Monthly Archives: June 2018

Adaptation By Someone Else

One game that got some press at last week’s E3, the game industry’s annual event where games are announced and/or demo’d, was the upcoming Total War: Three Kingdoms. Apparently it was announced back in January, but I hadn’t heard of it until now.

And I am intrigued.

The Total War series are strategy games that unlike, say, StarCraft or Red Alert, tend to focus on real wars, be they Roman, Napoleonic, or set in Feudal Japan. They’ve been on the periphery of my awareness, as games that are cool — and I do like my strategy games — but I’ll probably never check out. But they’re making one set in the Three Kingdoms!

Three Kingdoms, for the uninitiated, refers to a classic period in Chinese history during the fall of the Han dynasty where the realm was split between, well, three warring kingdoms. The stories were more-or-less codified in Luo Guanzhong’s Romance of Three Kingdoms, an epic that romanticizes the period in a big way. The book, and the surrounding history, has been the source for countless works in China (and neighboring East Asian countries), be they in film, television, or video games.

So Total War: Three Kingdoms has my attention for turning its attention towards a source you usually don’t see in western media. Despite being incredibly prolific in Asia, you’re not really likely to encounter Romance of Three Kingdoms or anything based on it unless you’re actively looking for it. To see a Western strategy game focus on stories that I heard growing up is really, really neat.

But it also raises some questions.

There’s already been a ridiculous amount of games (and media) based on and around Romance of Three Kingdoms. Dynasty Warriors has been around for over twenty years and we’ve had movies like Red Cliff. What difference does it make that some other group is telling the story? And why is my gut response “oh, cool!”?

Maybe it’s because it’s exciting to see something considered kinda niche be put a little bit closer to the mainstream. These are stories I know about because I grew up in a culture around them (Zhuge Liang was a fixture in bedtime stories) and took a class to study the book in college, but most of my other peers (here, in New York) aren’t terribly aware of them. A western developer making a game about it is sorta uplifting the stories from their corner and into a spotlight.

Which then raises the question of why it seems like it’s being uplifted. Is Romance of Three Kingdoms just being big in Asia not good enough? Why does it getting attention from the West make it seem like more of a big deal? We tend to categorize stories and genres; drama is taken more serious than an action movie, live action taken more serious than animation, and so on. The Three Kingdoms period taking front-and-center in a western video game makes it seem like it’s finally being ‘taken serious,’ but it’s already been taken serious for years (heck, generations), in other parts of the world.

I think this might be something that’s more self-reflective than anything. My excitement at seeing this has to force me to ask myself why do I feel this way about this. ‘cuz all the reactions I write about here are my own, and I have to wonder why I’m so quick to discount Dynasty Warriors or other works based around the Three Kingdoms. It’s a sort of latent colonial thinking, where something from a non-Western group is not as good, or as cool, as something done by a Western group.

None of this, of course, should be seen as a negative take on Total War: Three Kingdoms or the fact that I may actually get this game (I get to field Liu Bei as a hero? Awesome). I still think it’s really cool to see it in the spotlight like this, but I still have to ask myself: why am I excited about it now?

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On Rose and Trolls

The internet is often a place as terrible as it is wonderful. This past week, Kelly Marie Tran, who played Rose in The Last Jedi, left Instagram (and social media in general) after months of sexist and racist harassment. Months.

This isn’t the first time this sort of thing has happened. Daisy Ridley (aka: Rey) left Instagram for much the same reason. Back in 2016 I wrote about Chelsea Cain leaving Twitter after being bullied for writing Mockingbird. This outpouring of toxicity from so-called fans is nothing new. But I think, as in an incident like this, there’s a conflation of criticism and bullying that creates this awful trolling.

First, a word on trolls: these are folks who make other people feel terrible for sport. That being a racist, sexist dirtbag helps is secondary. There have been trolls about as long as there’s been an internet, but as women and people of color have developed more of a presence online, trolling targeted at race and/or gender has become far more pronounced. Trolls are the people who bullied Kelly Marie Tran off of Instagram. The question here isn’t why these people do what they do, it’s what gives the fuel for what they do.

The Last Jedi merrily deconstructs a lot of the Star Wars saga. Director Rian Johnson torches much of what we expect from a Star Wars film, like making Luke into a guilt-ridden recluse and questioning the need for Jedi. This is a movie that subverts a lot of expectations for the film and feels no need to appease whatever it is a fanboy might want. As Kylo Ren says, it’s time to let the past die, and that means letting go of a lotta ideas of what a Star Wars movie has.

Now, Rose has proven a pretty controversial character in an already controversial movie. She is Star Wars’ anti-establishment, anti-militarism bent at its most pronounced, a character disgusted by the military industrial complex present on Canto Bight. She’s an idealist, a character archetype that’s falling out of vogue in the tendency for stories to be cynical and gritty. Her arc culminates in stopping Finn’s suicide run, saying to save what they love instead of fighting what they hate. More than anything, she’s someone who genuinely believes in the Resistance making the galaxy a better place, and not in it for the vainglorious fight against the First Order (like Poe), or Finn’s need to save himself (as she’s foiled against). Depending on who you ask, she’s a welcome addition to the franchise or a cheesy character who adds nothing. Obviously, I’m of the former opinion (I am here for idealists!). There’s also the fact that she’s played by an Asian woman, and we need more non-sexualized Asian women in genre fiction.

But if people have an issue with The Last Jedi and what it does with Star Wars, Rose is an easy scapegoat. She’s another addition to the saga’s stable of heroic characters who aren’t white guys and she’s a source of romantic idealism in a movie that’s rather bleak. If you’re someone pissed off at a perceived “social justice agenda” that’s ruining the movies, here’s a sure sign of it all. And then this negativism feeds the trolls and then the lines between criticism and bullying get blurred. Trolls can claim they’re just criticizing Rose and The Last Jedi and any criticism of the film can be grouped in with the trolling.

And it’s awful, and that really goes without saying. Because, again, Kelly Marie Tran is absolutely wonderful as Rose, but even if she wasn’t, even if The Last Jedi sucked, that doesn’t give anyone the right to be a jerk on the internet. When it comes down to it, the vitriol she’s faced online stems from the sexism and racism still entrenched in much of nerd culture (see also: anytime comics attempt to diversify, Anita Sarkeesian and video games). It’s inexcusable, plain and simple. And I don’t know what the solution is, besides people not being terrible human beings. Maybe one day diversity will become so normal that people won’t have the need to pick on people for being different.

But really, shouldn’t it be like that already?

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Genre Bending

Altered Carbon is an oddball of a show. It’s got a science fiction setting, but primarily draws on noir for a lot of its narrative structure. Beyond that, though, it draws on a whole host of other science fiction media for inspiration, to varying effect.

The show is science fiction noir in the stylings of Blade Runner. And it’s really, really heavily cribbing from the Blade Runner stylebook. You’ve got flying cars that don’t look a hair out of place flying around a dingy, multicultural metropolis that’s pretty often rain soaked. There’s also a pervasive existential theme, owing to Altered Carbon’s conceit that human consciousness is held in a chip and thus the relationship between body and identity is a lot more tenuous than normal. A lot of this can be chalked up to the noir genre, what with gumshoes hired to take on a case and all that. The atmosphere, for the most part, is appropriately heavy and somber for the most part. It’s a crappy future, the rich get away with all sorts of (futuristic!) crime and the police are powerless. Like I said, very noir. Altered Carbon, however, goes in some very different places over its ten episodes.

For all its noir trappings, Altered Carbon is really loathe to give up the gunfight. In lieu of tense shootouts that are the hallmark of noir films (and Blade Runner, which, this cannot be overstated, is a massive influence on Altered Carbon), we get a lotta gun play straight out of your big action movie of choice. Heck, there’s a sequence where two characters are surrounded by Yakuza and soldiers out to kill them and, what do they do? They go back-to-back to shoot the attackers in a sequence ripped straight out of the video game Army of Two. Now, I’m all for Big Action Scenes and I strongly support borrowing from video games for inspiration, but it all feels so incongruous set against what’s supposedly a very noir story. Altered Carbon tries to move around genres, but its noir trappings end up feeling like concrete shoes when it adds these odd things to the mix.

Genre bending is totally possible, and it can be done well. I’m not just talking about mashing two together, like Spider-Man: Homecoming taking a John Hughesian teen movie and smooshing it with a superhero story, but rather a story that jumps around its genres. Consider Community: ostensibly it’s a sitcom set in a community college about a ragtag group of friends. In actuality, it’s a show that contains within its six seasons pastiches of gangster films, Apollo 13, Die Hard, zombie movies, Law and Order, and a Ken Burns documentary — amongst much more. It works, in no small part because Community sets itself up as being perfectly aware of what genre it exists in and by playing every genre/narrative to the hilt. It bends its genres to tell the story it wants to tell; how better to explore a rift between best friends Troy and Abed than by a Civil War-style documentary? The show also sets itself up as a very silly world, so spending a half hour in a spy movie is hardly out of the ordinary — especially as it does it with aplomb.

Similarly, Cowboy Bebop (which I will not shut up about) refuses to be confined to any specific genre. Right off the bat, it sets itself firmly at the intersection of the western, gangster, and noir genres (in space!), leaning more into each of the three when necessary. Digging into Spike’s story lends itself well to taking on the hallmarks of a gangster movie, but following Jet means we’re in for a much more noir narrative. Throughout it all, though, Bebop keeps its other inspirations close at hand, it’s noir episodes have hints of Westerns sprinkled throughout. And, because Bebop positions itself at an intersection of genre, it’s perfectly in keeping with its stylings when it borrows from other genres, be they cyberpunk or horror. Bebop is a show so sure of itself that it can play around with its makeup and never lose its DNA. Conversely, Altered Carbon sets itself up so strongly in the noir genre that whenever it strays outside (ninjas! anti-establishment rebellion!) it feels like we’ve lost the plot. Genre bending is a lotta fun, but the trick is to do it within what you’ve set as the boundaries. The more flexible those boundaries, the more wild the story can go.

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