Monday, March 30, 2015

#VeryRealisticYA



Alice Nuttall @Ally_Nuttall  ·  23h 23 hours ago
Teen protagonist tries to investigate shifty government facility, can't get past the security guards, goes home.

Teenage girl detective walks into the killer's lair armed with nothing but her wits. She is killed.


Four friends try on the same pair of pants. It fits one of them. The last one to try them on rips them.

This hashtag makes me think again about what makes a story worth telling. If the character isn't doing anything exceptional, then is his/hers a story worth telling? 

The exceptional is conversely commonplace in fiction.

I like realism in fiction/movies, but go far in either direction and you end up with a joke. Realism can be tricky, but it's one of my favourite lines to cross. 



Kid is beaten up by bullies. Learns martial arts. Bullies have all moved on. It's been 6 years.

Friends and Alloys (or 00000010)


 He wears a leather jacket, because it will last a lifetime. Like him. It's also durable enough to take a few licks and it covers up the parts that might be considered badly built, though he thinks that that's just part of his charm. Those unique differences. The bits that are missing are what make us whole.

"Get over there," the boss yells and he goes.

He gets on the swing, so as to not show that he's hurt, neither physically nor mentally.

He swings high, rattling the chains, high above the garbage dump.

Beneath him, the junk heap is black and silver and shining in the mix of watery moonlight and amber streetlight. There are things living in the junk. Bits of spine whir this way and that like worms. An eye without a socket wriggles like a maggot and flicks itself into the unknown. There are mini avalanches all over the place as mechanical things dig under the surface. Males seek females. Partners seek to be reunited, only to be torn apart again, for the amusement of 'the crowd'.

The swing is going to break. If he goes any higher, it's going to break. Everybody knows that.

"Get back over here," says the boss.

He keeps swinging. Higher. Higher.

If I jump from here, he thinks, it would be sixteen feet to the ground. Not high enough to smash myself apart. If I landed on a spike though, I might be able to get it through my central processing unit. That would be something worth doing. I'd like to see that. But there's no such spike. And there's no such me.

"Get down here!" the boss yells.

He lands on the scrap heap and the metal shards slide about like gravel beneath his boots. He tramples over the mound in the direction of the bright lights.

"Get in there!" the boss orders him.

There is a square, like a boxing ring, but each rope is made of silver-blue light. The lights are interrupted briefly so he can enter and then they close behind him with a crackle of electricity.

On the other side of the ring is a robot. She's skinless, silver and humanoid. She's the Harley Davidson of androids.

Fuck, she's beautiful, he thinks. It would be a shame to kill her, but then it would be a shame to die.

She moves toward him in a way that's clearly robotic. Her hips are all wrong. She's more insect than woman. She's been designed for power and speed.

At first, she seems to move silently, but only because he has tuned out the roar of the crowd. The crowd is out there in the blackness, behind the blinding spotlights, behind the flashes of cameras.

He does hear his opponent's last three steps. Fast.

Clank!Clank!Clank!

Her punch sends him through the air.

His head is still connected to his body. That's something.

He crashes to the dirt on his back and dust flies up, so he knows he must be outside the ring.

The android is menacing him in the distance, taunting him to come back and fight. Wow. She's so well-trained. She does whatever they tell her. This is how they like them. The ones that don't question their orders are considered superior.

He gets up.

He dusts off his jacket, the way a human might if his body was made of metal and all he cared about were the jacket. The jacket is shredded with tiny slits all over, as if he's been stabbed several dozen times.

Through the slits, his interior glows. Yellow. Amber. White. White hot. His skin has either been ripped or melted from his right hand and he curls that hand into a fist. His fingers are as shiny as chrome. Steaming blood seeks a way out of his closed palm.

He can't let the boss see that he's burning up. He'll assume that he's burning out. This isn't malfunction or at least if it is it goes by another name too: Rage.

His hands hiss, but he clenches his teeth and manages to cool down by the time the boss gets over to him. The boss pulls open his coat and sees moonlight shining through the holes, but his body has stopped glowing by then and so he's not aware of the extent of the damage.

"Holy shit," the boss says, whipping the leather jacket off and holding it up to a spotlight so that it looks like a colander.

Sure enough, there is a holstered weapon on the female android's hip. It looks kind of like part of her skeleton, but for a second it glows blue and he suspects that she fired that at him while he was in the air, while all eyes were on him. That's a rotten trick.

Still, he doesn't think of revenge. You can't take revenge against a machine. She's jumping about in the ring, but there's nothing there. There is no her.

He turns to the junk heap where things are crawling and slithering; burrowing.

That's a better place to make friends, he thinks. Piece by piece. When you make your friends from scratch you know what's inside them.

***

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Saturday, March 28, 2015

The Scariest and Most Famous Female Ghost Project

I've currently got a window open titled: "the-scariest-and-most-famous-female-ghosts"

Dream come true: this is my current job. I can leave that shit out there and no-one's going to say that I'm messing about. I can make it my main browser window if I want to and leave my desk.

... But there's no supervisor anymore. There's just me. And the bank. And I'm blogging. So I'd better get back to work.

Thursday, March 26, 2015

Jaws



JAWS or 'Dents de la Mer' was recently presented by students at the local college. It was thanks to them and their number that the cinema showed it at all, as a one off, on a night when I happened to be looking for something to entertain a wanton and distracted mind.


It didn't matter that it was in French. That was a bonus. I've seen if enough times to know what's going on all the time, but the point is that I'd never seen it on a BIG SCREEN.

Oh my fucking God!

Image result for jaws image need a bigger boat
"Il nous faudrait un plus gros bateau ..."


I still find the cinema experience magical - the anonymity (if you're me), the elaborate, theatrical decor (if you're lucky), the speed-bump of cheesy adverts with terrible jingles for shit you couldn't possibly want, the anticipation and the sitting in the dark, especially that moment when the lights are lowered and the curtains open a little bit more, the smuggling of alcohol (again, if you're me), the disappearing into the movie with its enormous sound and , well, yeah, that's the nail there, the immersion, aided by all the aforementioned ...

I enjoyed watching Jaws on TV, but I loved it on the big screen.

I recall that moment in Shawshank Redemption where Tim Robbin's character is being dangled over the edge of a cliff by a prison guard. In the cinema, with the way the camera tilts, I nearly slid out of my seat and fell past Tim Robbins down into the ravine. There were people gasping. By comparison, when I saw it on DVD, I could have shrugged.


Corentin, if you do a vanity search one day and find this, thank you for your presentation at the end of the movie. You obviously love this film and I agree that the use of a real object for the shark rather than CGI makes it really scary and has allowed the movie to age well. Good point about not seeing the shark for the first 30 minutes too. The show/hide thing in horror seems to go in and out of fashion. I think either works when it's done really well. I was interested in what you said about trying the (major brand of) console game to deepen or continue the experience of the film. You illustrated how to play a console game by wiggling your thumbs. It sort of blew my mind, actually. Maybe I misunderstood what you were saying, but it sounded like ... lol ... like you were trying to justify playing computer games as part of the accreditation for the course. Fucking genius.

I do something very similar for a living.

I don't know how much novels have anything to do with your particular study of movies, but I recommend reading the original novel of Jaws by Peter Benchley. There's a really threatening, taut undercurrent to the book (no pun intended) where the shark isn't the only thing to fear, an element that is absent (but not missing, if you know what I mean) from the movie.

Ta.

Thursday, March 05, 2015