Just The Caffeine Talking

Hollywood Insider Gossip!

According to my Hollywood sources the actual title for Star Wars Episode IX will not be The Rise of Skywalker, but rather

Everything Rian Johnson Told You Was A Damned Lie

A Film by J. J. Abrams

 

 

Be Careful What You Wish For

It's an old lesson, but one we must re-learn every now and then.

Recently I began to suffer from "gamemaster withdrawal" after half a year or so without running any roleplaying campaigns. I was bursting with ideas for games, so finally I sent out a call for interested players, and drew up a "prospectus" of games I'd like to run. The idea was that the players could vote on which campaign appealed to them.

I kept it simple. The prospectus had six campaigns on it:

• "Unknown Stars" — a classic Traveller game of mercantile exploration in a newly-reopened subsector,
• "Beyond Tomorrow" — a D20-based "Gamma World"-style campaign of space voyagers returning to a devastated far-future Earth,
• "Against All Flags" — a more-or-less straight historical pirate game set in 1714,
• "SHIELD Stories" — a game of doughty SHIELD agents in a world of superheroes (essentially my version of the Agents of SHIELD TV show),
• "Lost Decade" — a Call of Cthulhu campaign about characters who have all just recovered from amnesia and must find out what they were doing over the past ten years, and
• "A Billion Worlds" — I kind of just threw this one in on a whim, a campaign using a fictional far-future hard SF setting I've been developing for a fiction project.

Most of them were pretty low-effort. The simplest would be the pirate game, since my own knowledge of the world in 1714 is good enough to let them just sail around and bump into people.

The SHIELD campaign was almost as easy, especially since I intended to let my players occasionally take the roles of the mysterious "Steering Committee" setting objectives and priorities for the agency's operations. Their decisions would determine what kind of missions Col. Fury would hand out to their agent characters. All I needed was access to a couple of Marvel Comics fan wiki sites, and forty years of reading comic books.

The Traveller campaign and "Beyond Tomorrow" needed a little more preparation, but they were confined to fairly limited areas so I could generate some worlds or places for the party to explore, and expand only as needed.

The Call of Cthulhu game needed a bit more preparation, but I had not only a lot of existing support material for the game, but also H.P. Lovecraft's entire corpus to steal from.

So, no matter what game my players picked, I could run it without a lot of effort. Easy-peasy.

Guess which one came out first in the vote? That's right — my unlikely dark horse candidate, "A Billion Worlds." For that one I have to come up with dozens of intelligent species and subspecies inhabiting a billion artificial habitats, asteroids, terraformed moons, and planets, with eight thousand years of history to invent.

Now, fortunately, I have to do most of that anyway for the new novel I'm working on. So the roleplaying game and the science fiction project can borrow from each other.

Maybe this is for the best, really. Low-effort campaigns don't test my powers at all. The Billion Worlds won't be easy, but I doubt I'll get bored with it.

A Cinematic Contradiction

Recently I was watching a video bemoaning the current state of Hollywood. I won't bother linking it — you've seen it before, or read it in print. Hollywood has no creativity left, it's all remakes and adaptations of older stuff. You know the drill.

I don't really disagree. I do think that we forget how much Hollywood has always relied on remakes and adaptations. It's possible to acknowledge that and still be a bit put out by how poorly Hollywood is doing it nowadays. When a film like The Martian or Arrival faithfully adapts its source material, I am almost shocked.

However, one point in the particular diatribe I was watching made me puzzled. The critic mentioned that one cause of the "dumbing down" of cinema is the increasing reliance on foreign markets. For big movies, more than half the revenue now comes from Asia. That means the films have to cross cultures easily, so no subtle depictions of social class dynamics in a mostly-black Catholic private school in New Orleans in the 1970s, because nobody in Shanghai really gives a damn about that.

Okay, fine, and true enough. Globalization is real and ongoing. One reason so many films are about punching aliens is that aliens don't buy movie tickets and won't boycott or ban your movie for showing them getting punched.

BUT, this made me wonder about a seeming contradiction. If Hollywood wants to make movies for a global audience . . . why are so many films based on old American TV shows, toys, and cartoons? How many adults in China right now remember playing with a Hasbro Battleship set when they were kids? How many moviegoers in India have fond memories of watching Lost in Space? Heck, how many people outside the United States have read any Marvel comics lately?

Can someone explain this seeming contradiction? If you want to appeal to a global audience, why not just make movies about new characters and save the cost of buying rights and the grief of complaints from fans? Surely there must be some rational economic motive underlying this, but I can't see it.      

 

If you want an exciting adventure which is entirely new and different, check out Arkad's World, from Baen Books. Currently on the shelves in your local bookstore!