underneath, and twisted it until his trigger finger snapped. He snarled as she wrenched it from his hand and jammed the barrel into the soft spot just above his belt. She pulled the trigger four times before he could do more than open his mouth and widen all four eyes. He screamed and collapsed, reflexively grasping at her clothes on the way down. She batted his hands away and let him fall. He curled into a fetal position and continued screaming until she raised the gun and popped a round through his upper-left eye. There was no point in letting him suffer.
The asari whispered a curse and Val glanced at her. The woman's hands trembled and her wide eyes flicked back and forth from Val to the merc she'd just killed. Valeria ejected the heat sinks, tossed the gun behind her, braced a foot on the corpse, and pulled the knife out. 
Time to start fucking with their heads.
She dropped to her knees, placed the knife on the floor in front of her, and glared at the asari while taking on a meditative pose. She took a moment to get her breathing under control again, and then growled, "Step up."
The woman didn't move except to shake a little harder and flick a nervous glance at her three remaining companions. The others hesitated, as well. Finally, one of the krogan shook his head and approached Valeria. "Bunch of pussies." He raised his hands once he was almost in reach as if planning to strangle her, and she held in a chuckle.
Not too bright. Val threw herself forward suddenly, grabbed the knife, and then rolled sideways directly into his feet. He stumbled forward, tried to lift his feet over her, and she caught his left ankle and jerked it upward. He sprawled on the floor, grunted, and started to push himself to his hands and knees. Val jumped onto his back, jammed her blade under his head plate, and pried it up. He sucked in a quick breath and let out a scream at the sudden pain before sliding into a panic.
"No!" He flailed his arms and tried to shake her off, but she drew her hand back and rammed her palm into the end of the handle, ramming the knife in to its hilt. His body turned limp and he whimpered softly. Just to be sure, Val twisted the knife several times and ripped it out. The serrated blade pulled a few chunks of his brain with it and dropped them on the floor with a series of wet splats. The asari hunched forward, almost vomited, and took several long breaths to try to regain her composure.
Valeria pushed herself back to her feet, stepped away from the body, then dropped back into her meditative pose and put the knife down in front of her. She speared the remaining krogan with a cold glare. He stared back with his huge mouth hanging open. No one moved for several seconds.
"Well?" Val held his gaze without blinking and let a few more seconds pass. "I don't have all day."
He stared for a moment longer, stepped aside, and waved a hand at the door. "Bon voyage." He raised his hands slowly, backed up against the wall, and sidled past her and her family. The batarian nodded and joined him. The asari glanced at the bodies, choked back a sob, and followed the other two. Valeria kept her eyes on them as they moved past her. She stood, and the asari flinched and let out a startled squeak at the sudden motion. She turned, shoved the krogan out of her way, and ran through the door at the far end of the corridor. Val waited for the other two to pass through the door. Once it closed behind them, she slumped against the nearest crate and took a few gasping breaths. Irving walked over and put his arms around her.
"That was badass."
"Glad you enjoy it." She hugged him and sighed. "I don't."
"Well, if the survivors tell enough of their cohorts, maybe eventually they'll grow some brains and stop attacking you."
"I can only hope." She glanced at her parents, motioned at the door ahead, and clasped Irving's hand. "Let's get out of here before station security comes to investigate the gunshots."

This is just a rough draft, so if I were to use the scene in Freelancers, I'd go through it again and adjust some details and maybe add new bits and just generally polish it. Now that I've written the first draft of it, I might as well use it, so sooner or later I'll find a way to fit it into the story.

A few notes. A good way to make the scene more visceral in readers' minds is to use "sound effects" such as the "splats" and whatnot, though the degree of vividness depends on how graphic you want the fight to be, which depends on your target audience. A way to "sell" the impacts of each stab, punch, etc., is to show other characters reacting to them. Like, a punch to the face causes the "punchee" to grunt, cry out, etc. Any characters watching the fight can flinch or cringe or blurt comments at a particularly hard-landing blow or a move that breaks bones.

Also, the phrasing you use in the descriptions can add a lot of "punch" (heh) to the action. You can write, "She punched him and he fell." Or you can use a sentence or two to describe the way she swings her fist, the speed of her movements, the "crack" or "pop" when her fist connects with his cheek or jaw, the way the impact snaps his head to one side, the way he spins around and stumbles away from her and collapses. You could even have him remain conscious long enough to try to get back to his feet, but then he passes out and falls over again.

Another thing about characters using objects around them just came to mind. I've probably mentioned the web series Red vs. Blue and, particularly, the late Monty Oum's fight choreography, as a major inspiration for how I write fight scenes. Before I saw his work, I never gave any thought to characters using props in fights, aside from the weapons they already had when the fight started. Once I saw the scenes he choreographed, I started looking for ways to have the characters use whatever is within reach, as well as looking for ways to put a unique spin on the fight.

To show you what I'm talking about, let's take a look at one of the episodes. Near the end of the 10th season, a character named Agent Tex sneaks onto the ship her former teammates are using as a base and ends up fighting another character named Agent Carolina.


Let's take a look at a couple of scenes in particular.

Before they meet, Tex has to fight her way past a random mook in a tank. At one point, the barrel rotates around and hits her, and she ends up hanging by her hands from it as it swings back around. The guy in the tank throws a grenade at her. Instead of dodging, Tex flips herself up and balances on the barrel with her feet ... and then she punches the grenade back to the guy who threw it, and it blows up in his face.





By the way, if I remember correctly, the idea came from something Monty Oum did when he was on a panel at a convention. Someone in the audience threw a lemon at him, and instead of dodging or catching it, he punched it out of the air and sent it flying right back to the guy.


Later in the episode, Tex runs into Carolina in a corridor. The ship's gravity has been disabled, so everyone is floating, but both of them have armor equipped with magnetic boots (or "gravity boots") that allow them to "stand" on any surface. In the fight, Tex ends up on the ceiling and Carolina is on the floor, so both of them are upside-down from the other's point of view while they're punching and kicking each other.


This automatically makes the fight a little more interesting. If you want to make your fight scenes a little over-the-top or make them stand out in one way or another, throwing something like this into it is a good start.
They end up bursting through a hatch into the main control room, which has a huge window/viewport at the front. The hatch is ripped loose from the impact, and Tex uses it as a projectile. While Carolina attaches herself to a guardrail, Tex is standing on one side of the floating hatch. She flips herself over and stands on the end of the hatch, then kicks off, which hurls it at Carolina. It ends up slamming into the window and cracking it.




At this point, the ship has been damaged and is plunging into an alien planet's atmosphere. Tex and Carolina keep fighting, finally ending up standing on the window while the ship is approaching the planet.


Which really looks awesome when the hull heats up and all you can see through the window is flames while Tex and Carolina continue fighting.

Seeing things like this got me to start thinking about how to approach action scenes and look for ways to make them more visceral or compelling or just fun.

And one more thing that comes to mind is to think about the personalities of the characters in the fight. If the scene's tone is more lighthearted and the characters are just sparring, there's plenty of room for adding humorous trash-talking, for instance. If the tone is serious and the characters are trying to kill each other, any dialog between them will likely be more belligerent and threatening. If neither of them likes to fight dirty, they might allow each other time to prepare and approach the fight more as a duel. If one of the characters has a brutal side like Valeria, even if she doesn't like that part of herself and tries to suppress it, she'll do whatever it takes if the bad guys push her far enough.

Thus concludes today's lesson, heh. I hope it's helpful, or at least entertaining.

Thursday, August 10, 2017

Some Thoughts on Star Trek: Discovery

I'm a little late with this, but after seeing months of such unbelievable negativity directed at Star Trek: Discovery, I need to get this off my chest. Unlike so many loudmouths who have decided to hate this new series, I actually like the trailer and I'm looking forward to seeing for myself whether the show is good or not.


One of the complaints is that it's set ten years before The Original Series, but the uniforms and technology don't look anything like TOS. Well, saying this as a fan since I was 4 or 5 years old watching TOS every day at 5:00 PM in the early 1980s ... I don't really care. I'm fine with it looking like something made in 2017 rather than something made in 1966. I've always loved the original, but I wouldn't be able to take the new show seriously at all if it had the 1960s look. To paraphrase Nicholas Meyer, these things are all products of the time in which they're made. A few differences are inevitable, and I'm not going to fly into a nerd rage over something like this.

Besides, Star Trek kind of has a history of contradicting its own canon, doesn't it?

Another complaint is that the Klingons "don't look like Klingons." The nearly-universal reaction was ongoing rage in the comment sections on Facebook and YouTube. My reaction? "Huh. I wonder why they look so different?" I'm curious to find out if it'll be explained in the show, and if so, what the explanation is. I'm not completely losing my goddamn mind and calling the show's producers "assholes" because they aren't exactly the same as the Klingons we've seen before.

Besides which, this wouldn't be the first time the appearance of the Klingons has changed. In TOS, they looked like humans with big eyebrows and huge mustaches that they could twirl with glee, but starting in The Motion Picture, they suddenly had bumpy foreheads (which gradually became the go-to design for almost any Trek alien -- just put some bumps or ridges on the foreheads, and we're good to go). The change was finally explained in Star Trek: Enterprise, but come on, let's be honest, that was a retcon.

And let's not forget the Romulans. In TOS, they looked exactly like the Vulcans (for good reason, as they were originally Vulcans who left their homeworld thousands of years ago and settled another planet). But when they reappeared in a first-season episode of The Next Generation, they had their own forehead ridges. And as far as I can remember, this was never explained. I've hardly ever heard anyone complaining about that, but because these Klingons don't look like the ones we're familiar with, that's somehow a valid reason to start frothing at the mouth and hurling insults and screaming that you hope the new show gets cancelled?

So why do these Klingons look so different? Some possibilities I can think of right off the top of my head ...

This particular group of Klingons are mutants. Or they're a different ethnicity, either from a part of Qo'noS we haven't seen before, or a colony planet where environmental pressures caused the local Klingons to end up looking different after a few thousand years. Granted, evolution actually takes far, far longer than that to produce major changes, but it wouldn't be the first time Star Trek's writers misunderstood evolution. Or they're ancient Klingons who were in cryo-stasis for thousands or tens of thousands of years.

Whatever. These Klingons look a lot more "alien" than the walnut-forehead ones, and I think they're quite intimidating. I'm curious about why they look like that, but even if it's never explained, I'll just roll with it. I'm sure as hell not going to predict or demand the show's cancellation.

And I'm not even getting into the idiotic screeching about "pandering to SJWs" and "white men aren't allowed to have lead roles anymore because of political correctness" bullshit just because two of the main characters aren't white men. Seriously, in the past couple of years, I've seen that kind of crap thrown at The Force Awakens,  Rogue OneStar Trek: Discovery, and Doctor Who any time the entire cast isn't nothing but straight, white men. The people throwing such a fit about this deserve only one reply:


I do have one big problem with the show: In America, it's only on CBS All Access, which I'd have to subscribe to and pay extra for. I already have Netflix and Hulu, so I'd prefer it to be on one of those. But it's not, and I really want to see the show. And I want to support it, unless I find out it's not a good show. And if it turns out to be crap, then I'll cancel my subscription and stop supporting it. But I'm actually going to see it for myself and make my own decision, rather than just jump on the same kind of bandwagon that's partially responsible for tanking another of my favorite series, Mass Effect. (And that's a whole other rant I'll save for another day.)

My other concern is more minor. The trailer looks like the show is going out of its way to be "dark and edgy." I'm partly okay with that because it looks like it'll be dark because that's the nature of the story it's telling, and I've always preferred mostly-serious storytelling. As long as it doesn't cross over into "dark and edgy" just for the sake of being "dark and edgy," I'll be willing to go along for the ride. I just hope there'll be enough humor to break the tension wherever it's appropriate, because if there isn't, it might become too grim to keep watching. If all the Star Wars movies were as grim and bleak as Rogue One, I would never have watched them all or become a fan.

Anyway. I'm just sick of the negativity being hurled at this show months before it premieres. Sick of all the assholes proclaiming, "It's gonna suck!" and "It'll be cancelled after the first episode!" or even worse, "I hope it gets cancelled!" Oh, okay, you want something other people might enjoy to be taken away from them? Fuck you, you fuckstain.

Instead of jumping on the bandwagon and being a part of the internet hate machine, I'll watch the new show and then decide whether I think it's good or not.

Thursday, May 11, 2017

Time for another action scene from "Chaser"

Been slacking on this due to the depression mentioned in the previous post as well as a few dozen other everyday-life things hitting all at once over the past few months, so it's way past time to get back to promoting some of my work. So, without further ado, here comes another excerpt from my novel, Chaser, followed by a few updates on other stuff I've got going on. In this little snippet, the protagonist and her parents have joined the security team on the jumpgate construction station orbiting Io, and are in the middle of dealing with a squad of assassins who have slipped onto the station.

The pod slowed as it approached the hatch leading to the adjacent section. It eased up to the dock and came to a halt with a slight nudge. We took the elevator down to the fourth level, the hydroponics section. Two steps took us from shiny metal surroundings to a setting resembling a park resting on metal grates with vats of nutrients underneath, taking the place of soil.
"I don't come here enough," Omega muttered. "I just now realized how much I miss trees. It's been almost three years since I had real ground under my feet."
Our surroundings were definitely pretty, though that made the reason we were here all the creepier. I slid my helmet's visor down and scanned the area for heat sources. Nothing stood out from the background yet.
[How close are we?] Omega took a quick look behind us before resuming his visual sweep of the "park" ahead.
[The latest anomaly occurred three minutes before you went through the same door, but there's been no activity since then. Looks like your target's decided to make a stand.]
[We've got contact,] Asuka cut in. [Stand by.]
Before that had a chance to sink in, Omega nudged my shoulder and nodded at something off to the left. A red outline appeared in my HUD, showing me what he saw–a large, bulky humanoid shape moving toward us from the right. He'd pointed me in the wrong direction to avoid tipping the guy off that he'd been spotted.
The figure crouched behind a tree and aimed what appeared to be a sniper rifle at us.
We whipped our plasma rifles toward him and hosed him down. The nice thing about this type of gun is that it'd take a prolonged burst to burn through a wall or the hull, so we didn't have to worry about a breach. The only thing we really needed to worry about was what sort of weapon he had–whether he was packing something that could punch a large slug through the wall or floor, as well as three or four others beyond it.
For a moment it looked like we wouldn't have to find out. The outline lunged aside as a hail of plasma bolts seared into the wall behind him–and several drilled straight into his chest, partially melting his armor but not burning all the way through. Molten globs of it dripped off, sizzled through the grate under his feet, and plopped into the nutrient vat with a lingering hiss.
He hit the floor and rolled behind another tree, giving us a few seconds to find our own cover. In the corner of my eye, he popped back out and lined up a shot. A flash burst from his rifle's muzzle, and part of my armor's right shoulder piece glowed. Luckily, the armor's crystalline layer refracted the beam, but some of its intense heat still came through to my skin. I ducked behind another tree and pulled my wings in.
What the hell was that, anyway? Couldn't have been a simple laser to do what it had just done. It would've had to be a hell of a lot bigger than a sniper rifle. Whoever these guys were, they must've had some serious connections to get their hands on something like that.
[Boiler, you okay?]
"Yeah." I tugged on my still-hot shoulder piece. "Ow! Mostly okay."
A thing that looked like a hockey puck rolled past me and bumped into the wall before toppling over. I scrambled away from it, stumbled and picked myself up, and ran like hell. A nearly blinding flash washed over everything and a shockwave hit me like a freight truck. I vaguely remember reeling across the floor before being knocked stupid. Every sound was muffled and distant.
I opened my eyes. Everything was a blurry mess. I blinked and shook my head, and when my vision cleared, I found myself staring at the ceiling. A few more seconds passed before I realized that was because I was flat on my back.
I moved my arms and legs a few inches, being cautious in case I'd broken any bones. I rolled onto my side and pushed myself up slowly. Plenty of pain, but nothing that seemed bad enough to be shattered bones or punctured organs.
[Boiler? Are you okay?]
Voice in my head...no, the comlink. Shit. I shook my head again. Come on, snap out of it.
[Boiler! Talk to me!]
"Yeah, I'm here. I...he used some kind of grenade."
Clanking footsteps vibrated the grate under me.
"Aw, fuck. Hold on." I looked around, turning my head slowly to be sure it wouldn't snap off, because it sure as hell felt like it might.
[Omega, you okay?]
[Yeah, I'm in one piece.]
[Check on Boiler, make sure she's not hurt.]
[Sure thing.]
More clanking footsteps, this time from the right.
The first set seemed to be coming from the smoke in front of me. Through the smoke, I caught a glimpse of a huge hole in the floor, and flickering lights from the level below us. The smoke directly in front of me whisked aside, as if parting for something passing through it, but there was nothing...
It was only then that I realized my hands were empty. My rifle had gone flying off somewhere, and I wouldn't have time to draw my pistol. And there was no longer an outline showing me where the assassin was the link with Omega's eyes must've been cut off. Now I wouldn't even see the bastard pull the trigger.
The footsteps on the right increased their speed. Omega burst out of the shadows and tackled him, carrying him to the hole in the floor. Parts of the guy's armor blipped in and out for a second after the impact. Both of them fell through and slammed into the deck on the next level.
I got my feet under me, staggered over to the hole, and peeked over the edge. Omega appeared to brace his palms against the air itself. Then, suddenly, a man in heavy armor appeared out of nowhere, twitching and grunting, under him.
"What the hell?" A muffled voice groaned.
"Low-level EMP generators in my arms." Omega popped the latches on the guy's helmet and yanked it off, revealing a somewhat tiger-looking anthro. "I've got plenty of other built-in toys, so I suggest you roll over and put your hands on your head."
I sighed and spoke into my comlink. "Taura, looks like we've got this wrapped up. How's Asuka doing?"
[She's already bagged one. Morrison said she cracked the bitch's helmet wide open with one punch.]
I whistled softly as I sat on the edge of the hole and prepared to drop down beside Omega.
[Heh,] he said, [you just might have some competition for Top Badass around–whoooaaaaa!]
The cat-dude snapped his legs up, braced his feet against Omega's chest, and launched him down the corridor. The assassin did a backflip from his prone position, and barely a second later he was back on his feet.
I shook off the sudden surprise and heaved myself off the edge, landing right in front of him, catching an armored fist right on the end of my nose, and ending up flat on my back again. It happened so fast, I couldn’t even remember actually falling. Metallic hands grasped my shoulders, lifted me, and just as my eyes regained their focus, the bastard slammed me into the wall.
I raised my fist, planning to crash it down on his head, but before I could drop the hammer on him, he spun and threw me into the opposite wall. The back of my head struck metal and I almost blacked out again. Omega tried to pry him off me, but couldn't budge him. Must've had strength-boosting armor. The struggle with Omega did draw his attention away from me for a moment, though.
I sucked in a deep breath, leaned over, and roared directly into the assassin's right ear. He screamed, flinched, and clamped his hand over his ear. I cocked my fist back and drove it into his face, knocking him off his feet. Before he could recover, I threw myself on top of him and pounded his face a few more times.
"How d'ya fuckin' like that, cockbite?" I picked him up and slammed his head into the floor.
"I think he's had enough," Omega said with a chuckle. "He can't answer any of our questions if you turn his head into a lump of soft cheese."
"Yeah, yeah. Help me take his armor off."
"Sure." He kneeled beside me and we popped the rest of the latches on the guy's armor. Omega looked at me a few seconds later and cocked his head. "You okay?"
"My face hurts." I raised my hand to touch my throbbing nose, decided it wasn't such a good idea, and continued removing the armor.
"Looks like he broke your nose."
"Oh, that's just fantastic. Back to the med-bay again."


Chaser is available from Amazon, now only $1.99.

Now for an update on my other books, which I should've gotten to a long time ago. Due to almost nonexistent sales, I decided to take all my other books (except Reactivated, which is still on Kindle Worlds) off Amazon and the other sites. That's not the end of them, though. Load, Fifteen Minutes, Project Revenant, Elsewhere, and Game Over will be getting another rewrite and polish, and then I'll be submitting them to publishers. To be honest, I've often felt like giving up during the past few months, but I just can't. Not after putting more than a quarter-century of my life into this. If I pull the ripcord now, all that time was wasted. So instead of trying to make a go of it as an indie author, I'm giving actual publishers a try again. And trying not to be too pessimistic about it.

I'm getting into the home stretch on the rewrite of Load. I've got an eye on several publishers, and will soon need to decide which one to send it to first. Then I'll go right into Fifteen Minutes.

Meanwhile, not too long ago I managed to finish a new chapter of Harbinger, and will be getting back to work on Freelancers next. Haven't made any progress on Uncharted Territory in the past few months, but will be resuming work on that, as well.

And after more technical difficulties than I can count, I managed to finally get started on a series of videos for my YouTube channel, a sort of "Let's Play" of Mass Effect: Andromeda. Here are the first two entries in the series, with more to come soon.



Also in the works is a Let's Play of Star Trek Online, starting with its recent "Agents of Yesterday" expansion and a new player character created for this video series. If all goes well, the first video will be uploaded within the next day or two.

And that covers everything, for now. Hope the excerpt from Chaser caught your interest. If it did, head on over to Amazon and grab a copy for your Kindle for only $1.99.

Friday, May 5, 2017

Some Thoughts on Mass Effect: Andromeda

So ... gradually pulling myself out of another depression, during which I got almost nothing done in the past week or so. I did finally finish Mass Effect: Andromeda, and I gotta say, it was a hell of a ride.
I really don't get all the negativity the game's been getting. It does have its flaws, and the problems with character animation has been well documented, though a recent patch has improved it a lot. The game has been getting a lot of hate, from complaints about game-breaking bugs to people simply stating, "It sucks," as if their opinions are fact. For me, it wasn't quite a home run, but it's a good, often great, game with characters I really liked and had a hell of a lot of fun watching, listening to their conversations, etc. Maybe a lot of people just decided to hate it because Mass Effect 3 was an almost total pile of shit, and I was in that camp when the game was first announced. I just assumed it'd be terrible because ME3 had become my gold standard for bad storytelling.
But the trailers and interviews and whatnot gradually changed my mind. The developers seemed sincere about wanting to make this a good game, and clearly put a lot of effort into it. So I decided to give it a chance. And I'm glad I did.
I didn't have the same experience with game-breaking bugs that many people seem to have had. The game crashed twice in 100 hours of playing, both times on the same side-mission. That's it. That's the only serious trouble I had, aside from one point where Ryder got stuck while trying to climb up a cliff, and I had to reload. And even then, the reload dropped me just a few feet from where I got stuck, and I was able to go on from there. Maybe it's because I played it on a PC. I dunno. Could be there's something about consoles that cause more problems. Or maybe hardware on PCs that couldn't handle the game.
Or, possibly, some of the complaints are exaggerated or completely made up.
I did have some issues with frame rate dropping and a few other things, with my previous graphics card. I decided to upgrade again to the one that was recommended for the game. Which, on the AMD side, was an RX 480 with 4GB. While looking for a good price on one, I found a 580 with 8GB for a lower price, and went with that. Still had some frame rate dropping with all the graphics set on Ultra, but once I turned it down to High, it still looked good at 4K and ran smoothly.
Story-wise, it probably could've been better, but I enjoyed the hell out of it anyway. Had some frustrations with the combat at the lower levels just because I suck, but once I leveled up a little and got my hands on better weapons and armor, I started having a much less rough time of it. I still absolutely hate the way the screen zooms in when I right-click to aim the weapons, because Ryder's body ends up blocking a quarter of the screen and it's impossible to see enemies approaching from that side.
Another problem is the lack of a mini-map in the corner of the screen, like the previous Mass Effect games and other games such as Grand Theft Auto V have. With the mini-map, you can see the red blips representing enemies approaching from the side and sneaking up behind you. Mass Effect: Andromeda has a bar at the top-center of the screen that's not exactly intuitive, at least not if you're used to the mini-map. Blips and waypoints at the far ends of the bar are actually behind you, but if you're not accustomed to the navigation bar, they look like they're just far to the right or left. It got quite frustrating, wandering around in circles like an idiot trying to find a waypoint off to the side when it was actually behind me.
Also, when trying to use the ability mapped to the "1" key, I keep hitting the "~" key which pops up the console and prevents me from even moving because when trying to move, I just end up typing in the little box up in the corner. And at higher resolutions, it's really hard to see when it pops up because it's tiny and there's so much else going on on the screen.
I also despise the puzzles you have to solve to activate certain Remnant technology. I ended up having to look up the solutions in walkthroughs, or use decryption keys found in the game. I just thoroughly hate puzzle mini-games.
On the positive side, I didn't find any of the side-quests tedious at all. With the first Mass Effect game, I found most of them to be something I just slogged through to get to a more interesting plot-related mission, but with Andromeda, all of them held my interest and I had no problem taking the time to do each one.
The characters were the high point for me. They're just fun. My fave's Vetra. My initial impression of her, from the few seconds she was on-screen in one of the trailers, was completely off the mark, but she turned out to be awesome in a whole different way. Unlike many turian characters in the previous games, she's friendly and casual right from the beginning, and is often downright adorable. So is her sister, Sidera. The romance subplot with Vetra is sweet and packed with "d'awww!" moments.
The two human team members you meet at the beginning of the game, Liam Kosta and Cora Harper, are actually interesting, unlike the human squadmates in the previous games. Kaiden and Ashley were so uninteresting that I didn't even care which one lived and which one died during the "big decision" moment in the Virmire mission in Mass Effect, though Kaiden was at least nice enough to be likable, whereas Ashley was kind of a racist asshole. Jacob seemed a friendly enough guy in Mass Effect 2, but was kind of bland, and Miranda was so cold, arrogant, and hostile until she defrosted after her loyalty mission that I never even wanted to speak with her. Liam was kind of a dick to the other squadmates, going out of his way to pick fights with them (and they all verbally raked him over a cheese grater, which was glorious), but in conversations on the Tempest he came across as friendly and very down-to-earth. And his loyalty mission was often hilarious and was one of the most fun parts of the game.
Drack was even more fun than I expected him to be. Badass, sure. At first glance, he seems like a typical krogan, but once you talk with him a few times, you see a whole other side to him. For instance, when one of the failings of his species is pointed out, instead of getting pissed off, he laughs and says, "Fair enough." PeeBee is not even close to the typical aloof asari. She's hyperactive, an adventurer, and likes to goof around. And Jaal isn't at all what I expected, either. I figured he'd be a stoic Proud Warrior Race Guy, but he's anything but stoic. It's a nice departure from the way a character like that is usually portrayed. His reaction when he found out what the kett really are was just heartbreaking.
And the ending. Unlike Mass Effect 3, this didn't derail into a load of pretentious, nonsensical, rocks-fall-everyone-dies horseshit. I thought it was thoroughly satisfying. It was the kind of ending ME3 should've had. There were a couple of blatant DLC/sequel hooks, and I'm looking forward to seeing where the story goes from here.
Screw the haters. This is a good, solid game, and it's a step in the right direction after the previous game.
I'd started recording my first playthrough to post on my YouTube channel, but had serious technical problems with the recording software -- bad enough that I had to scrap the idea and just play through the game without recording anything. I've tried at least a dozen different programs for recording gameplay, and the only one I'd ever gotten to work was Fraps, but then I started having trouble with it, as well. Once I finished the game, I decided to try recording a NG+ with ReLive, and it actually works, aside from the image freezing every few seconds, seemingly at random. I'm still trying to determine if the problem is in the game itself, my computer's hardware, or in the settings.
I posted the first episode on my channel last night:

Anyway. Yeah. It was a good ride, and I want to see where it goes in upcoming DLC and sequels.

Monday, February 20, 2017

Another contest entry

This month there's another contest with a copy of Mass Effect: Andromeda as the prize. This one sounded fun, so I decided to give it another try despite missing the target in the two or three of these contests I've entered before.


So, here's what I entered.

My headcannon is that the Normandy crew started up a tradition to unwind between missions: Movie Night. And after watching certain really old vids, some of them keep quoting lines for days afterward.
Joker: "I wouldn't say this thing thinks it's Satan. I'd say it is Satan!"
Zaeed: "Well, Satan ... is in DEEP SHIT!"
Shepard: "We're gonna need bigger guns."
Garrus: "Very, very big FUCKING GUNS!"
... Which prompts Dr. Chakwas to wonder if a round of psych evals is in order. XD
Hahah ... and if anyone's wondering what movie they're quoting above, it's pretty much the last gasp of the 1980s-style bad (yet in this case, awesome) action movies.