Stuck in the past

What does Star Trek and Star Wars have in common? Both have slew of prequels to them. The idea really is solid; explore how things came to be and see what sort of stories could be made within a certain set of time. The problem with either franchise is that there are definitive elements within those worlds that dictate how certain things must be in their prequels, otherwise the stories would not make sense or even connect.

Star Trek Discovery is supposedly set ten years prior the original television series. One would expect them to follow how the series then should look, albeit updates here and there. After all, Star Trek is a pillar of modern western popular culture in many ways. However, pretty much everything was moved to the side in favour of visuals that follow more along the lines of the nuTrek movies, or the Kelvin timeline as its now called. For a common couch potato this all fine and dandy, and requires little suspension of disbelief. However, for even a light fan of the series, the visual just don’t sit right. All this is of course because the series is developed under a license intended for an alternate timeline Star Trek, not under one that’s meant for the mainline.

There is no problem in making a prequel in itself. The problems rise if the creators want to have freedoms that are not tied too much to pre-existing stories. Especially with stories that are set between set events. Essentially, you’re boxing yourself between a rock and a hard place when it comes to creative freedoms. If you’re not willing to utilise given tools and take advantage of the existing stories, then it’d be better just find someone who can.

This isn’t a hardcore fan’s perspective either. A story of any sorts requires at least some level of respect towards it, otherwise the end product will most likely end up being schlock at best.

A good example of a story shoved in-between two other stories would the Shadows of the Empire. While it was a well made marketing decision to create a Star Wars phenomena without a movie, it did stand on rather good story that utilised elements from Empire Strikes Back that would lead into Return of the Jedi. All the while creating something new.

Say you want to write a story for Star Trek without being hampered down by existing restrictions. That’s an impossible task, but the most freedom you would have if you were to create a sequel story. This would allow you to have pretty much all the freedoms to do whatever you want, with the only restriction being the overall history and relationships between factions. Nevertheless, you could still have Klingons as enemies with a good reason despite there existing an alliance between Federation and them.

Star Wars’ prequels movies didn’t exactly suffer from being boxed between stories, like STD does, but what they suffer from is spoiling and devaluing the original trilogy. For example, Empire Strikes Back has less impact when you’ve seen Anakin becoming Darth Vader. Vader himself changes as a character if you don’t make a mental distinction between trilogies.

Under Disney’s rule, we’re getting new prequels all the time, for the better or worse. Rogue One‘s story was something we’ve seen few times over already, and due to this SW‘s Expanded Universe had to reconcile how things went down between events and who really stole the plans. That, and you couldn’t have anyone alive at the end. That didn’t stop them mucking up the storyline though, as the end of the movie contradicts the opening of A New Hope.

The question that is required to be asked if we even need to see these stories unfold. The fact that Death Star’s plans were stolen isn’t an important story in the end, but what happened afterwards is. The same thing happened with Death Star II’s plans. We didn’t need to see many Bothans die on-screen to understand how heavy their losses were. Mon Mothma does that well enough on the screen with her acting.

For Star Trek, we don’t really need to see the Earth-Romulan war, despite plans existed for it during Enterprise and fans wanting it. There really isn’t need to see what happened between the period of the Original Series and the movies. These would be best explored in supplemental materials, where the fans could enjoy these events the most. This is due to the nature of Star Trek itself; it’s not a story about wars. Deep Space Nine being an exception rather than a rule. Even then, DS9‘s war was naturally developed aftermath of finding a stable wormhole.

Hell, if STD wanted to tell a grim story about Federation warring, the staff could’ve introduced a new enemy and make heavy questions if a society like Federation can exist in its high-horse haven like state when reality does not match it. The Original Series does this to an extend, especially with Kirk, who constantly has to fight to uphold his ideals in a human way. This is the exact opposite to early The Next Generation, where the cast was completely idolised without much shred of humanity. That all came down after the Borg invaded. In retrospect, it could be even argued that Federation was taken down a peg by the Borg and made them realise how their own society had moved towards a more terrible direction.

A natural progression of a story is forwards. Episode VII made the right direction to move forwards in Star Wars‘ canon, whereas we can debate if seeing a film about younger Han Solo was ever needed. If you’ve ever read Han Solo at the Stars’ End, the answer is Yes. However, those who know the book also recognize that Solo in this book is very much a different beast from modern Star Wars’ take on him, especially if the rumours of the solo Solo movie’s original take was to make him an Ace Ventura-like. Midnight’s Edge unsurprisingly has a vids up on the whole issue.

Boxing yourself tight into a prequel takes a certain set of mind, one that has to be able to to utilise given resources, not make up whatever shit you want. Whoever owns Star Trek in the end, be it either CBS or Universal, they really need to move forwards and do a new The Next Generation rather than trying to milk with remakes, prequels or reboots.

The hope for something better

When Star Wars was first time released in the theatres, it was a smash hit. Part of the reason to this was that it offered hope and reminded that there is more to life than bitter stories and grim visages. American Graffiti did this too, perhaps even more so that Lucas thought. Similarly, Star Trek came out at a time when America was still working out its heftier social issues. After the Second World War it was not uncommon to see hatred blazing here and there, but in Star Trek people could work together for a better tomorrow, despite their flaws.

After Star Wars and the fall of New Hollywood, science fiction, exploitation and high fantasy became entertainment to the masses as Hollywood itself began to produce what used to be regarded as low-budget, low-brow movies. For someone who has lived in post-Star Wars all of his life, it is hard to understand the impact it did. SF was essentially relegated to a lower tier of film making and all space adventures and such were meant for kids. After Star Wars, and to this day, science fiction and its fantasy brethren are mass entertainment to the point of long time fans of certain stories demanding that the stories should cater to them. After all, they’ve been consumers of a media for whole of their life.

I’m not sure when science fiction began losing its light in the mainstream media. Perhaps it was the 1990’s eXtreme that did it. The first time I began to notice it was when the 2004 Battlestar Galactica hit the scene. Certainly it is a series that demands its high acclaim, at least early on, but the show seemed to lack hope of sorts. Rather than hopeful like its originator, the remake series was grim and dirty. A friend quoted it to be Science fiction for people who don’t like science fiction.

This was around the same time I noticed the lack of hope was with the revival of Terminator franchise. The future couldn’t be stopped. The doomsday will come, it just got postponed. You can’t change your fate. Whoever decided to undo the core message that Terminator 2 had essentially shot himself to the leg. The Terminator franchise has more potential to it than just exploring the same old story of mad computer sending cyborgs to past to kill someone. One of these stories could’ve been what happened during the Future Wars, before it was prevented. How Kyle Reese fought in it and how he was ultimately chosen to go back to the past. There is no negative validation in telling a story that, in-universe, was unmade.

This sort of thing has continued with the zombie boom, especially with The Walking Dead. It’s not a secret that there is a sort of wanting for a modern man to be set free of society and all of its demands. In a world where everything just breaks down and we can become our own masters of sorts again, things are easier and more straightforward. Or at least that’s how some have argued for me. It’s a poor argument, much like the argument for returning to a rural simplicity to live with nature. Mankind created tools to simplify our lives and to get rid off mundane tasks that would take hours to complete. Hell, this has gone to the point of libraries suffering due to the Internet offering all the knowledge it can hold, knowledge that we all know is more often biased than not.

Star Trek more often than not offered the lighter side of things. Or in case of Voyager, the crazy ass side. Deep Space Nine may be the most morbid of the current shows we have, but even that hold hope for humanity. Dr. Bashir was an insufferable character, who grew up to be something better. This is a good example how show writers took upon themselves to make the series superior by organically allowing the characters to grow to a better direction, whereas in Voyager everything was left to rot.

The Roddernberry Box was a rule set that put limitations on the writers during The Next Generation era. One of the main rules was that the main cast of characters couldn’t have conflicts with each other as humanity had supposedly grown out of this. No grieving, death has been accepted a cold fact of life by all. It’s not a pleasant box to work in, especially if you’re doing drama, but it did wonders to Star Trek, especially in hindsight. Here we have, holier than tho people who get taken down a peg or two by force mightier than them, enslaving part of their people for their own collective purpose. By the end of the series, these stiff and poorly written characters had grown to accept their faults and yet striving for something better. In Deep Space Nine we see Benjamin Sisko, a single father and a man who’ve lost his wife in a new frontier, struggling against his own ghosts and wants for the future. Ultimately Sisko moves on with his life, just as everyone else does around him.

Star Trek Discovery, for all intents and purposes, is Star Trek in name only. In an interview Sonequa Martin-Green described the series as bigger, rawer and grittier. Pretty much all the leaks on the Internet are talking about the series another reboot to the franchise and is more in-line with J.J. Abrams nuTrek/Kelvin timeline movies, as the series was done under a license that allowed creation of a parallel Star Trek product. All the descriptions we’ve gotten thus far from any and all sites does make STD look like a generic modern science fiction than Star Trek. Nobody thinks Star Trek should be raw and gritty. Not by a long shot. That’s for Galactica or Blade Runner.

Traveling to the Moon gave humanity hope as a whole. Star Trek tapped to this same core. Space travel has always given us a chance to look beyond ourselves as we are know, towards a better future. If we want to make it. Star Trek recognized people’s differences, yet celebrated them and allowed each person to become something better.  You could become something if you worked for it, you’ve given all the chances. The world depicted is utopia for a reason, though not even in a post-scarcity world things would go like that. People still would like to trade, money would be necessary. There would always be people better than you. Nevertheless, there was hope that things would get better, if we would go for it. Not by taking people down, but by allowing them to flourish.

Where am I going with all this? I’m not sure myself. By all means, there seems to be a wanting demand for stories of grim survival. However, I can’t place this haunting need for something with more lighter side of humanity.

Music of the Month; Roundabout

I had idea what music to use this month. I honestly did. Then I completely forgot what the song was supposed to be. Not even a single note in my head. That music was supposed to be theme for this month, and you guessed it, I forgot what the theme was supposed to be. Well, I better gather something together. Ah screw it, it’s Yes time.

So, the Mega Man 2017 is now 2018. I’m not going to retroactively change that in the previous posts, because that’s how the date was announced then. Now is now, and from now on I’ll be referring the sub-franchise as Mega Man 2018. Maybe it’s the main franchise, because it’s pretty much the only thing Mega Man has going for now. His design also went well with the whole transforming mecha thing we have this year. Y’know, weapon changing and all that. A bit of a stretch, but I needed a slight break from the whole thing due to the amount of hours I’ve been putting in the workshop. I should be sleeping buy in reality I’m typing this out for you.

As for this month’s design thing, I may discuss the design og A-6 Intruder from Muv-Luv Alternative. Why? Because it’s a shape changing mecha, of course. Now getting some of the linearts or general images is a bitch, so I’ll have to resort what I have. Which probably is most than what others have due to my own devices.

Speaking of âge related stuff, Evan from the official translation side of things has translated one of the crack-head funniest bit âge’s produced, True Lies. Check it on his webzone. True Lies is a story of aliens, humans and antennoids and all the truths and lies that surround their existence. There’s a lot of love in there, and a hero we all don’t want but probably will get in the end. It’s a good bit and will entertain a solid hour, even when it starts to drag towards the end. Melvina Maniax was also pushed out and there’s Kimi ga Nozomu Muv-Luv, a product that’s been coming out since forever. I guess good things are worth the wait, though personally I’ll have to wait for it myself a bit longer due to circumastances. Not that I have time to read anything currently, I still haven’t touched Schwarzesmarken properly.

As for reviews, this month will see release of new 8Bit Music Power Final, and because I love you marvelous bastards so much, I decided to go with the version that comes with an attachment that supposedly puts out higher quality music. Seeing their build quality got better with Kira Kira DX, I’m hoping that they’ll step up the quality once more with this one. I don’t expect any gameplay from them as this really is just a digital album released on a Famicom cartridge. If’ you’re a Touhou fan, you might want to pick it up as Zun has a piece in there. Not really sure what I should aim for the next review, but I guess I’ll find out later down the line this month. I’ll just need to dig up something a bit strange and game related, as that seems to be in-demand. Well, as in demand as anything can be relating to this blog.

I haven’t commented on game news recently much due to nothing too much of interest being out there. The Switch has sold over five million units, which is damn good number. Especially when you consider that we are not in holiday season. A console selling five million during Christmas or such season is nothing out of normal, but selling that well in March raises an eyebrow. The system launch library though is atrocious, but seems like it has found its spot in the niche. Now if the software would just keep rolling in.

That reminds that I should discuss the emphasize of game design over technological design now that it seems we’re in an era where each new generation doesn’t marvel with its leaps in technology. All consoles can output great graphics, but now it’s put to the design of the graphics and gameplay to make due. Graphics whoring is for PC side, after all. I don’t remember anyone going full gaga over a game in decades anymore due to its graphics, Crysis was the last one I remember having such an effect on people. Well, if you exclude Illusion’s titles, but I’m not here to talk about porn games. Not yet at least.

Perhaps discussing game collecting might be a topic worth visiting. That would be an anecdotal post, mostly form a personal point of view and as such I doubt that it would do well in grand scheme of things (though there isn’t one.) Perhaps something less serious for a change might be in place, though emphasizing on topics that get the most hits via search engines would be the logical things to do. As Spock noticed oh so many times, humans tend to be illogical beings.

Speaking of Star Trek, whenever we get to see stuff from Discovery in a more transparent way than just leaked shots, I’ll do a comment on the designs. I did so with Star Wars (and I’ve bitched about them quite a lot) and Trek will get the same treatment. However, the rumour mill has been saying that the behind-the-screen events have been pretty terrible and handled terribly. For example, despite the show being a prequel series to the original Star Trek series, the designers and showrunners were forced to make it look the most advanced series in the franchise due to executive meddling. Midnight’s Edge has a video on the whole thing. Honestly, I’m not terribly excited about Discovery, prequels tend to be terrible (just look at Enterprise) and apparently it’s going to have more sex, which is one to the things that killed Enterprise. Is it echoing here? It’s not looking good for the series, but maybe some series do require extended periods of staying away from the general view and stay within the fandom in order to renew themselves completely.

McQuarrie’s designs recycled

What common element is shared between Star Wars and Star Trek? Well, the title spells it already. With the Star Trek Discovery test footage revealed, the first reaction to many was Is that the Enterprise from Planet of the Titans? Those who are into Trek at least asked, and for a good reason. The title ship does indeed look like it was lifted from McQuarrie’s concept design for the refitted Enterprise.

McQuarryprise uss disco

Continue reading “McQuarrie’s designs recycled”

Monthly Three: Which is the true version; remaster or original?

When Predator: Ultimate Hunter Edition was released, it was largely panned by the fans due to its remastering. The original Predator has a lot of film grain and dust in its image due to the film stock used. The aforementioned BD release had gone through a heavy digital remastering, as for whatever reason the amount of grain and dust was deemed unacceptable by the higher powers whoever decided on these matters. The removal of dust and grain can have an impact on the film, and at times characters look like wax figures of themselves due to the smoothing. Another thing that’s usually done with remasters is colour correcting and brightening the scenes for further clarity. The AVS Forums has a rather expanded comparison with few selected screencaps.

The question is, is this the “real” version of Predator? The remastered one, or the original grainy one? The intention of the remastered version was to upgrade the movie to new generation and definition, and it can be argued that Predator has never looked so slick, but at the same time, the remaster is largely panned by the fans due to the remastering itself. To many, simply digitally remastering from the original film reels, i.e. basically post-process it again with modern techniques. The size of the film, the quality of the stock and how degraded it is affects the final quality quite a lot. Digital remastering didn’t become common until sometime mid-2000’s, and most of original release DVDs before that either had a second grade LD or VHS transfer on them. It’s not uncommon to find VHS and Beta tapes that look better than some of their DVD counterparts, and LD largely had better sound quality than DVDs due to the compression methods. One could argue that it wasn’t until LD’s quality became completely obsoleted, but neither LD or VHS are completely obsolete, as not even half of the movies that are on those two formats have seen digital conversion for either DVD or BD.

Similar applies to music. Original masters are taken and modernised for whatever chosen format. Loudness War began with the advent of CD, and this has impacted how your music sounds. The same applies to mp3, but mp3 in itself is a lossy format that music enthusiasts want to avoid. The louder the music, the less definition each individual element in the song becomes, with dynamics reduced. Rather than trying to explain it further myself, I’d better let higher authority to explain all this.

Like with films, enthusiasts look for older versions of released albums because they have better mastering, and modern remasters are too loud. If you have followed ARG podcasts I do occasionally with Alternative Projects’ people, you should notice that they are ultimately a little low on volume, as I do not turn up the volume for loudness.

Does a remaster look better with its visuals against the original is up to an opinion, but at the same time we should consider the age pieces have been made in.

Visual and sound technology advances constantly, sound less so. If you want to keep up with the best pictures, you’d need to purchase a new screen once in five years at least. With sound, you can run with a good set for a good decade and then some. Star Trek is a good example of remastering, as the BD versions comes with both original version and ones that have been retouched with newly recorded sound and CG to replace old effects as well as add new elements to the screen. Star Trek is old and was made to be seen on 1960’s television, not on 2016’s 4k screens. While the BD’s remasters look great after their proper remastering, you can see every single seam, scratch and crack on the sets and costumes.

Whether or not you regard the changes depicted in the video above to be valid or something to be desired, that’s completely up to one’s own devices.

With video games, old PC porting could be regarded as remastering the original code for a new platform, as a new platform always required a new level of coding. For example, the visuals, sound and controls between ZX Spectrum, Atari ST and NES versions of Double Dragon all differ largely due to the platforms themselves and the code in them.

Unlike with audio and films, porting a game usually required some sort of reworking, sometimes from the ground up, down- or upgrading, or completely reworking sprites and other assets from original version, be it arcade or whatever else. In modern era, most games are developed porting in mind for multiple platforms and everything from design and visuals mirror this, with PC version often getting shafted because of the cross-contamination of platforms.

HD Collection are the game equivalent of film and music remastering, as the original elements have been taken and given a sleeker look to them. Nevertheless, the code underneath the new visuals has been reworked in every HD re-release, for better or worse. Zone of the Enders HD Collection is a good example of a long-awaited port, which fares worse than its PS2 original. While the games between platforms are essentially the same game, the HD port suffers from constant slowdowns and framedrops, with some particle effects and the like losing to the visuals of the PS2 originals. With video and audio, one doesn’t need to concern themselves on the action of the consumer, as there is no interaction between the consumer and the piece, unlike with games.

In order for any HD port to make their original versions obsolete, it has three core criteria; it has to run at least as well as the original with no drops in FPS count that did not occur in the original, the visuals need to be clearer and in higher definition and the sound mixing needs to be on the same level. Some HD remasters simple don’t do it, running worse than the original, and very few get a chance, like ZOE did. Konami essentially reworked ZOE HD Collection‘s code to run the game better, which is a rarity.

With remasters there comes the question what is the definitive version of each works? Is the original, untouched version of Predator the one true version over the BD digital remaster? Remasters rarely try to actively change the product, but with the likes of Star Trek you have sound, backgrounds and visual effects changed completely. Is the original, unaltered footage the true version of the series, or is the new reworked footage that contain alterations? Furthermore, Metropolis‘ BD release didn’t simply see a remaster, but almost complete restoration of missing footage that was edited out due to how badly the original cut of the film was received.

While Star Trek’s footage was tweaked, the episodes themselves have not altered in story or pace, and whichever version is the definitive one is up to opinions. However, with Metropolis this is not the case. Because of Channing Pollock’s cut altered the story and the pace of the movie to a large degree to the point of altering Fritz Lang’s original vision, some argue that it is not the definitive version over the restored one, despite Pollock’s cut being the one that defined the film in history. Rather than calling on cut more definitive over the other, I would call the restored one being more in-line with Lang’s vision of the movie, in all good and bad, and Pollock’s cut being the more iconic one. SF Debris reviewed Metropolis recently, and goes over some of these elements in more depth.

Whatever one’s personal view is on remasters, they have their place due to the constant advance in technology and formats. Remastering in itself is not the thing to be worried about, but the methods, intentions and goals that remastering has. At times, remasters will see something like with the Predator, trying to fix and upgrade the original to new standards with rather lacklustre results. Other times, the remaster is simply stays true to the original look and intention of the piece without mucking around with it, like with the recent Fight! Iczer-1 release.

Old metal will always be replaced with something new

Recently a question was thrown out there; why isn’t the giant robot genre more popular in the Western markets? The answer to this is both simple and complex, depending how deep you want to go, but also reflects the overall way of things when it comes to popular things in pretty much anything in any given era.

To use the giant robot genre as an example of this, almost every body of work is seen as science fiction. While science fiction itself has always been largely popular, the emphasize on giant robots, or mecha if you want to use just one word, has few stigmas to it that it simply can’t escape due to how world works. Using the Transformers as an example is a very straightforward one; despite it being a franchise that has rather sophisticated stories to it, ever since its inception it has been vehicle to advertise the toys and that dictated to what audience in what way those stories would be told. The genre has been vastly catered to children across in its modern form since the 1960’s, with each show in Japan getting slew of toys. This of course has always reflected back to the US with each of its localised show. Johnny Sokko and his Flying Robot, Gigantor, and even Astroboy all were localised shows that were hits, but were children’s television. For adults (and for the whole family really) you had Star Trek and the Twilight Zone, shows that were more than just about robots beating each other or aliens, and Twilight Zone offering other sort of stories to boot.

There is a stereotype of Japan being a nation of technological marvels, and there was a time when it seemed to be absolutely true. The industrial growth Japan experienced after the World War II, and the economy bubble it experienced in the 1980’s, supported the admiration of technology. Cold War pushed technological advanced in both West and East, and man travelling to the stars had become an evident thing. There was a moment in history when science fiction flourished both in US and Japan, which lead the 1980’s to have more adult sort of stories concerning giant robots with the adults who had grown up with Ultraman and Mazinger Z. Similarly how we have people doing things like Pacific Rim with the people who grew up with Voltron, Robotech and Star Saber. Robotech were the first proper taste of 1980’s robot anime in the US, which would lead way to further ventured, and without it things like Gundam Wing would not have seen on US television. Europe was largely a different beast, Spain enjoying Mazinger Z, others enjoying the likes of Grendizer in form of Goldorak, and we Nordics were stuck with Balatak and Starzinger. UK always had its own thing going on and influencing its cultural scheme with Stingray, Thunderbirds and the like, which also were rather popular things in Japan. Hell, if you check UFO’s opening and compare it to how Evangelion’s opening was cut, you’ll see a lot of similarities.


 UFO is pretty damn good show, you should watch it

With the 1990’s rolling in Transformers had died out and would see a sequel with Beast Wars in 1996, but it wouldn’t be similar cultural impactor despite it being rather good show and how the toys drove toy engineering and design forwards. The Brave series continued as its spiritual successor, but in the West we saw none of it at the time. Evangelion, despite how much people love to hate it, came around the right time to make one last impact on global cultural consciousness, and when giant robots were to become passé.

The question why giant robots are not popular in the West can be answered simply with Times change. The genre has not innovated itself as visibly as since Evangelion, and as such has served in the role of being the last of mecha shows. Sure, there has been slew of revivals, competitors and imitators, yet none of them have done anything new. Living robots, robots that transform, robots that combine, robots than combine with humans, humans that are robots, robots that aren’t robots at all and so, it all has been done and the storytelling regarding them has not advanced. The best examples of mecha as a genre have always been about the people, but they fall in the same category as any other niche genre within its mother genre by being very specific in their contents. Something like Muv-Luv might’ve been a huge success in the 1980’s or even in the early 1990’s, but in 2000’s and 2010’s its story doesn’t carry have any punch behind it. The same applies to a lot of other franchises, and while you see the occasional show that becomes very popular for a time and may leave catchphrases floating around, like Gurren Lagann did, they’re still in the same old mould.

The people who grow up with mecha, even in the 1990’s, have grown old and so has the genre. It doesn’t attract new blood from the young ones, because there are other, better things out there. Just like Pokémon and Pikachu have become a thing of the adults and has been replaced Yo-Kai Watch and Jibanyan in Japan, these newfangled things have taken mechas spot in the niche spotlight. This is reflected in the West as well, with Edge of Tomorrow enjoying better ratings than Pacific Rim. Pacific Rim itself showscases all the elements a hardcore fan of monster smash flicks wants to see, and almost everything a general audience thinks are petty and childish. Why Tranformers movies have seen the success they’ve had is both because of nostalgia and that they hit that certain cultural spark, and are largely unapologetic about what they are.

The few old franchises that still kick around in the West are for children only. Hasbro still pushes a lot of Transformers toys out, accompanied by cartoons and comics, while Japan has mostly chosen to cater the ever older otaku audience with Schwarzesmarken, Macross sequels, Valvrave and the like. It doesn’t help that outside Africa, Middle-East and certain parts of Asia birthrates have been dropping, significantly so in Japan, which means less quality children’s robot shows outside the few that have been running for an eternity and will most likely run at least to the end of this decade.

It doesn’t help that the current cultural climate also takes technology at its face value. We lived in a time when every single technological leap made a difference in our lives, but nowadays it seems even the greatest findings, like the recent news about over 1200 newly discovered planets that could sustain life, goes to largely deaf ears. Space travel is mundane. Even the miracle machine in your pocket is mundane, everyday item. No, not your vibrator, your smart phone. There is no more marvel in a giant walking robot when Iron Man’s latest suit in Civil War makes them look absolutely archaic? How can Macross hope to impress with its designs when it still uses the same basic shapes and concepts since its inception? Of course Macross was never about the robots first and foremost, yet that’s the first things you’re always shown, the first things that pop to you.

Children wish to stand apart from their parents, each generation does. Admiring technology, and by extension, the fiction using technology to a miraculous degrees, is a thing of older generations. When you have a thing that people have tired of and regard it something worn out, you begin to cater something new, something colourful (or in case of Apple, something black and white) and something that would replace the old. However, as things cycle, we may arrive in an era where things like space travel is of interest again, and we may relive a sorts of new renaissance of giant robots in fiction, but I doubt it’ll happen in my life time.

As a sidenote, if you’re a âge fan, you should head to kiminozo.life and check out Evan’s Kimi ga Nozomu Eien Drama Theatre Vol.3 translation. It’s a good piece.

X logic is awesome, when used properly

Have you ever wished you could fly by yourself like Superman or have some other ability that’s beyond the human reach? I’m sure we all have something like that. Fiction, of course, has always offered us a way to live those fantasies to some extent, but out of all media games really is the only one where we are able to take control of that power of flight. Well, you can always argue that base jumping and the like gives you the feeling, and I wouldn’t argue against that, but that’s more controlled falling than actual flying.

Games stray just enough from the traditional medias with its interactivity that it allows everything to be possible and be enacted by the player. In Super Mario Bros. we have a cartoon fantasy land, where we can travel through pipes. Sure, we can find a big damn pipe and walk through it, but we won’t find an underground cavern filled with shiny golden coins floating in the air. We don’t question this, because it’s comical and functions well within the setting and the logic it uses.

Similarly, Metal Gear Rising has cartoon logic to itself too. Same goes to the rest of the Metal Gear franchise, but in different degrees in different games. Some are worse in this regard, as it’s almost like they build a cohesive semi-realistic world and then just drop the ball with nanomachines or overtech robots or functioning artificial intelligence in the 70’s. Anyway, in MGR you are able to cut pretty much anything and anyone, because the logic allows a cyborg ninja to have an infinitely sharp blade. The explanation doesn’t make any sense, but that doesn’t matter. All that matters is that we can go our way out and slice that big hunk of junk into hundreds of itty bitty slices.

Call of Duty, the first one, on the other hand is grounded. While it has some elements that are necessary because it is a computer game after all. Nevertheless, there was a lot of research done to stick with the realism of the war. Hardcore fans and historians of course will notice all the mistakes and errors in the maps, and so on, but these are mistakes in the world, not in the more realistic logic the game employs. You can’t travel through pipes, you can’t slice everything you see, but you need to conserve your ammo and advance with care.

Of course, we have games that wholly just ignore most what things are considered realistic and go town with it.

The recent Transformers Devastation trailers and gameplay footage looks like your standard Platinum game, which may can be a positive or a negative thing depending whether or not you like their games. The game has things that simply are there that I didn’t consciously notice, because TFD functions wholly on cartoon logic. Things like Autobots accelerating in air for a pursue attack and Optimus Prime’s trailer suddenly appearing when he does a burnout in the air and smashes immediate enemies with it.

Cartoon physics and logic is more often than not fun to employ in a game, because they allow both the developer and player to do things they couldn’t before. It’s a more honest way to break the laws of real world in fiction than Star Trek Voyager’s endless streams of technobabble about absolutely nothing. Hell, Voyager’s technobabble was so bad that they contradicted each other and the most basic science wrong more than once. It’s not even entertaining. You can argue that the other at least tries to explain with the in-world logic what’s going on rather than taking the easy way out with cartoon logic and science, and I would agree with this if it wasn’t fucked up. Star Trek, the original series, tried to keep itself somewhat grounded and did screw up more than once, but there’s something that a show like Star Trek has to remember; it’s television. It needs to be well scripted and it needs to deliver the information. While TOS managed to make threatening scenes and their technobabble work as a device and convey how screwed they are, Voyager’s same scenes are incomprehensible babble about absolutely nothing. While games have similar scenes as well, they’re more about the action of the player rather than the passive watching of a scene.

Sometimes, I sit down with Call of Duty and play it for few hours because it’s a legitimately good game. I want something that’s a bit more tied down. Sometimes I just launch Doom or pop in Nuts & Milk for the opposite reasons.

Both extremes are not anything to scoff at, and more often than not it’s best to employ both approaches when creating a fictional world at least to some extent. Of course, the logics may colour the works to some extent with realistic approach having a more serious tone and comical ones with more gleam in their eyes, if we’re allowed to generalise a bit. When speaking of games, perhaps the visual striking difference between Transformers War for Cybertron and the upcoming Devastation gives off a good example what sort of difference the approach on the logic can make. One is dark, gritty and portrays lumbering robots with a raw feeling, the other is filled with colours, slightly tongue in cheek and absolutely honest about the fun it wants you to have. Some would say the other is more adolescent than the other, but that’s something that’s a bit more on the side of personal opinions than anything else. After all, it’s all dependent on how the work itself is.