Greetings, listeners! This week we talk about Neuromancer – what we think of it and what it’s about.
Join Chris, Martyn, and Alli as they sit down to discuss cyberpunk! What is cyberpunk? What’s up with the neon? Why the excessive wearing of trenchcoats? If you’ve ever asked these sorts of questions, listen in!
The Booket List is back, and we’re talking science fiction! Well, Chris is talking science fiction, due to technology going horribly wrong. Funny how these things work. Anyway, tune in to learn a bit about the history of sci fi!
Well hello there, listeners. In this installment of our audio podcast we take another look at postmodernism. Join us as we run through a quick ‘n nasty discussion of that which is postmodern.
Greetings, listeners! This week, Martyn leads a discussion about postmodernism that likely doesn’t make any sense, and may get mistaken for bad noise rock. We also announce our book for the month of November: Zero K by Don Delillo! So, tune in for a strange, hard-to-follow ride through the winding mazes of postmodern thought!
Most, if not all members of the geek community have a favorite villain. The Joker, Loki, Darth Vader, and Ramsay Bolton are just a few evildoers that have gathered a huge following across the fandoms. We’ve come a long way in the field of villainy; not too long ago the villain of a story was usually just a mustachioed bad guy whose purpose was to be thwarted by the story’s strapping hero whilst twirling his evil mustache. Recently though, we’ve begun to experience a change. Villains are being humanized, and that, without a doubt, makes for a better story.
First of all, what even is a villain in the morally gray worlds of pop culture? In storytelling, villains traditionally serve the purpose of representing something that the artists wants you to hate; when you get down to it, villains are essentially just symbols. they can represent corporate greed, over-extension of power, violation of rights, or even something as trivial as getting in the way of the protagonist getting laid.
There are a few different ingredients in villain soup: goals, motives, means, and qualities. Their goals are what they want to achieve. Most of the time it involves gaining more power, for themselves or for something higher. Their means are how they go about their goals. These compound the villainy, as the means often include awful things like blackmail, murder, and manipulation. The motives and the attributes, on the other hand, are the two things that can humanize a villain. Their motive for doing something evil can actually, in some cases, be quite noble. Zuko from Avatar: the Last Airbender simply wants to regain his honor in the eyes of his father. Loki (Marvel canon; mythological Loki is the worst) is tired of being treated as an outsider and wants to claim what he perceives is his birthright. These motives can be a bit twisted, but we can still identify with them. Understanding why a villain is doing something makes us empathize with them. With their qualities, the villain can be an evil-to-the-core type who eats babies and burns things, but can still still be admired by the masses because of their other qualities. Take Ramsay Bolton as an example (Warning: mild Game of Thrones spoilers ahead). It can be pretty universally agreed that he’s the worst. However, he’s one of my favorite Game of Thrones characters! He’s a violent psychopath, sure, but we as an audience can’t help but be drawn to his charisma and intelligence. He’s the kind of character that we hate to love, and that makes him an excellent villain.
Why worry about making good villains in the first place? We made them one-dimensional and flat for a centuries, and it worked out pretty well! The reason we need relatable villains lies in the purpose of storytelling itself.
Storytelling is the art of emotion. The best stories are those that make us weep, or leave feeling changed. The more emotional clout a story has, the better it is (usually). Feeling conflicted about a villain adds so much to a story’s impact. Villains for the longest time had only a few qualities other than “evil”. In mythology we get characters like Satan or the Titans or the Ice Giants, who exist only to ruin the lives of humans. Even up to the end of the 20th century we saw villains where they had a gimmick (think the Joker or the Penguin from the 1960’s Batman) and a role, and not much else as far as personality goes. The shift that occurred at the end of the 20th century was an incredibly important one. Empathizing with villains is now a staple of storytelling, and I think that it’s improved our stories for the better.
Why am I writing a series on fantasy and sci-fi settings? I’m writing a series on fantasy and sci-fi settings because, as a fan of the genre, I think that setting is something that needs to be talked about more. I regularly have conversations with my friends (and sometimes complete strangers) about how cool Game of Thrones is or how polished the mechanics of Dark Souls III are, but the setting of these media rarely comes up as a point of interest, at least not nearly as often as it should. Setting, in my opinion, is what makes a work of fantasy, whether it be a game, book, movie, or show. All of the most popular works of fantasy (Lord of the Rings, World of Warcraft, the Elder Scrolls, Discworld, Game of Thrones) have highly unique worlds and characters that make those works unforgettable. It wasn’t until I dove headfirst into worldbuilding for a D&D campaign that I started seriously thinking about setting, and now I’m having a hard time stopping.
So why am I starting with Azeroth? To be honest, I’m starting with the World of Warcraft because it’s my favorite setting. I’ve been playing the Warcraft games for as long as I can remember, starting with Warcraft II when I was a child. I played Warcraft III through elementary school, and spent probably too much time in junior high playing World of Warcraft to the sick tunes of Taylor Swift. To me, and to millions of others, Azeroth is a second home. So let’s jump in to exactly why it’s so fracking amazing.
Describing it to a friend, the World of Warcraft doesn’t sound all that special. It’s a fantasy world where orcs and humans are always at war with a bunch of goblins, wizards, trolls, elves, sorcerers and dwarves thrown into the mix. Franchises ensue.
However, if you ask anybody who plays the games, they’ll see Azeroth as a place of it’s own, not as a cookie-cutter Forgotten Realms copy. That’s because the World of Warcraft flawlessly blends classical fantasy tropes with their own spins and original creations, and then top it off with enough lore and flavor to make it work.
Let’s take the orcs as an example of how Blizzard makes classical fantasy tropes their own. The orcs are one of the most iconic races in the World of Warcraft, even though they’ve existed in some form in almost every fantasy world since Tolkien. These orcs are so iconic because they were among the first to have their own culture and personality besides “they’re evil and like to kill things.” They also came from another world. How many fantasy races can you say that about? The orcs of Warcraft are intelligent, brave, and honorable. Without the concepts laid out with the orcs of Warcraft, orcs would likely still be the Tolkien-esque iteration of stupid murder barbarians.
Most of the races of Azeroth show how good Blizzard is at spinning a traditional fantasy race to make it their own. Night elves are a huge part of the World of Warcraft, and, even though they’re extremely similar to regular wood elves, they feel like a completely new and original race. And we can’t talk about fantasy races without mentioning goblins. Since when are goblins capitalists who like rockets and explosives? Since Blizzard, that’s when! Since when are trolls lanky blue voodoo practitioners rather than cave-dwelling, flesh-eating giants? Since Blizzard, that’s when! I think you get my point.
Besides just remaking traditional fantasy staples, Warcraft has created a cosmology of other worlds and extra-planar beings that are unlike any other. They’ve created completely original races and peoples from the bovine Tauren to the furbolgs of Ashenvale to the Pandaren (referred to by many as “the kung fu pandas of Azeroth).
However, there isn’t so much original content that the world seems alien, or like Blizzard is trying too hard to be original. There are plenty of things that are traditional to high fantasy to make the world still feel familiar. Dwarves are still lovable Scottish miners, humans live in castles and worship the Holy Generic Light, and the way magic works is very much in line with other settings. They don’t make them bland, however; the entire world is steeped in lore. Even though the humans of Warcraft aren’t super different from the humans of other fantasy settings, they have their own history, traditions, and flavor that makes them blend seamlessly with the rest of the world.
Blizzard has, against all odds, created one of the best fantasy settings out there. It feels familiar without feeling tired, and makes you want to spend hours on wowwiki reading about the lore and stories of the world. These things, in my opinion, are what make the World of Warcraft a place where we want to spend all of our time.
Kirk’s struggling with existential angst and some daddy issues, and Spock can’t decide if his place is with the Enterprise or with his people. Needless to say, neither of them were having a great day when the Enterprise was attacked by a zerg-esque swarm of fighters, leaving the crew held captive on an alien planet by the bloodthirsty warlord Krall (played by Idris Elba), who’s seeking an ancient super weapon and has a serious grudge against the Federation.
While the plot wasn’t exactly groundbreaking as far as Star Trek stories go, Star Trek Beyond is a solid movie, and a definite must-see. The cast, as usual, nailed the performance. The script, written by Doug Jung and Simon Pegg (who plays Scotty and is responsible for cinematic masterpieces like Shaun of the Dead and Hot Fuzz) was both funny and compelling. Throw some excellent directing by Justin Lin and $185 million into the mix and you get a very entertaining, well-produced movie.
What makes this film different from the other reboot movies is that they put a renewed focus on the characters and their individual struggles. One of the most common complaints I hear about Into Darkness is that it feels like an echo chamber, like they were trying a bit too hard to boldly go where, in fact, lots of people had gone before. Beyond was able to move past this and break new ground by making the inner struggles of the crew a center point of the story. They didn’t try too hard to pander to the older fanbase, and as a result made this, the thirteenth installment, the second odd-numbered Star Trek movie in a row that was actually good!
That being said, it still feels like a Star Trek movie. The humor was still there, along with the atmosphere, aesthetics, and incessant bickering between Spock and McCoy. This movie was able to carry on the Star Trek spirit without it feeling like they were trying too hard to do so. Sure, the movie has some problems. The plot has some pacing issues and there were quite a few glaring gimmies when it came to technology (convenient cloaking and illusion devices are convenient), but all in all it’s a solid movie. It was able to achieve the near-perfect balance of lightheartedness and seriousness that Star Trek is known for without sacrificing quality. If you consider yourself a fan and haven’t seen it yet, DO IT. And if halfway through you’re not enjoying it, just remember: it could have been directed by William Shatner.
I give this one a score of Warp Speed of 8.
We’re giving away a pair of tickets to Star Trek Beyond on our Facebook page. All you have to do is like our Facebook page, and then like the post shown below. That’s it! Make sure you watch our Facebook page over the next few days, we’ll be announcing the winner on Wednesday.