Chateau Lloyd

Now that my schedule has loosened up a bit, I'm able to seriously think about writing.  The question then turns into what I should write?

After 11 books, I've covered many of the topics that have interested me.  Scorpion's Pass has scratched an itch from my college days, as have both Long Live Death and Walls of Men.  

Battle Officer Wolf got the whole authorship rolling, and it's got a sequel built into the original concept.

The Man of Destiny series allowed me to work out my Star Wars prequel hate and create a new universe of my own.

Similarly, Vampires of Michigan has the potential to be a franchise if I want do go that way.

Three Weeks with the Coasties was originally intended to be an introduction into semi-autobiographic writings on my military experience.

Finally, there's plenty of space for more game designs and even an update of Conqueror: Fields of Victory.

Given this vast amount of open terrain for creativity, why am I not using it?

The answer, I think, is boredom.  Having done a topic, I'm done with it.  I simply cannot relate to authors or filmmakers who want to constantly revisit their earlier work.

That being said, I'm now looking at things a little differently, and seeing if a story I'm turning over in my head might fit in an existing setting rather than needing a new one.

And yes, there is some commercial element to this as a new title will bring the older ones to the forefront and timed with a discount, could boost my sales.  However, since my motivation is pleasure rather than profit, this is not persuasive to me.

A better argument is that I enjoyed creating my characters and settings and revisiting them could be a fun way to tell new stories about people I haven't talked about in a while.  This is beginning to resonate with me.

Last night I watched the original theatrical release DVD of Star Wars with my grandkids.  The elder was my age when I first saw it (4) and the younger predictably fell asleep (which was part of the point).

After decades of fandom and the current culture war over the franchise, it was refreshing to see the film through the eyes of a child.

She was very impressed, saying "Wow!" during the opening sequence and reacting throughout the film.  By the trash compactor sequence (which terrified me back then), she was sitting in my lap for reassurance.  She loved the battles and cheered at the end.

And - like my generation - she wanted toys from the film.

I think there are several issues wound up in Star Wars and these have concealed the essential greatness of the original films.

Obviously, the dominant issue now is the fundamental reworking of the entire franchise, an action that seems motivated by sheer vindictiveness towards the original fans.

The original films succeeded because they pointedly were set in an imaginary setting and the sides were clearly identified as good and evil.  It's right there in the screen crawl.  There's no need to overthink it or break it down using critical theory.

The characters work because they suit the actors, who had some leeway in how they interpreted their roles.  

There is also the weird obsession of George Lucas with tweaking his films.  It's one thing to digitally remaster something and clean up bits of dust and lint.  It is another to actually recut the thing, splicing in scenes, altering dialog, even switching out actors and voices.  It is said that George Lucas' then-wife (Marcia) and the editing team saved the film with last-minute changes and that because of their acrimonious divorce, George wanted to reverse as much of that as he could.

The "special edition" is a worse film, breaking up the flow, introducing unnecessary special effects and severely compromising the narrative.  Moreover, it has given the new owner, Disney, license to do the same.  The reason the canon remains unsettled is that its creator couldn't settle on one.

In reality, the original theatrical release is the true version - it set the world on fire and created a series of film so popular than fans would camp out in front of theaters in order to be the first in line to see them.

Everything since has been mediocre, graded on a curve because they no longer have to stand on their own merits, but are instead compared to others in the genre.  Basically, Star Wars has created its own ghetto, walling it off from mainstream audiences.

This is the problem with franchises - the bigger they get, the higher the entry costs becomes for new fans.

Put simply, a new prospective fan now has dozens of hours of catching up to do.  From 1977 to 1983, it was 'all too easy' to stay current.

All of which is to say that war over Star Wars has sadly overtaken the quality of the film and its superb sequels.  Adding to this tragedy is the bizarre decision by Disney to trash earlier films in order to excuse their abysmal offerings.

I suggest taking a break from the very online arguments and simply watching the originals as if for the first time, looking over the details, savoring the sound track, immersing oneself in the story.

It helps if you have a kid with you.

Yesterday I got the news that Donald Sutherland had died and while I've never thought of him as a favorite actor, I own a lot of films with him in them.

The most striking thing about him was his remarkable range and the way he could manipulate his features to fit his role.  He covered the whole spectrum from goofball to intense serial killer.

He was quite the hot property during the 1970s, from M*A*S*H to The Dirty Dozen, Kelly's Heroes, Invasion of the Body Snatchers and Eye of the Needle, to name just a few.

That's a bunch of iconic roles, and my daughter treasures him as Oddball, the eccentric tank commander from Kelly's Heroes.

I'm at an age where the actors who were in their prime during my youth are starting to pass away.  What makes it doubly sad is that there is no one coming up to replace them.  It's impossible to make a star-studded film like Kelly's Heroes today because there isn't a cast capable of supporting it.  Disney's flagship new show, The Acolyte, has hardly anyone of note, with its top-line actress being killed off in the first episode.  The next most famous person is a Korean actor who was in a foreign-language streaming series that most people never saw.

I can't think of anyone under 40 who is in any way comparable to Sutherland, which is a shame.

I'm amusing myself by watching reviews of The Acolyte, a show I would never actually watch but which appears to serve as a marvelous punching bag.

Disney's latest Star Wars offering is really an exercise in self-parody, an exemplification of the South Park joke about "putting a chick in it and make it gay and lame."

Only three episodes have yet aired, but it very much seems to be a paint-by-numbers affair, where various ideological/demonic boxes are checked and plot, character development and consistency within the setting are recklessly disregarded.

I've seen people say that this will "kill" Star Wars, but the abysmally low viewership tells me that it is already dead.

The larger question is why Disney is permitting this to happen.  The company spent four billion dollars on the rights to Star Wars and has yet to make it back.  Apparently, The Acolyte cost $180 million to produce, a staggering $22.5 million per episode.  What this bought them is a viewing rate among their subscribers of 3%.

The pessimists among us ('black pilled" in the popular vernacular) assume that the woke oligarchs have limitless amounts of cash to throw at unwatchable propaganda films, but nothing made by human hands is too big to fail.

That's perhaps the most important element about the show - no one cares.  When the sequel movies and spin-offs were out, there was immense debate and discussion about them, but reviews seem to be relatively sparse and someone dilatory.  There's no sense of urgency because no one's watching.

I think it's likely that the viewership of the people watching the review will significantly exceed that of the show itself.  Certainly the reviews are less of a time investment, but also likely far more entertaining.

It's strange to think back to a time when I was so worked up over Star Wars that I wrote the Man of Destiny series to fix it.  Now, it just seems like a waste of time and energy.

Truly, Star Wars is dead to me.

It's been a while since I did an anti-review, and many readers may not know what that is.  An anti-review is where I take a movie I might have wanted to see and explain why I'm not going to see it.  A lot of the new Star Wars films got anti-reviews.

Dune is getting an anti-review for several reasons.  The biggest is that this is the third film adaptation of the books and I'm just not that interested in the topic.  As far as I am concerned, the Sci-Fi Channel's miniseries was pretty definitive.  Yes, it had poor special effects and some of the action was sub-par, but it did a good job of conveying the content of the books and the general weirdness of Frank Herbert's landmark novels. 

While the current films are being lauded, I've read that corners were cut in order to fit the story into a cinematic format.  This kills what little curiosity I have left.  Dune works - and was successful despite terrible writing - because of how Herbert was able to (for the most part) bring everything together at the end.  That makes it very difficult to film.

I'm going to add another reason completely unrelated to the rest and that is that I'm sick of remakes and reboots.  As I said, there are already two other versions of the same material.  There are now three versions of Avatar: The Last Airbender.  The lack of creativity is absurd.

Godzilla: Minus One took a familiar franchise and gave it a new, unique and captivating twist.  One doesn't have to start from scratch to make something fresh and exciting.

More and more, I'm just going back to the originals.  I'm also continuing to explore films I've overlooked, of which there are many.  Life is too short to watch derivative trash.

Until today's horrific film offerings were unleashed on a sinful and unrepentant world, I'd have said that the 1970s were the worst decade in films.  Yes, there were great films like Star Wars or Grease, but there was a lot of nihilistic garbage.

Thunderbolt and Lightfoot falls into the that category. 

On the surface, this should be an awesome movie, with Clint Eastwood starring opposite Jeff Bridges in a fun buddy-buddy heist movie.  It even has Daisy Duke herself, Catherine Bach.

Yet, despite it's promising opening, it slowly but surely becomes yet another depressing cinematic salute to the "the death of the American Dream."

Part of the problem is that it has George Kennedy essentially reprising his brute, skull-smashing character from Charade.  Kennedy would go on to lighter fare (such as Police Squad/The Naked Gun), but at that time he was often a foul-mouthed heavy.

Seeing him do the same thing in a far less light-hearted film felt derivative.  I get that having a less than happy ending was part of the zeitgeist of diminishing expectations and anti-heroes, but that doesn't make it enjoyable.

I will here note that it was this kind of depressive film making that made Star Wars the outstanding success that it was.  It was a rare happy ending in an age of deep cynicism.

While I continue to crawl my way through the Ford Madox Ford biography, I'm also digging back into Joseph Conrad and came across his short story The Duel.

I then recalled that an excellent film of it had been made in 1977, The Duellists.  This was Ridley Scott's first movie and it's excellence gave a huge boost to his career.

The film is an excellent adaptation of a very Conradian tale - a rational, intelligent officer who inadvertently offends a hot-headed comrade and then is forced to fight duel after duel with him against the backdrop of the Napoleonic Wars. 

The film moves efficiently through the timeline, which runs from 1800 to 1816, and the costuming and atmosphere is superb.  The duels themselves are brilliantly choreographed.

It is also an example of using weapons to tell a story and the contrast between The Duellists and the decline and fall of lightsabers in Star Wars is pretty stark.

In short, it is a tight little movie of the kind that simply cannot be made today.

Earlier this week I posted an article about the decline and fall of lightsabers in Star Wars over at bleedingfool.com.

Right on cue, one of the new Disney Star Wars shows has a character take would should have been a moral wound and essentially walk it off.  Fans are not amused.

As I point out in my piece, the increasing overuse of lightsabers is illustrative of poor writing and increasingly feeble efforts to produce dramatic tension by substituting action for plot and character development.

People who don't know how to write a loaded conversation or create a compelling story will simply resort to extended fight scenes, but the more they resort to this, the less any of them matter.

Having characters survive mortal wounds completely unscathed is part and parcel of this.  Once that happens, the reader (or viewer) ceases to take the story seriously.  This is why in all of my fiction, not a single character has returned from the dead.  I have had characters who people assumed were dead come back, but that's different device which leaves the consequence of death intact.

I have to say that seeing how awful entertainment is these days is really shocking.  I know that the political scene is a disaster area, which is why I avoid it, but entertainment seems to be even worse.  Who approves this stuff?  Is there any concept of quality control? 

This is the consequence of three generations of nepotistic promotion, I suppose.  The current generation of studio heads have no real knowledge of life, art, or their audience - and it shows.

This past weekend was drill for my old unit, so in addition to sleeping in, I set up a wargame I haven't time to play for years.

The game is question was R.A.F., a solitaire game of the Battle of Britain.  Designed by John Butterfield and published by West End Games, R.A.F. is somewhat unique insofar as there is no option for a second player.  Once wargaming became big enough for market research, it was clear that most games were played solo and many of them had ratings for both complexity and solitaire play included in their advertising.

I'm not here to do a review per se - you can find a complete inventory on boardgamegeek.com or grognards.com, the point here is that this is how I spend much of my youth - playing wargames, with or without human opponents.

Wargaming could be competitive, but for me it was a way to interact with history.  Instead of just reading a book, I could become and active participant (usually while reading books on the topic).  Much of what I know about military history was acquired by playing a wargame on various conflicts.

West End Games was an eclectic outfit, and one without any particular focus.  In addition to R.A.F. it published the brilliant Imperium Romanum II, a wonderful and sweeping study of the Roman Empire.  Yet much of the company's product line centered on less erudite topics, such as sci-fi roleplaying (Paranoia) and some licensed products.

It seems incredible now, but back in the 80s, obscure lightweights like West End obtained the licenses for both Star Wars and Star Trek gaming systems.  At that time, both franchises were assumed to be "kid stuff" and so anyone willing to try to make a buck on them in the new niche hobby of gaming was welcome to try for a relatively modest fee.

West End took the ball and ran with it, particularly in the Star Wars Roleplaying Game.   A plethora of supplements, adventures and other aids flooded the marketplace and were eagerly devoured by fans left high and dry by the end of the original trilogy. 

I was not one of them.  I bought a couple of the wargames, but by that time I was putting Star Wars in the past, along with other 'kid stuff.' 

How times have changed!  Now even superheroes are unabashedly followed by people well into adulthood.  We truly live in an age where childhood never ends and the phrase "act your age" had no apparent meaning.  Back in the 1980s Bill Shatner could infamously tell a bunch of Trekkies in a Saturday Night Live skit to "get a life," but fandom is here to stay.

I don't think that's a positive development.  Many of my contemporaries are developmentally locked in the late teens, and have abandoned relationship formation and child-raising in favor of a perpetual adolescent emphasis on hobbies.  On a personal level, I haven't talked to most of them in many years - precisely because I have so little in common with them.  On the macro-scale, we see plummeting birthrates and a culture where people are sharply divided in large part because they have so little in common.

A childless ever-teen isn't going to have the same approach to political questions as parents trying to bring up a family.  Indeed, the oddly casual attitude to sexualizing children is part of this - people without proper adult formation see no need for such boundaries.

Meanwhile, West End ultimately lost its licenses and went out of business, along with most of its contemporaries.  Gaming continues, but it is both more accepted and also more fragmented, sustained in large part by advances in print-on-demand services and online communities.

Thus, gaming and geekdom are still growing strong and have never been more accepted - which is a serious problem.

Later today I will be playing "Taps" for the last time as an active service member.  Amidst all of the changes of the past couple of years, this is one that has come in an entirely unexpected way.

Just as with storytelling, how an experience ends can have a profound impact on how one looks back on the whole thing.  I've written before about how a botched conclusion can not only wreck a particular film or book, but trash the entire franchise.  I'm talking about you, Star Wars.

As I wrap the 21st and final season of "A.H.Lloyd's Remarkably Uninteresting Military Career," I'm definitely getting same vibe as watching the lamentable last season of Miami Vice.

Maybe it will look better in re-runs.

On the positive side, I will have a lot of spare time and  more much more latitude to vent my spleen on military affairs.  This opens up new areas of writing as well as more time with which to do it.

Speaking of writing, Walls of Men is now undergoing its final edit prior to being formatted for publication.  It's been through my hands and those of two test readers, but reading it aloud has found a great many areas of improvement.  I think this will be standard practice for me from now on.